Blu-ray: 7.1 DTS-HD MA (English), Dolby Digital 5.1 (French, Spanish), Dolby Surround 2.0 (Descriptive Service) All of the games at Litwak's are connected by power cords and a hub known as Game Central Station. Ralph makes it his mission to win a medal, something he thinks he can do in Hero's Duty, a dark, violent, state-of-the-art first-person sci-fi military shooter game. His effort to secure some glory leads to him crash-landing in Sugar Rush, a game that consists of go-kart races in colorful worlds made of candy. There, Ralph makes the acquaintanceship of Vanellope von Schweetz (Sarah Silverman), a bratty young outcast prone to momentary glitches. While Ralph and Vanellope work together in an effort to give each their first taste of victory, the other arcade characters worry that Ralph is "going Turbo" and following in the footsteps of an infamous rebel whose actions led to beloved games being put out of commission.

The company experienced highs and lows in the decades that followed, enduring a labor strike, World War II, and the death of Walt Disney with only as much reinvention as needed. They faced almost nothing in the way of competition. In some ways, this is the most Pixary film since Toy Story 3, the finale to that outstanding trilogy whose secret world design is an unmistakable influence here. I'm fine pretending that Pixar's first outright miss, Cars 2, never happened. Last year's film, Brave, was very good, but kind of different and not quite up to the studio's high standard taken for granted through TS3. That seemed to pave the way for this to be Disney's year to claim the Animated Feature Oscar and not just through its association with Pixar. With the advent of CG animation, the marketplace expanded to its current crowded state where a number of major competitors stake out and claim the most historically potent weekends years in advance as part of their play for a chunk of the more lucrative than ever animated family film business. From 1937 through 1994, Disney was the undisputed king of feature animation. But since the Best Animated Feature Oscar was introduced beginning with 2001's crop, Disney has not led the industry, instead being one of a few major players and having to weather some storms to even get there. The discs open with trailers for Monsters University, The Little Mermaid 3D, and Planes. The Sneak Peeks listing repeats those, followed by ads for Disney Movie Rewards, "Gravity Falls", Disney Parks, Radio Disney, Mulan Blu-ray, Who Framed Roger Rabbit: 25th Anniversary Edition Blu-ray, Super Buddies, and Return to Never Land.Director: Rich Moore / Writers: Phil Johnston (story & screenplay); Jennifer Lee (screenplay); Rich Moore, Jim Reardon (story); Sam J. Levine, John C. Reilly, Jared Stern (additional story material) Tangled, The Princess and the Frog, and Winnie the Pooh have turned out quite all right, but Ralph is even better, despite blazing trails more resemblant of Pixar and DreamWorks than of classic Disney. It leans heavily on the same principles (story, characters, settings) that have defined nearly all of Disney's successes from the early days of Pinocchio through late 20th century hits like The Lion King. The old question that both motivated and stifled the company after the loss of its namesake -- "What would Walt do?" -- cannot easily be answered by this film. Four deleted/alternate scenes (14:28) are presented with an introduction by director Phil Moore. Mostly appearing in simply-animated rough story reel format, these include a deleted character who shares a jail cell with Ralph and later reunites with him in a shallow beach paradise, and a scene in which Felix, Vanellope, and Ralph voice their dreams before falling asleep. The scenes can also be viewed with audio commentary by Moore and writers Jim Reardon and Phil Johnston, which adds a minute of runtime and explains the cuts.

Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Starting in the 1960s, there'd be other theatrical animated films here and there: Yellow Submarine, A Boy Named Charlie Brown, Charlotte's Web. None of them were from companies with a plan or a chance to topple Disney or take a real bite out of their formidable business model. Competition increased in the 1980s, with the rise of movies adapted from TV series and the establishment of a production company by Disney expatriate Don Bluth. But both Disney's struggles and other animation houses' success proved to be rather short-lived. The creative and commercial gap between the Mouse and everyone else in feature animation grew in the 1990s, until Pixar came along and would change the game.