The 100 best animated movies: the best CG movies
World-famous animators pick the best animated movies ever, including Disney and Pixar movies, cult movies, kids movies, stop-motion, anime and more
Wed Apr 16 2014
Now we know which are the 100 best animation movies of all time. But which are the best Disney movies and which are the best Pixar or Studio Ghibli films? Which are best for kids and families and which are strictly arty, political or edgy?
We’ve applied 26 handy labels to the 100 great animations in our list. Here you’ll find all the best computer-generated (CG) movies in our list.
But how many have you seen? Take our poll to find out.
Cowboy or spaceman—which is Andy’s favorite plaything? And how do these secretly alive toys feel about that?
Director: John Lasseter
Best quote: “To infinity…and beyond!”
Defining moment: The elaborate escape from evil Sid’s room, a breathtaking action sequence that put Hollywood’s A-list to shame.
Nothing less than the first shot in what would become a revolution, John Lasseter’s simple tale turned adults into happy children, naysayers into believers, and computer animation into the dominant expression of an entire industry. Pixar’s debut feature is its most beautiful thing, emphasis on thing: The genius idea here was to embrace the stuff of toys—to imbue plastic and cloth with solidity and tactility. Suddenly there was a real weight to billions of bits and bytes, and audiences were enraptured. Naturally, none of this would have worked had there not been a killer script, labored upon for years by a creative team that included Lasseter and future directors Pete Docter, Andrew Stanton and The Avengers’ Joss Whedon. The humanity imparted by Tom Hanks as the passed-over Woody can’t be understated: This was a role rich enough to lure the hottest actor in the game. Toy Story speaks to our love of play, and the way we invest our dolls and action figures with the souls of whom we want to become. It makes sense that these toys would keep dreaming even when put away for the night. But the film’s lasting impact is simpler than that: Swinging, bouncing or skidding, toys are alive in our minds. Lasseter’s team bent gravity itself to make that a reality.—Joshua Rothkopf
A superheroic family tries to blend into their quiet suburban lifestyle, but realizes that their skills are nothing to be ashamed of.
Director: Brad Bird
Best quote: “When everyone’s super…no one will be.”
Defining moment: “No capes!” declares Edna Mode, the film’s snooty fashionista, and we see the fates that befell some unlucky caped crusaders.
Firing on all cylinders, Pixar’s first film to earn a PG rating signaled a grabbing of the brass ring: Yes, the studio’s computer animation was peerless, but could it also do marital malaise, middle-aged belly spread and sneakily ambitious philosophy—all of it tucked into spandex? Writer-director Brad Bird commanded a degree of control unprecedented since the days of old Walt himself. Everything was riding on his long-germinating vision of an exceptional family rediscovering its purpose. The plot’s spirit proved infectious, the reviews rapturous. Thematically, the movie’s deepest fear concerns the creeping slump of mediocrity: If greatness lies within us, why can’t we let it out? Maybe it’s because we’re told—in subtle ways—not to shine too brightly and make others feel inadequate. Some pegged the notion as straight out of Ayn Rand (this would have been her favorite movie ever), but the idea was somehow made to feel inclusive via Bird’s humor, panache and narrative clarity. The Incredibles makes us believe in heroes, but more importantly, it reclaims the virtue of heroism itself: a blessing, an ideal, an ambition. And it’s not easy.—Joshua Rothkopf
Pixar was at the height of its powers when it made this Paris-set tale of a rat with immense cooking talent.
Directors: Brad Bird and Jan Pinkava
Best quote: “In many ways, the work of a critic is easy.”
Defining moment: Food critic Anton Ego tastes Remy’s dish and is plunged into memories of his childhood.
Sandwiched in time between Cars and Wall-E, Pixar’s Ratatouille was the third animated feature from codirector Brad Bird, after The Iron Giant and The Incredibles. Perhaps there’s no better example of the boldness of Pixar’s approach to story and character. Ratatouille tells of Remy, a food-obsessed French rat washed down a sewer only to emerge in Paris, where he begins to help an awkward young kitchen worker cook incredible food in a top restaurant. The story is as mature and original as the animation (which, as ever, is groundbreaking without showing off—just look at how they show water and hair). And the Peter O’Toole–voiced character—Anton Ego, the icy food critic thawed by Remy’s cooking—is a total delight. Pixar also proved that originality can sell: The film stormed the box office.—Dave Calhoun
Pixar’s saddest, sweetest, strangest film.
Directors: Pete Docter and Bob Peterson
Best quote: “Adventure is out there!”
Defining moment: An obvious one—the heartbreaking opening sequence tracking Carl and Ellie through their life together.
Even after Ratatouille, even after The Incredibles, even after Wall-E, we weren’t expecting this. Up is Pixar at its most profound and risk-taking, opening with a devastating eight-minute montage of love and loss before proceeding with the tale of a grouchy elderly man who makes the decision to fly his entire house to South America using helium balloons. It was, of course, a massive hit. That three-hankie opening is the sequence most viewers remember, and it is astonishing. But the rest of the movie is just as magnificent, flitting from stoner humor (“I do not like the cone of shame,” a dog woefully says) and soaring 3-D action to genuinely affecting age-gap bonding. The result falls somewhere between Werner Herzog and Winnie the Pooh: a tale of adventure, determination, grief, friendship and talking canines. Squirrel!—Tom Huddleston
It’s an emotional reunion as Pixar gets the old gang back together.
Directors: John Lasseter, with Ash Brannon and Lee Unkrich
Best quote: “You never forget kids like Emily or Andy, but they forget you.”
