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And the whole thing is super bad timing, because there been a lot of friction between humans and Toons, who have their own section of town, because they’re insane. As Eddie Valiant can tell you, this is not the first example of Toon-on-human violence. Because of this, the new mayor of Toontown is a sadistic, creepy looking stiff named Judge Doom (Christopher Lloyd). He has vowed to make an example of Roger, and by that I mean “brutally kill him.” And by THAT I mean “physically dissolve him in a barrel of benzene.” It’s apparently the only way you can kill a Toon (dropping an anvil on them never seems to work), and the result is what would happen if you dipped cotton candy in nail polish remover.

I’m not spoiling anything by telling you that Judge Doom is the villain, right? Or that Roger and Valiant will have to team up to clear the their names? Or that in the process, Valiant will be forced to confront his grief over his brother’s death? Replace the cartoons with humans, and remake this film in black and white. Film it entirely on cramped, poorly lit indoor sets. They made a gazillion movies like that back in the '30s and '40s, and just on strength of story, Roger Rabbit barely rates, But the draw, of course, is the integration of some very well known animated characters into the story. And the best part is that it isn’t just a gimmick. A lot of thought went into making this movie as good as it could possibly be, and it really shows.

That said, a word of warning, if you’ve never seen this film, or you haven’t seen it in a long time. The Toons themselves aren’t as astonishing as they once were. It’s certainly not for lack of effort, but we’ve been living in the age of digital effects for so long that I’m afraid Who Framed Roger Rabbit just looks uncomfortably dated. Even so, I still found myself wondering “how'd they do that?” every few minutes. Granted, it was in the way you do when you’re driving through the Midwest and see the world’s biggest popcorn ball. It won’t change your life, but it sure is delicious, and the logistics behind it really are staggering, when you think about it.

And most of all, it’s fun. It’s a joyful homage not just to film noir but to specific genre of animation. Many of the characters that appear in this film have appealed, at one time or another, to both adults and children. Having been on both sides of that, I can tell you that the Roger Rabbit does a pretty damn good job of maintaining tone consistently somewhere between The Big Sleep and Foghorn Leghorn. There’s a lot of cartoon logic in Who Framed Roger Rabbit, both on the screen and in the script. It takes its own premise at least semi-seriously, because people and toons can and do occasionally kill each other - and in darkly humorous ways.

It perfectly captures the tone of the violently absurd, surprisingly mature cartoons I loved as a small, occasionally unsupervised child. Seriously, there is a point in this movie where a car gets into another car, and then drives THAT car. I have no idea why, but that’s just brilliant on so many levels. And, a little hint - if you’ve ever wanted to see Mickey Mouse standing over a dead body, this is your big chance. Lawyers really CAN do anything.

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