The 100 best animated movies: 50–41
World-famous animators pick the best animated movies ever, including Disney and Pixar movies, cult movies, kids movies, stop-motion, anime and more
Fri Jun 6 2014
Hard to be a collegian feline in the city? Not really, especially when there’s so much sex and pot to be had.
Director: Ralph Bakshi
Best quote: “I’ve fought many a good man, and laid many a good woman.”
Defining moment: Fritz gets handsy in a bathtub with at least three other animals.
It’s not an overstatement to divide the whole of animated cinema into two eras: Before Fritz and After Fritz. Aside from becoming a global sensation (and outgrossing most Disney films up to that point), Ralph Bakshi’s libidinous Greenwich Village romp was a slap in the face to purists who hoped to keep cartoons safe for kids. Notoriously, the film received an X rating (and includes a fair amount of bare-assed rutting), but that pejorative label might have also been due to its director’s overall vision, inspired by Robert Crumb’s countercultural characters and filled with Vietnam War–era surliness. Bakshi cut his teeth at Paramount Pictures and in advertising for clients like Coca-Cola; he was no fool to the realities of commerce. Still, it took someone familiar with the game to break the rules so completely. His triumph is animation’s puberty.—Joshua Rothkopf
This politically charged family adventure effortlessly transcends its toy-exploiting roots.
Directors: Phil Lord and Christopher Miller
Best quote: “Everything is awesome!”
Defining moment: When our hero Emmet awakes to find himself in the “real” world.
The LEGO Movie hadn’t even been released when we began polling contributors for this list of the best animated movies, but as soon as it hit the screens, the votes started to roll in. It’s hardly surprising: What could have been a shoddy, cynical attempt to cash in on a beloved brand turned out to be a witty, intelligent, spiky, sweet-natured and insanely enjoyable adventure crammed with goofy gags and movie in-jokes. The decision to hire writer-directors Phil Lord and Christopher Miller (whose earlier collaboration Cloudy with a Chance of Meatballs is criminally unrepresented on this list) was a masterstroke: This isn’t just another kids’ cartoon, but a satirical sugar bullet aimed directly at the heart of conformity and ordinariness everywhere, be it in the playroom, in the boardroom or on the pop charts.—Tom Huddleston
Miyazaki’s first feature is an affectionate, fun-filled take on ’60s spy capers.
Director: Hayao Miyazaki
Best quote: “My prize is a treasure locked away in a tower by an evil magician—please allow this humble thief to steal it.”
Defining moment: The dashing hero facing certain death entombed in the baddie’s catacombs.
Created by French writer Maurice Leblanc in 1905, gentleman thief Arsène Lupin later morphed into Rupan, the dashing antihero of a manga. It became a hit TV series and generated master animator Hayao Miyazaki’s very first feature. Fresh from another jewel robbery, Rupan finds himself in the tiny duchy of Cagliostro, hoping to rescue comely Clarisse from marriage to the scheming count who’s usurped the throne. What unfolds is a cavalcade of scrapes and gadgetry, indicating that Miyazaki knew his ’60s celluloid spy capers back to front. The result is undeniably lightweight yet breathlessly entertaining: Plotting is resourceful in its succession of twists and reversals, and the architectural hyperdetail of the castle itself is typical Miyazaki. It’s a delightful movie that sits at a slight remove from the rest of his work.—Trevor Johnston
Animation meets classical music in an Italian-style Fantasia.
Director: Bruno Bozzetto
Best quote: “Someone called Disney has already made this?”
Defining moment: Humanity’s evolution scored to Ravel’s Bolero is a magnificent set piece.
Of course, Disney’s Fantasia is the acknowledged reference point for Italian mischief maker Bruno Bozzetto’s animated collection of classical pops, interwoven with boisterous live-action interludes in which a hard-pressed animator battles an egomaniac conductor, his shifty producer and an unlikely orchestra of geriatric ladies let out of their cages (no, really) to play the score. There’s definitely a Monty Python–style antiestablishment surrealism in both elements of the movie, not least the musical sections, in which we see humanity evolve from the sludge at the bottom of a Coke bottle, the serpent in the garden of Eden tormented by the sheer variety of the sins he’s about to introduce into the world, and the absurdity of materialism represented by the urge to erect higher and higher buildings. Certainly, it’s uneven, and some of the humor feels dated, but there’s not a hint of classical-music snobbery here.—Trevor Johnston
The madness and futility of war…in animation.
Director: Ari Folman
Best quote: “Memory fills the holes with things that never happened.”
Defining moment: The acid-trip opener: An ex-soldier describes a recurring dream of being chased by a pack of 26 ferocious dogs.
Israeli soldier-turned-filmmaker Ari Folman described making his autobiographical antiwar documentary as being like therapy. It began when he left the army (after serving for more than 20 years, full-time and as a reservist). Folman had never talked about his experiences fighting in Lebanon in 1982 at age 19 until he went to see an army therapist, a condition of his discharge. During the conflict, Lebanese Christian militia massacred up to 3,000 Palestinians in refugee camps—possibly under the eyes of Israeli forces. Folman was there, but his memories of the conflict were fuzzily vague. We see him as he sets out to interview the men he fought alongside, the story unfolding in flashbacks, strikingly told with graphic artist David Polonsky’s hallucinatory drawings. The result is an antiwar film in the league of Apocalypse Now and The Thin Red Line. Compelling and original.—Cath Clarke
Pixar’s purple patch spawns another monster smash.
