t’s the golden age of heroes, but the typical introduction of Greek mythology is eschewed for a song-and-dance sequence by the five muses, who proffer a hipper, catchier explanation for the Titans, the gods, and their exploits – and they chime in regularly throughout the rest of the picture for additional narration. Zeus and Hera, up in Mount Olympus, welcome their baby Hercules with the gift of a cloud-formed flying horse named Pegasus, which will accompany the wee lad for his coming adolescence. But before their adventures can begin, Hades, the King of the Dead (James Woods in one of the best casting choices of any Disney villain, ensuring that the ruler of the underworld is the most unforgettable part of this film), plots a hostile takeover, bitter over his banishment to the nether realm.

“How do you kill a god?” With help from his minions Pain (Bobcat Goldthwait) and Panic (Matt Frewer), Hades manages to turn Hercules mortal, forcing him to remain on Earth – though the boy retains his superhuman strength. Years later, his exceptional mightiness is a curse as much as a boon; the villagers in his hometown island are scared of him, while his inability to harness his unmanageable robustness leads to the clumsy destruction of countless structures. But with the guidance of prayer at Zeus’ temple, he might just figure out his destiny in time to restore his birthright and thwart Hades’ evil schemes.

“I can go the distance!” As if following a standardized Disney formula for their animated features, a premise is established, the protagonists and antagonists are introduced, and then songs are sung. Every major and supporting character gets to croon, starting with Hercules before moving on to lesser roles, such as a satyr trainer, recognizably vocalized by Danny DeVito (much of the voice casting is amusing, with prominent articulations from the likes of Rip Torn, Charlton Heston, Wayne Knight, and Keith David). Most of the supplemental tunes are rather forgettable, partly because they seem entirely superfluous, used primarily to preside over montages that push the story forward more quickly (alongside scene transitions that bring the muses back for a predominantly ever-changing collection of narrative lyrics).

Though the proceedings don’t always move with the preciseness expected from Disney’s best works, the humor arrives with consistency, and the action is more significant than in comparable pictures, thanks to the basis on heroic feats. Strangely, the use of computer animation for sequences such as a hydra battle amplifies the intensity but decreases the visual appeal; these infusions never quite match. Far more suitable is the damsel-in-not-so-much-distress, Meg (superbly voiced by Susan Egan, laying on the seduction with Jessica Rabbit thickness), adding humorous maturity to the equation of juvenile daredevilry. The romantic subplot is effective and engaging (plus, Meg gets the best song of the bunch), even when the generic themes of proving one’s worth (with unseen righteousness rather than widespread popularity), ignoring the advice of elders, wishing to fit in, never giving up, and selflessly standing up against adversity bog down originality. Still, the finale is exciting (a touch reminiscent of the Night on Bald Mountain segment from “Fantasia”), with a couple of nice twists of redemption. It’s not the most stand-out production from the studio, downgraded by some of the least impressive musical components, but “Hercules” is nevertheless thoroughly entertaining. “By the way, sweet-cheeks. I’m real, too.”

– Mike Massie