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YMMV / A Goofy Movie

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  • Accidental Aesop:
    • Getting angry at your parents for not understanding you isn't wrong, but betraying their trust is. Max has to learn this the hard way.
    • As Pete tells Goofy, there is a difference between your kids loving you and respecting you.
  • Adorkable: Roxanne and Max. Max is Goofy's son, so him being a cute dork is to be expected. As for Roxanne, she’s shy, awkward, stutters adorably, and tends to babble, drop her books, or bump into things when she's nervous. At one point, she gets her finger tangled in her hair while twirling her finger through it. It goes a long way in having the audience root for the relationship.
  • Alternative Character Interpretation:
    • The character of Stacey is far more interesting if you watch the film under the theory that she is in love with Max, and has determined that the best thing for him would be to match him with his dream girl Roxanne. Disney historian John Grant is a noted proponent of this theory.
    • The relationship between Max and Goofy has a discussion on who was more in the wrong. On one hand, Goofy did take Max on an impromptu vacation that Max obviously did not want to go on instead of simply talking about the principal's phone call. Not to mention that Goofy failed to realize that Max is old enough to make his own decisions, and Goofy was only thinking about how this would affect him, making his motives pretty selfish. On the other hand, while understandably upset, Max still acted self-centered in his own way, complaining about minor inconveniences, and just being rude to his dad. Max's line "I've got my own life now", in spite of still being a teenager living under his father's roof, made him sound like a pretentious jerk who has little respect for his father. While both Max and Goofy are portrayed as flawed but sympathetic, there's debate over which one of them acted more out of line.
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    • Is Pete a malicious Jerkass deliberately trying to drive a wedge between Goofy and Max out of jealousy for their genuine bond, or is he giving his friend what be believes is an important parenting lesson by telling Goofy that having his son's respect is more important than having his love? Possibly a little of both? Note the devilish grin when he's eavesdropping on the boys and finds out Max's plan about the concert, which can be read as him taking sadistic joy in either proving Goofy wrong or catching the boys doing something he can pushing them for.
    • The kid who sings "No more looking at losers like him," in After Today after Max accidentally uses his girlfriend to break his fall (in a way that made it look like he was deliberately jumping on her) after tripping. Is he a kid who knows Max and regularly picks on him, or just mad because he through some random creep was trying to harass his girlfriend?
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    • As is said thrice, PJ is terrified of getting in huge trouble with his dad for the "Stand Out" stunt. However, after it's inevitable but before he can get his punishment over with, he's not only happy but uncharacteristically confident and optimistic once he and Max leave school and he finds out that Max got a date with Roxanne, even leading the entire school in a group chant of Max's name. Is PJ just so happy for his friend's success that he no longer cares about the inevitable hell his dad is going to put him through? Has he just accepted his fate to the point that he no longer feels the need to worry? or is he trying to take advantage of his last few moments as a free man before it happens?
    • Related to the above, it's never confirmed how or even if Pete punished PJ at all. Was making PJ do chores and manual labor while on vacation Pete's way of punishing him? Is this something he would have made PJ do anyway and whatever his punishment was came and went? Does he consider the trip itself a form of keeping PJ under his thumb (in the same way Goofy takes Max on their trip to protect him) and he doesn't see any greater punishment necessary? or does he even think about punishing PJ at all? We also don't know if Mazur even called Pete at all and instead just chewed PJ out himself, so it's possible Pete never even found out (he'd presumably be more angry that PJ stole his video camera than anything else anyway).
  • Angst? What Angst?: As mentioned above, PJ spends the entire first act dreading what will happen if and, later, when his dad finds out about his and Max's stunt. Once he finds out that Max got a date with Roxanne, the subject never comes up again. In fact, right before he presumably goes home to inevitably get dressed down by Pete, PJ leads the entire student body in a celebratory chant of Max's name with the utmost confidence.
  • Author's Saving Throw:
    • Some people have had issues with Max being a Totally Radical 90s stereotype in the show. In the movie, he’s a couple of years older, but has a more realistic personality, allowing for some decent character development and giving him relatable motives.
