The 100 best animated movies: 80–71
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
Peter Jackson was only 17 when a brave filmmaker tackled Tolkien.
Director: Ralph Bakshi
Best quote: “My precious…”
Defining moment: The attack at the ford by Rotoscoped Black Riders is truly unnerving.
First, let’s get the standard complaints out of the way: Yes, it can be a bit goofy, and some of the voices are way off (whose bright idea was it to cast C-3PO Anthony Daniels as Legolas?). And yes, it unexpectedly stops halfway through, with Frodo and Sam still lost in the wild and the Riders of Rohan beating back the orc army at Helm’s Deep (a conclusion was actually shot for TV, without Bakshi’s involvement, but the less said about that the better). But please, let’s focus on the positives, and there are many. The characterization is simple but effective: We’d say that Sam Gamgee is more wholesomely Tolkienish here than in the Jackson version. The action scenes are genuinely gripping, especially the climactic battle. And most of all, the visual style is just glorious, from the ornate, convincingly twisted woods of Fangorn to those utterly unique Rotoscoped Ringwraiths.—Tom Huddleston
A mockingbird conspires to bring down a despotic king in this seminal futuristic fairy tale.
Director: Paul Grimault
Best quote: “Attention: A charming shepherdess and a worthless little chimney sweep are being hunted by His Majesty the King’s police.”
Defining moment: A giant robot under the mockingbird’s control frees a young chicken from its cage, before smashing said cage with its fist.
If you chucked Disney characters into a sci-fi setting and sprinkled in a dose of French lyricism, you might end up with something like Le Roi et L’Oiseau. The film, scripted by poet Jacques Prévert and loosely based on a Hans Christian Andersen tale, tells the story of a detestable king brought down by arrogance and the machinations of his own paintings (trust us, it makes sense when you watch it). Ostensibly a kids’ flick, it doubles as a cautionary tale about the dangers of totalitarianism—the king’s absurdly ornate palace brings to mind the Bavarian castles beloved of the Nazis, whose regime had barely collapsed when Prévert and Paul Grimault began scripting it in 1948. But above all, it’s a great yarn, at once warm and sharply satirical, all 32 tortuous years of its production visible in the glorious attention to detail.—Alex Dudok De Wit
It may be mainstream, but this all-action chopsocky film has wit, charm and guts.
Directors: Mark Osborne and John Stevenson
Best quote: “Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.”
Defining moment: The beautiful prologue sequence, playing on Chinese shadow-puppet traditions.
Jack Black’s public profile was on the verge of hitting full saturation when this knockabout, action-packed tribute to Chinese martial-arts flicks was released. Its huge success may have been instrumental in pushing Black over the line from lovable manchild to omnipresent irritation. It’s a shame, because Kung Fu Panda really is inventive and enjoyable, and much of its success is due to Black, whose overweight, ever-eager hero, Po, is the big, soft heart of the movie. It could be argued that the film goes slightly overboard on the voice casting—Dustin Hoffman, Angelina Jolie, Seth Rogen, Ian McShane and, somewhat inevitably, Jackie Chan all chime in—but luckily, Kung Fu Panda has the witty script to support their celebrity weight.—Tom Huddleston
A gleefully bizarre twist on the Faust story that blends live-action with puppetry, stop-motion animation and more.
Director: Jan Svankmajer
Best quote: “How comes it then that thou art now out of hell with me?”
Defining moment: The scene showing a baby’s rapid journey through childhood and adulthood to death is Svankmajer’s Claymation at its best.
Svankmajer’s second feature reimagines the Faust story with reference to Marlowe, Goethe, Gounod, Freud, folk legend—and his own extremely fertile invention. A nondescript everyman (Petr Cepek) emerging from a crowded Prague subway is handed a map with a spot marked X; the next day he visits the place, a dressing room in an abandoned theater, where he unthinkingly transforms himself into Faust and sinks into a sinister realm of arcane spells, alchemy and tricky negotiations with Lucifer. The man’s seemingly inexorable descent toward annihilation is conveyed by an expertly executed blend of live action, puppetry, Claymation and other forms of filmic trickery. As ever with Svankmajer’s work, the underlying pessimism of the story and characterization are balanced by the director’s mischievously witty delight in the absurd.—Geoff Andrew
Nightmare Before Christmas director Selick’s follow-up is altogether more unsettling.
Director: Henry Selick
Best quote: “They say even the proudest spirit can be broken…with love.”
Defining moment: Coraline’s first, dizzying adventure in the night garden, with its exploding flowers, fountains and mechanical grasshoppers.
Director Henry Selick and author Neil Gaiman were an inspired match: two hugely talented, totally idiosyncratic artists who worked like catnip on kids with a somewhat dark turn of mind. So far, this is their only collaboration, an adaptation of Gaiman’s 2002 novel, about a girl whose drab new life in a remote cottage with her parents gains a little spark when she discovers a mysterious door into another world. Selick’s film utilizes the same fabric-and-thread stop-motion style as his earlier success The Nightmare Before Christmas, but jettisons that film’s relatively cheery goths-get-festive ethos for something far more twisted and bleak, a mournful meditation on parental responsibility and childish selfishness. Selick’s attempts to shoehorn in Gaiman’s sprawling gallery of characters doesn’t entirely work, and the film can be hard to warm to. But the visuals are breathtaking, from a pulsating, womblike corridor into the “button world,” to a series of terrifyingly monstrous transformations.—Tom Huddleston
A gizmo that records people’s dreams goes missing, resulting in chaos.