Director: Pete Docter
Best quote: “There’s nothing more toxic or deadly than a human child.”
Defining moment: The closing credits, as our heroes perform their hastily improvised stage musical “Put That Thing Back Where It Came from or So Help Me.”
For a while, it seemed so simple: Pixar was on such a spectacular roll that even something as wildly inventive and eye-slappingly beautiful as Monsters, Inc. could be regarded as just another link in the chain. Only now, following a string of disappointments (including 2013’s forgettable prequel, Monsters University), do we realize how good we had it. Perhaps more than any other Pixar flick, Monsters, Inc.—particularly in its 3-D version—plays havoc with the possibilities of animation, harking back to the golden age of Looney Tunes for its wild, dimensionhopping action sequences and wealth of background gags, cramming the screen with color, life and wit. The characterization is equally noteworthy: Director Pete Docter milks every ounce of humor and pathos from his voiceover frontmen Billy Crystal and John Goodman, and the script is packed with memorable one-liners and fuzzy warmth.—Tom Huddleston
The calypso-inflected Hans Christian Andersen adaptation that revived the Mouse House’s ailing fortunes.
Directors: John Musker and Ron Clements
Best quote: “Somebody’s got to nail that girl’s fins to the floor.”
Defining moment: In the infectious “Under the Sea,” Sebastian the crab attempts to convince wayward Ariel of the merits of ocean living.
Two years later, Beauty and the Beast received more acclaim, but it was this cheery musical adaptation of Hans Christian Andersen’s bleakly fatalistic fairy tale that redesigned the template of contemporary Disney animation and returned the studio to pop-culture prominence. The formula—take a story everyone knows with a plucky princess, then add a bunch of hip, catchy-as-chlamydia show tunes—still works, as the recent success of Frozen demonstrates. But alongside the witty, verbally intricate contributions of ingenious songsmiths Howard Ashman and Alan Menken, it’s the depth of yearning for other lives and other forms that gives this one emotional resonance and staying power. Well, that and the lasciviously tentacled, Mae West–and–Divine-inspired sea witch Ursula, surely among the greatest Disney villains.—Guy Lodge
Who needs a caring stepmother when you’ve got glass slippers, an enchanted lifestyle and a hunky Prince Charming at the end of the day?
Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske
Best quote: “A dream is a wish your heart makes when you’re fast asleep.”
Defining moment: A pumpkin and some mice get a magical makeover.
Even today, when you watch a Disney film, the impact of Cinderella can be felt from the very first frame: That iconic castle, the studio’s logo, comes right from this picture. It was the make-or-break gamble that, had it failed, would have meant the end for Walt & Co. Instead, his film’s runaway success allowed him to finance the theme parks and cement his name forever. The elements of the story are bedrock components of the Disney formula: plucky, charming heroine, helpful sidekick animals, the promise of total transformation. Yet there was innovation here, too; musical numbers would, for the first time, be commissed out to Tin Pan Alley experts, while live-action footage was shot as a model for most scenes. When Disney’s own remake comes out in 2015, it will have a huge debt of charm to repay.—Joshua Rothkopf
A wise, funny Claymation tale of lives lived on the edge of society.
Director: Adam Elliot
Best quote: “Butts are bad because they wash out to sea, and fish smoke them and become nicotine-dependent.”
Defining moment: Max wins the lottery and uses his prize money to buy a lifetime supply of chocolate.
This big-kids-and-adults-only bleak comedy is the only feature to date from Australian filmmaker Adam Elliot, who previously made well-regarded short films, including 2003’s “Harvie Krumpet.” Set in the 1970s and subverting Claymations usual cuddliness, it tells of an unhappy suburban child, Mary, who, after leafing through the phone book, inappropriately (or so it seems) becomes pen pals with Max, a depressed New Yorker with Asperger’s syndrome. It’s almost entirely in black and white—or at least black, white and beige—although there’s the odd flash of color, like the crude lipstick worn by Mary’s grotesque, unloving mother. A celebration of outsiders, this offers comedy as well as tears, as we track Mary and Max over the decades; ultimately, it manages to be both rude and strangely endearing. The voices couldn’t be more appropriate: Barry Humphries narrates, while Philip Seymour Hoffman is Max and Toni Collette is Mary as a grown-up.—Dave Calhoun
Threatened farm animals seek the help of super-smart experimental rodents from a lab.
Director: Don Bluth
Best quote: “We can no longer live as rats. We know too much.”
Defining moment: The fearsome, golden-eyed Great Owl smashes a spider, chomps on a moth—and offers some sage advice.
Call it the work of a rebel: In 1979, Disney animator Don Bluth left the cost-cutting studio in frustration (along with several other colleagues) to start up a company that still valued old-school craft. Their first feature was this remarkably sophisticated adventure, about a field mouse seeking solutions to the problems of an ailing son, an aggressive farmer and the potential destruction of her community. Enter the heroic rats of NIMH (National Institute of Mental Health), who apply their artificially boosted levels of intelligence to the calamities at hand. The style of the animation is hand-painted and traditionally sumptuous, requiring thousands of hours of work, but the real beauty here is in the making of entertainment targeted at kids who enjoy using their minds.—Joshua Rothkopf
Continue the countdown, or check out another list…
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