    • Another complaint about the show was that they put Pete in the spotlight too much and didn’t focus on Goofy and Max enough. Pete gets Demoted to Extra in the movie in order to not lose focus on the Goofs.
  • Awesome Art: For a project that had most of it's animation farmed out overseas, the animation is just as fluid and expressive as Disney's in-house productions. The slapstick scenes capture the feel of the classic Goofy cartoons and the dance scenes do a great job translating Michael Jackson-style dancing into cartoon form. Combined with the excellent voice work, it also makes for not only one of the best-looking non-canon Disney features but also one of the best acted.
  • Awesome Music: When the film was released, in its review, Variety called the songs "unmemorable". Come 20 years later, at the D23 Expo panel, during the part of "On the Open Road" where the other drivers sing, Bill Farmer, still in character as Goofy, invites the audience to "sing along". And if you listen closely, every single audience member still knows every word! You can especially see Jason Marsden laugh when everyone shouts "Yeah!" along with the big fat lady. This is especially incredible, when most nostalgia of this film tends to veer towards the Powerline songs ("Stand Out" and "I 2 I"), which are still awesome, but "After Today", "Open Road", and "Nobody Else But You" are just as great!
  • Big-Lipped Alligator Moment:
    • At the end of "On the Open Road" a corpse not only joins in the song but gets up and dances on the roof of the hearse he's riding in. No one bats an eye.
    • Just before that is a guy tied up in the trunk of a car in Cement Shoes singing the song.
    • Bigfoot's appearance comes and goes with no foreshadowing or references to it either way. This arguably makes that much funnier.
    • Max's Nightmare Sequence of him turning into Goofy while having a romantic dream with Roxanne. It comes completely without warning and once Max wakes up, it's never mentioned again.
  • Can't Un-Hear It: Although he is the second person to voice him, many fans view Jason Marsden as the one true voice of Max (as a teenager and a young adult, at least).
  • Critical Dissonance: The film received mixed reviews from critics, scoring a 53% on Rotten Tomatoes, but the audience loved it and the film has a 70% audience score on the site.
  • Crosses the Line Twice: The part where a mime gets a piano dropped on him. That's not funny - what's funny is not only Max but Goofy both whistling and just walking away like nothing ever happened.
  • Cult Classic: The film wasn't particularly universally known until years later, but it maintains a small, devoted fan base and is regarded as an underrated gem. The sequel is also held in good regard for its strong Character Development of several characters. It helps that it is currently the only theatrical film to star a character from the Classic Disney Shorts and an original story at that.
  • Designated Villain: Sure, Max crashing the Powerline concert is clearly a wish-fulfillment fantasy that would no doubt get any real person who attempted it in serious trouble, and the burly security guard chasing getting a painful comeuppance wouldn't be nearly as funny if it were played straight. Still, you can't blame the guy for just doing his job.
  • Draco in Leather Pants: A minority of fans see Principal Mazur as more of a reasonable authority figure who's understandably upset that Max not only commandeered his school assembly with an over-the-top stunt but sent him down a trap door to do so, and that his perception of being as a textbook fun-hating Dean Bitterman character has more to do with fans misunderstanding his "electric chair" comment (he said that Max's behavior may land him there, not that he, personally, wishes for Max to wind up there). He still negatively exaggerates Max's stunt by saying he was "dressed like a gang member" and calls the students' excitement "a riotous frenzy," not only further proving how woefully out of touch he is but revealing that he's more than a little prejudiced towards teenagers. Plus, good intentions or not, telling a father that his son may wind up on death row after what was, for all intents and purposes, a harmless prank isn't just an overreaction, it's also just not a good way to tell a parent to raise their child better. Indeed, the whole film may not have happened and Mazur not essentially tried to shock Goofy into being a more attentive parent.
  • Do Not Do This Cool Thing: Kids, don't crash your school assembly with an impromptu song-and-dance spectacle, it will get you in trouble with the principal and also earn you the respect and admiration of all of your peers, including the girl you have a crush on. Also, don't sneak past security at a concert and try to join the star on stage, it may get you arrested, even if said star is okay with it and happily lets you join his performance and even teach him a new dance movie while you're being broadcast to the entire world on pay-per-view, making you even more popular than you already were.