Director: Satoshi Kon
Best quote: “Isn’t it wonderful to see inside a friend’s dream as if it were your own?”
Defining moment: The opening scene moves from a surreal chase sequence to playback of the same dream images now stored on computer.
It’s called the DC Mini, a flimsy headset that records our dreams as video files. There’s consternation at the research unit when one of the prototypes goes missing. Soon the very fabric of reality tears when the addled psyches of the scientific team and investigating cop take physical form. The last completed feature of the ill-fated Kon (lost to cancer at 46) exemplifies his uniqueness and his foibles, since the supernova of weirdness bursting from the characters’ imaginations is something to behold: fridges on the march, giant robots at large, a psycho-cutie Japanese doll. While the plot itself makes very little sense, Kon’s depiction of flexible reality inside others’ dreams parallels Christopher Nolan’s Inception, and his mind-fuck cavalcade truly has to be seen to be believed.—Trevor Johnston
A grubby New York City, a murderous cast of characters and plenty of off-color jokes—Walt would not approve.
Director: Ralph Bakshi
Best quote: “Now listen here, boy: As long as Carole’s got this here good thing [Slaps own butt] and this here left [Taps head], she don’t need anything else unless she wants it—and child, I don’t want it!”
Defining moment: A Mafia boss slurps up a forkful of pasta, out of which tiny, helpless figures fall, shaken from the strands.
“It’s animated, but it’s not a cartoon,” promised the trailer, yet the movie that followed, in scummy NYC theaters in August 1973, didn’t fulfill that pledge. Ralph Bakshi’s passion project, a swirling java of urban stereotypes (the overbearing Jewish mother, the Italian mobster, the sassy black girlfriend, etc.), is overstated in a garish, ethnically broad way, very much a cartoon. No matter: There was nothing like it at the time. It’s worth noting that potential viewers had to actively be told that animation could deal with adult subjects like crime, violence and poverty. The style is hand-drawn, superimposed over grainy photographs of Brooklyn’s decay. Though much of Heavy Traffic has since dated poorly, it’s closer to the vibe of early Scorsese than any other movie on this list—and it still represents an avenue that’s gone largely unexplored.—Joshua Rothkopf
A spooky sequel descends even deeper into virtual reality’s underworld.
Director: Mamoru Oshii
Best quote: “When dialogue fails, it’s time for violence.”
Defining moment: Our heroes get trapped in an M.C. Escher–like time loop.
Mamoru Oshii’s futuristic thriller Ghost in the Shell (1995)—about a law-enforcement cyborg searching for the meaning of her existence—is one of the most highly regarded anime features ever made. This sequel, made nine years later, expands on the original’s heady philosophical conceits with a no-less-striking visual palette. The presumed-dead Major’s former colleagues Batô and Togusa are the leads, tasked with investigating a series of deaths caused by malfunctioning sex robots called gynoids. Of course, there’s much more to the mystery, which takes Batô and Togusa everywhere from a ratty yakuza den (site of an ecstatically bloody shoot-out) to the topsy-turvy mansion of a doll-obsessed hacker. Oshii lets his imagination run wild: A gorgeously rendered parade sequence (which itself took more than a year to complete) could stand on its own as an immersive mini masterpiece. The endlessly imaginative visual play complements the film’s stimulating inquiry into the fine line separating man and machine.—Keith Uhlich
Like Shakespeare at the zoo, it’s the story of one lion cub who goes from pampered prince to outcast, and then to lord of the pride.
Directors: Roger Allers and Rob Minkoff
Best quote: “I was first in line until the little hairball was born.”
Defining moment: On a cliff edge, Scar lets his brother, Mufasa, the king of the lions, fall to his death.
The opening alone is worth the price of a DVD: a majestic scene as beasts of the savannah gather to pay tribute to new lion prince, Simba. Even inside Disney, expectations for The Lion King were low. As producer Don Hahn later summed it up: “Lion cub gets framed for murder by his uncle, set to the music of Elton John…good luck with that.” But it stormed the box office as 1994’s second-highest-grossing film. Why? For a start it has one of the best (possibly the best) Disney villains, the king’s brother, Scar, drawling and plotting with supreme boredom and devilish sarcasm. The soundtrack by Tim Rice and Elton John is endlessly hummable, and the animation—best of all, a wildebeest stampede, which took three years to animate—is spectacular.—Cath Clarke
A talking chameleon, used to blending in, must take a bold stand as a Western town’s new sheriff.
Director: Gore Verbinski
Best quote: “You ain’t from round here, are you?”
Defining moment: Bellying up to the bar at the local saloon, Rango tells a whopper about killing seven outlaws with one bullet.
Johnny Depp and director Gore Verbinski had made magic before, in the first Pirates of the Caribbean, a project on which an actor’s wildest impulses met a filmmaker’s warmest encouragements. The sequels made them impossibly rich, yet that spirit of impulsive weirdness was something they wanted to recapture; it thrums through this computer-animated adventure, delightfully scuzzy in its dusty, Sergio Leone–esque locales. Rango follows the arc of many classic Westerns, and speaks strongly to principles of self-respect and inner heroism. But it’s also a creature of many colors, finding room for adult pop-culture references (a Kim Novak joke?) and Depp’s own filmography: Rango wears a garish Hawaiian shirt, and you can’t help but think of Hunter S. Thompson in Fear and Loathing in Las Vegas.—Joshua Rothkopf
Continue the countdown, or check out another list…
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