Very very predictable, including the post credit scene !!!

Really Surprised!

A Brilliant Conflict

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

"Duck Pimples" is an American 8-minute cartoon from 1945, so this one is already over 70 years old, actually soon 75 depending on when you read this review. The names of the director and the voice actors (most of them) quickly make clear that here we have another Disney color cartoon from the Golden Age of Animation near the end of WWII. The writers names are different though and you don't really associate them with Disney cartoons. Anyway, this may actually be among the key reasons why this did not really feel like a Donald cartoon anymore the longer it went. I would not have thought that the part of Donald making it himself cosy early on was already the best this film had to offer and it really wasn't great. The book seller guy was still okay too, but everything afterward was fairly weak including the entire crime mystery aspect and the characters related to it. Perhaps it would have worked better as a live action film I don't know. Usually if the supporting characters weren't that great in these old Disney cartoons, they at least had a way of making Donald look better, but he disappears in here for long moments really. All in all, not a good or funny watch by any means and this one lost itself in trying to be too different, smart and game-changing. Don't watch.

As a child I found Duck Pimples fascinating, as a young adult I still do as well as lots of fun. Donald is different somewhat to the persona we usually see him with, usually he is easily frustrated and temperamental, here he is more passive and more of a punch-bag I suppose for the detective. This is an example of Disney doing something atypical, breaking the mold as you will, and doing it extremely well. Besides I do like this side to Donald, even I am more used to the temperamental side. The other characters formulating Duck Pimples right from the slinky woman to the Irish cop are stereotypical, but used to great value comedically, so what could've been an issue wasn't. Duck Pimples also has an interesting story, rapid pacing and a lot of goofy details that has a feel to the very best of Looney Tunes, but used to very imaginative effect here. The gags come by thick and fast, and often hilarious even if silly in tone in how Donald is accused of all these crimes. The animation is colourful and crisp, the music is energetic and the voice work is great from Clarence Nash and Billy Bletcher. In a nutshell, an awesome cartoon and one of Donald's best. 10/10 Bethany Cox

Virgil Partch, who signed his name 'ViP', was a magazine and newspaper cartoonist noted for his clean uncluttered linework and weirdly surrealistic humour. Although ViP was definitely an original, his subject matter is similar to that of Gahan Wilson, Arnold Roth and the great Basil Wolverton. The very first issue of Playboy magazine had two illustrations on its cover: a photo of Marilyn Monroe, and a drawing by ViP, with a caption stating that more ViP cartoons were inside. If it's good enough for Playboy, it's good enough for me.Oddly, the short Disney cartoon 'Duck Pimples' seems to be Virgil Partch's one and only foray into film animation ... odd, because it's a complete success which should have brought Partch similar job assignments. The credits of 'Duck Pimples' list Partch only as scriptwriter, but the characters in this cartoon (except for Donald Duck) show the clear influence of Partch's linework, and they don't resemble other Disney characters from this period. I'm positive that Partch must have drawn the model sheets for these characters, and he may well have drawn key poses for the characters as well. This is a fun cartoon that the whole family will enjoy: it has Disney's high production values, yet (despite the presence of Donald Duck) it isn't a typical Disney cartoon.The title 'Duck Pimples' is awkward: the opening title card bears the title 'Goose Pimples', with 'Goose' crossed out and 'Duck' written underneath. Either way, the title doesn't make much sense, because this cartoon doesn't have a scary theme. At the beginning, Donald Duck is alone in his house on a dark night, reading a spooky story. There's one very clever visual device, as Donald's armchair gradually morphs into a green monster underneath his body. Even small children will recognise that this is a symptom of Donald's imagination, not an actual event. But after this clever image, the cartoon veers away from scary themes into the wild surrealism typical of Partch's magazine cartoons. Even the story in Donald's book moves away from scary themes into whodunnit territory.The characters in Donald's story leap out of the book and start haranguing him. Among these is a police detective with an Irish brogue, his voice supplied (uncredited) by silent-film comedian and longtime voice artist Billy Bletcher. Also present is Pauline, a sexy female cartoon character who seems to be a prototype for Jessica Rabbit.The action is weird and fast-paced, more typical of Bob Clampett at Warners during this same period than anything Disney was doing at this time. But the violence in 'Duck Pimples' is negligible (which was seldom true of Clampett), and the whole film is delightful except for a very weak final gag. I'll rate 'Duck Pimples' 9 out of 10.

A Walt Disney DONALD DUCK Cartoon.It's DUCK PIMPLES for Donald and his overactive imagination when he falls asleep while listening to a suspenseful radio program.The Duck gets swept up into the search for purloined pearls in this very funny & bizarre little film. The cartoon's backhanded salute to the power of old-time radio drama is more than justified. Clarence Nash provided Donald with his unique voice.Walt Disney (1901-1966) was always intrigued by pictures & drawings. As a lad in Marceline, Missouri, he sketched farm animals on scraps of paper; later, as an ambulance driver in France during the First World War, he drew comic figures on the sides of his vehicle. Back in Kansas City, along with artist Ub Iwerks, Walt developed a primitive animation studio that provided animated commercials and tiny cartoons for the local movie theaters. Always the innovator, his ALICE IN CARTOONLAND series broke ground in placing a live figure in a cartoon universe. Business reversals sent Disney & Iwerks to Hollywood in 1923, where Walt's older brother Roy became his lifelong business manager & counselor. When a mildly successful series with Oswald The Lucky Rabbit was snatched away by the distributor, the character of Mickey Mouse sprung into Walt's imagination, ensuring Disney's immortality. The happy arrival of sound technology made Mickey's screen debut, STEAMBOAT WILLIE (1928), a tremendous audience success with its use of synchronized music. The SILLY SYMPHONIES soon appeared, and Walt's growing crew of marvelously talented animators were quickly conquering new territory with full color, illusions of depth and radical advancements in personality development, an arena in which Walt's genius was unbeatable. Mickey's feisty, naughty behavior had captured millions of fans, but he was soon to be joined by other animated companions: temperamental Donald Duck, intellectually-challenged Goofy and energetic Pluto. All this was in preparation for Walt's grandest dream - feature length animated films. Against a blizzard of doomsayers, Walt persevered and over the next decades delighted children of all ages with the adventures of Snow White, Pinocchio, Dumbo, Bambi & Peter Pan. Walt never forgot that his fortunes were all started by a mouse, or that childlike simplicity of message and lots of hard work always pay off.