  • Ensemble Darkhorse: Just about every Canon Foreigner with a speaking role has a following.
    • Roxanne and Stacey. The former is only a relatively minor character in one movie, but is more popular than most of the regulars to the point that fans took more note of her disappearance than anyone else's. The latter is only in five scenes but has a big enough impact on the story and a large enough personality that she stands out.
    • Bobby is a very popular, quotable character within the fandom, especially for being a brand new Plucky Comic Relief character in about a fifth of the movie's scenes. Cue him being a main character in the sequel.
    • Bigfoot, who has been jokingly called the "best Disney villain." He's since even made his way into modern Disney media, like DuckTales (2017).
    • Also the Trekkie (voiced by Dante Basco) who catcalls Stacy during her speech at the school assembly.
    • Lisa, the blonde, busty, scantly clad and seductive schoolgirl. She is also notably voiced by Julie Brown, who voiced Julie Bruin in Tiny Toon Adventures and Minerva Mink in Animaniacs.
    • Technically, he doesn't have any speaking lines, just singing, but since his music is a major part of the film's plot and is AWESOME, Powerline is arguably just as popular among fans of the movie as he is in it. If a geek apparel store's got Goofy Movie merch, it'll be more than likely a Powerline shirt, mostly so it can double as a defictionalized concert tee.
  • Fanon: Being a sequel to Goof Troop, the absence of Peg and Pistol, Pete's wife and daughter, respectively, has lead to many fan theories as to why. The two most common are that Peg divorced him and got full custody of Pistol or, more morbidly, they died; other theories exist that they're on a girls' vacation while the boys take their own vacation or, in a meta sense, the writers simply didn't know how to fit them in or think they were popular enough to warrant appearing.
  • Fanfic Fuel: So, what was everyone else doing while Goofy and Max were on their road trip?
  • Genius Bonus: Goofy's line to Bigfoot mentioned under Comically Missing the Point is a reference to the fact (often repeated by skeptics) that no picture or video of Bigfoot ever seems to be completely in focus.
  • He Really Can Act
    • As mentioned on the trivia page, there was, understandably, some doubt as to whether or not Goofy's exaggerated voice would be tolerable for a feature length movie (especially since, as Jerry Beck's review pointed out, this is a dialogue-heavy movie) or if audiences would buy a character mostly associated with broad slapstick having more understated emotions. Anyone who's seen the finished film can attest that Bill Farmer more than assuages these doubts, proving that Goofy can experience heartbreak, bitterness, unconditional love and even bliss without the least bit of irony and in ways that are still true to his comedic roots. At times, you almost forget that this is a 1930s cartoon character transplanted into the '90s and instead see him as just a normal guy who happens to speak with a drawl.
    • Jim Cummings is no slouch either, especially since Pete has very little screen time and yet he still manages to make his abuse feel a lot more palatable and feel like his signature hammy villainy in the few scenes he's in. The hot tub scene is a good example of this: you can really hear it in his voice how much he's trying to manipulate Goofy just to subtly rub it in how "right" he is that discipline is more important than love, and the way he says "My son respects me!" is chilling.
    • There's a good reason Jason Marsden is seen by many as the "true" voice of Max. In the scenes where he's talking to Roxanne or getting fed up with Goofy, respectively, he doesn't even sound like he's acting, he just sounds like a real life teenager stumbling over his own words or getting angry at his father.
    • Wallace Shawn, despite playing a minor character in this movie, does a particularly chilling performance as Principal Mazur, when he tells Goofy that Max could end up in the electric chair just for putting on an unauthorized rock performance at school.
  • Harsher in Hindsight: Pete’s line, "My son respects me!" is effective and scary, but it gets a subtle callback during his Villain Song in Mickey, Donald, Goofy: The Three Musketeers where he sings, "If you can’t be loved, be feared!" In a way, he probably doesn’t care if P.J. loves him or not, just as long as he does what he says.
  • Hilarious in Hindsight:
    • Goofy addresses Bigfoot as "Mr. Foot."
    • Take a good look at Powerline's backup dancers and compare them to Ariana Grande.
    • Max tries to warn Goofy about the car going down the mountain, to which Goofy bitterly replies, "Now you wanna drive, too?" Max would later become a valet at the House of Mouse.
