Remy is a rat completely in love with food and cooking. So when he finds himself in Paris he heads to Gusteau's - the restaurant of the late, great Auguste Gusteau, whose motto "Anyone can cook" inspires Remy to have a go. But rats aren't the most welcome visitors in France's top-class eateries. So when the rodent is discovered in the kitchen, it is down to well-meaning but inept garbage boy Linguini to dispose of him. But the would-be chef can't do it; instead he befriends Remy and the two cook up a plan that will allow the rat to cook through Linguini. Their system isn't without a few hitches, but the pair manages to pass themselves off as the greatest chef in Paris.

The character design is as idiosyncratic as you might expect from director Brad Bird (co-directing with Jan Pinkava), who previously helmed "The Incredibles". There's no attempt to make the humans or the rats look photo-realistic. The humans have rubbery skin and overlarge heads that would overbalance them if they were real. Most have bulbous noses and all have a head of individual hairs that reflect the light in the correct manner. There is a good sense of underlying musculature to their faces, which allows them a wide range of expression, often of the most subtle nature. They have large expressive eyes that flicker back and forth as though constantly focussing on their surroundings. They also have a variety of skin tones, from the healthy fairness of Colette to the swarthy, slightly greasy looking Skinner, the ruddy fairness of German sous-chef Horst and the dry freckly skin of red-headed Linguini. Each has a distinct style of movement; from Linguini's slightly ungainly, floppy-footed walk, to Skinner's stamping gait. The rats are all bottom heavy, with large liquid eyes that allow a range of expression. They have twitchy ears and eyebrows that increase their emotional range and hands that complete the effect. There's a good sense of weight and movement. The animators have captured the rodents scrabbling run very well and allow them more human gestures and postures when required. The fur textures change depending on the environment, going from slightly coarse when dry, sharp and spiky when staticky, shiny when wet and frizzy when damp. So overall the visual style is beautifully detailed and technically accomplished.

Bird's screenplay tells a simple story about the importance of being true to yourself with a great deal of humour and a few simple morals. But he doesn't go overboard as if often the case with Disney movies. There isn't a mawkish moment to be found. He divides time between mini adventures and comedy. The characters are all recognisable types. Remy is the ambitious youngster trying to find his way in the world despite parental disapproval. Linguini is the well-meaning buffoon. Skinner is characterised by his money-grubbing, bitterness and paranoia. Anton Ego is the waspish critic with a superiority complex. Colette is the feisty love interest trying to make her way in a man's world. The rest of the cast comprises comic relief and plot devices. But all the main players have strong enough personalities to carry the picture. The pacing is generally swift thanks to the knockabout humour and mini adventures. However, the film is perhaps overlong. It's because there are two villains and once one has been defeated, it takes another twenty minutes to take care of the other. But it is entertaining nonetheless. The dialogue is at its best with throwaway lines like "You can get too familiar with vegetables you know." While comments like "We hate to be rude - but we're French" are a shade too obvious.

The original music by Michael Giacchino is a playful and appropriate accompaniment to the action. Some of the numbers are perhaps a trifle clichéd, as there are a few arrangements that feature jaunty accordions, which appear in almost every movie set in France. But there are also lots of enjoyable jazzy tracks featuring xylophones and warm strings or woodwinds that reflect the fun of the film. These are contrasted by thrilling numbers that feature chasing brass and strings or for danger and creeping dark strings and harp for potential death.