  • Iron Woobie: Goofy wants more than anything than to connect with his son, and takes all of his failures to do so in stride... at least until he discovers that Max deceived him, at which point he looses all faith.
  • Jerkass Woobie: Max may be a bit antisocial and difficult with his father, but he's also a teenager with realistic insecurities and wants a social life, not helped by Goofy unintentionally keeping him from even having a social life once he gets one.
  • Memetic Mutation:
    • The shot in the car with Goofy and Max where Goofy has a disappointed/irritated look on his face is basically the poster for "Son, I am Disappoint". Mainly because Goofy is very rarely angry.
      • Similarly, it's quite a common joke to paste a bunch of characters into the car with angry Goofy to make it seem like he doesn't appreciate the people he's carpooling with.
    • Bobby's lines "It's the Leaning Tower of Cheese-a!" and to a lesser extent "CHEDDA WHIZZY!"
    • "Yo Stacy! Talk to me, talk to me, talk to me, bay-bay!"
    • For some reason, the Finnish version of "Mornin' son!"note  is a frequent Running Gag in the Finnish Youtube Poop community.
      • Also the Finnish version of "Nice Lamp" note  in the motel scene to a lesser extent, including a video where this line gets repeated over and over again for 10 minutes
  • Moe: Roxanne.
  • More Popular Replacement: Jason Marsden's performance as the now teenage Max was so well received that every work featuring the character thereafter sans Mickey's Once Upon a Christmas has kept the character that age with Marsden reprising his role.
  • More Popular Spin-Off: Does anyone not there at the time even remember that this is a sequel to Goof Troop? In all fairness, it's quite loosely adapted and Disney doesn't advertise re-releases of their old TV shows nearly as much as their features.
  • Newbie Boom: Gained a new amount of popularity when Goofy made a guest appearance in DuckTales (2017).
  • Nightmare Retardant: Max's nightmare at the beginning of the film, in which he slowly transforms into… Goofy!
  • One-Scene Wonder:
    • Bigfoot only appears briefly, but many fans testify to rewinding and watching his scene repeatedly, and it is often considered to be the funniest scene in the movie.
    • The lethargic, disinterested Possum Park MC, voiced by Pat Buttram in his final movie role.
    • Some of the kids singing After Today (especially for child viewers who can emphasize with the excitement about summer break).
  • One True Pairing: Max and Roxanne. Their adorkable chemistry is so off the charts, it got them a pretty big following. In fact, the one genuine complaint about the otherwise well-regarded sequel is that Roxanne was written out (she did become Max's official girlfriend in House of Mouse, but guess which one of the two doesn't currently have an official home video release?).
  • Periphery Demographic: While not intended to appear to a specific demographic, the film has an incredibly dedicated African-American audience. A Huffington Post article by "Black Nerd Problems" editor Jordan Calhoun goes into great detail about how so many of the story beats reflect specifically on the experiences of black youth circa 1995.
  • Ron the Death Eater: While Max is mean to his father for much of the film, he's also clearly a teenager who's still learning how to mature emotionally, and does eventually learn to be nicer to his father who, despite his best intentions, took him for a trip without warning, making him equally responsible. Yet if you went by some of the YouTube comments, you'd think he was an irredeemable sociopath who does nothing but abuse his poor, emotional father for ninety minutes.
  • Signature Scene: Amongst viewers of the film, the motel sequence is quite memorable due to how adult-themed it gets surrounding Goofy and Pete's conversation, and how fathers should be taking care of their sons. Another candidate for the most memorable sequence is the Powerline concert at the end.
  • Strawman Has a Point:
    • Pete might be a bad father, but he raises a good point: you might want your kid's love and friendship, but you need their respect too. Any parent will tell you that having the respect of your children is integral to correcting their behavior.
    • And then there's Principal Mazur's phone call to Goofy. While Mazur overreacted, and he did exaggerate Max's behavior over the phone, as explained above, he does kind of have a right to be upset after Max and his friends interrupted a school assembly and sent him down a trap door. Also, Principal Mazur's last line to Goofy about Max ending up in the electric chair could be more of him warning Goofy that his son would find himself into serious legal trouble down the road if he keeps that type of behavior up. Based on Max's attempt to be popular, as well as his scheming ways towards his own father, it seems like he was getting pretty close to heading towards that direction.
  • Suspiciously Similar Song: The first part of the car chase is accompanied by a pastiche of Copland's "Hoedown" from Rodeo, aka the "Beef: It's What's for Dinner" music.
  • They Wasted a Perfectly Good Character: Other characters are downplayed or given very little screen time in order to focus on Goofy and Max, in what little runtime the movie has.
    • Despite being major characters in the show, Pete and PJ only appear in a handful of scenes and we don't get to see their bonding time.
    • Despite being built up as Max's love interest, Roxanne gets five minutes of screen time, and what little we do see suggest that she's just as awkward and shy as Max, which could have led to some interesting Character Development or a subplot of her own. It doesn't help that she's absent from the sequel, though she is in a couple of lower deck episodes of House of Mouse that are focused on her and Max's relationship. According to an interview with the director Kevin Lima, the writers wanted to make her more of a tomboy with a girly streak, but none of these traits are present in the film.
    • The movie does an excellent job cramming in a ton of defining characteristics for Stacey, the fast-talking Genki Girl student body president and one of the nicer teen characters, yet her only function in the film proper is throwing the Powerline party, nudging Roxanne to talk to Max and getting paired at the last second with Bobby. As mentioned above, there's also a credible fan theory about her having a crush on Max but wanting him to be with the girl he already likes; those implications alone, along with the story potential of giving Max at least one female friend, would be worthy of an entire other movie!
  • Unpopular Popular Character: In-universe, Bobby is The Friend Nobody Likes (well, more accurately, a friendly acquaintance they just met). Out of universe, he's very popular, enough to be a major supporting character in the sequel. Max himself is also a lot more popular among viewers than he is in his own movie, where he's at best treated as a complete nobody.
  • Values Dissonance: Not especially egregious examples, especially for a Disney movie, but notable nonetheless.
    • Stacy, who's implied to be a socially-conscious Granola Girl, is seen dressed in a Native American headband at her party, which is intended to show her standing in solidarity with a vulnerable social group. Twenty years later, she'd be the one angrily accusing others who'd dress this way of cultural appropriation and Dramatically Missing the Point.
    • An inoffensive example: Max refers to Powerline as a "rock star," while most would agree that pop star would be a more befitting name, indicating a Rock is Authentic, Pop is Shallow attitude. In early-mid 90s America, "pop" was considered a dirty word, reserved for only the worst and most agonizingly manufactured music acts out there (remember, the Milli Vanilli scandal was still recent and more niche, underground genres with like alternative rock and gangsta rap had had their mainstream breakthroughs shortly thereafter). When traditional "rock band" music began fading out of popularity in the late 2000s/early 2010s as more nuanced pop acts like Lady Gaga were taking off, the title of "pop star" more or less lost its negative connotation.
    • Pete is also clearly drinking a beer when he sees Goofy on TV and does a Spit Take. Depicting the consumption of alcohol in a family movie was definitely unheard of in 1995, but a major studio like Disney wouldn't even gently imply it today, lest they invite the wrath of Moral Guardians.
  • What an Idiot!: Goofy reading his road map, while driving, in the middle of the night. He winds up drifting into the opposing lane and into the path of an incoming freight truck. Goofy also somehow failed to hear the truck's loud honking since he was too busy singing to himself. If not for Max getting the car back in their lane in time, they would've likely been killed.
    Max: Dad! You're gonna get us killed! Why don't you just give me the map!?
    Goofy: Oh no thanks, son. Navigatin's a pretty big responsibility!
    • Again when Goofy and Max are trapped in the car due to Bigfoot being outside. Goofy discreetly tries to grab a can of soup that landed on the hood of the car before Bigfoot notices. He does and charges at the car where Goofy struggles to get the soup can inside, never once occurring to him to simply turn the can vertically so it would fit. Max had to quickly do it for him before Bigfoot rammed them.
  • The Woobie: Just like in the show, PJ gets pushed around by his father and it’s not played for laughs.


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