Defining moment: Jessie’s song, in which the cast-off cowgirl tells of the day her beloved owner left her behind.
It was meant to be a straight-to-DVD project, a way for Disney to squeeze a few more bucks out of an unexpected hit. Then Pixar head honcho John Lasseter got involved, and Toy Story 2 was transformed into that Holy Grail for all franchise seekers, a sequel that enriches—and some would say improves upon—the original. While the first film addressed kid-friendly ideas of friendship and trust, this time the themes are far more grown-up: It’s all about self-worth, beautifully and simply expressed through the concept of “collectability” and what that word means both for the owner and his possessions. The fact that Toy Story 2 is also filled with memorable characters, witty asides, geeky spoofs (the whole “Buzz Lightyear, I am your father” riff is hilarious) and zippy action sequences doesn’t hurt a bit either.—Tom Huddleston
Pixar’s beloved shaggy-fish story hooked the box office.
Director: Andrew Stanton
Best quote: “Just keep swimming.”
Defining moment: Those toothy, Aussie “vegetarian” sharks really are terrifying.
Nowadays we take it as a given that half of the year’s biggest moneymakers are going to be cartoons: Even inferior animated sequels draw the kind of audiences once reserved for Schwarzenegger and Spielberg. Finding Nemo may not have managed to crack the top slot at the box office—it was up against The Lord of the Rings: The Return of the King—but its success both at the multiplex and on home video (it’s the biggest seller of all time, apparently) heralded a new age of animated blockbusters. And it couldn’t have happened to a more deserving film, the warmest, most universal of all the Pixar home-run hitters. Particularly notable: Finding Nemo eschews a big-name voice cast in favor of talented character actors like Albert Brooks and Allison Janney, a lesson that too many recent animated films have failed to learn.—Tom Huddleston
Pixar scored a hat trick—in 3-D—with the third film of its signature franchise.
Director: Lee Unkrich
Best quote: “What are you going to do with these old toys?”
Defining moment: When the toys are threatened with a horrific end at the garbage dump.
It took 11 years for Pixar to make a third visit to the playroom. Getting there was a bumpy ride: Development for the final Toy Story film became caught up in the intricacies of the animation studio’s production deal with Disney, and at one point the Mouse House was planning to make the second sequel without Pixar’s involvement. That all changed when Disney bought the studio in 2006, and Pixar took charge of Disney Animation. Much of the original team—including John Lasseter, Andrew Stanton and Lee Unkrich, the latter of whom would now direct Toy Story 3 solo—went back to the drawing board and came up with a narrative that saw Andy, the toys’ owner, about to go to college and the toys escaping the terrible fate of the attic and heading instead to a day-care center—which turns out to not be the paradise they’d hoped for. The mix of energy and emotion was as winning as ever.—Dave Calhoun
Pixar pushes the boundaries (again) with a near-wordless tale of robot romance in a dystopian future.
Director: Andrew Stanton
Best quote: “Computer, define dancing.”
Defining moment: Wall-E’s increasingly frenzied, love-struck attempts to revive his comatose flame are heartbreaking.
Fourteen years in development and costing a reported $180 million, Wall-E was Pixar’s biggest risk since Toy Story. It plays on the traditions of silent cinema to present the politically charged story of a lonely robot cleaning up a devastated, trash-covered Earth and falling in love with the first sentient being he meets. Despite its futuristic setting, nothing feels modern: There are no recognizable characters, no sweeping ballads, no crafty in-jokes. In fact, for the first 45 minutes, there’s no dialogue at all. The result is a delirious dream in film: romantic but technological, funny but sad, smart but goofy, slushy but sharp, familiar but entirely unique. The second half does veer off into more standard fare (cue pratfalls and wisecracks), but for many, that opening act remains perhaps the peak of Pixar’s art.—Tom Huddleston
How the Vikings learned to stop warring and love dragons.
Directors: Dean DeBlois and Chris Sanders
Best quote: “It’s only fun if you get a scar out of it.”
Defining moment: Pint-size Viking Hiccup meets Toothless, the not-so-scary Night Fury dragon.
Odin almighty! Here’s a kids’ animated film with wit, charm and one-liners. The story is as old as a Nordic longboat: a coming-of-age yarn about a boy with daddy issues. Our hero is Viking pipsqueak Hiccup, raised in a proud nation of dragon slayers. All Hiccup wants is to please his warrior father, Stoick the Vast (who sums up the macho Viking philosophy nicely: “When I was a kid, my dad told me to bang my head against a rock—and I did it”). Hiccup’s trouble is that he is the geekiest, weediest Viking in the tribe. But (pay attention, kids) since the brain is mightier than brawn, he learns the ways of the dragons. The film climaxes with a spectacular aerial battle sequence. Meanwhile, Hiccup’s little dragon buddy Toothless is the cutest kitten-bat-lizard crossbreed you’re likely ever to see onscreen.—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, dimension hopping 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
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
A modern woman’s breakup is paralleled with a musical retelling of the Ramayana.
Director: Nina Paley
Best quote: “Assemble the monkey warriors!”
Defining moment: Sita wonders, “Whooooooooo’s that knockin’ at my door?” in an energetic battle-scene-cum-musical-number.
Fiction, somehow, helps us deal with fact: Reeling from a divorce, animator Nina Paley found solace in the Hindu epic the Ramayana, specifically the section dealing concerning Sita, a woman fought over by two of the tale’s male protagonists. For this eye-popping DIY feature, almost entirely animated by Paley herself, the symbolically pure and virtuous Sita becomes the narrative focus. Paley adheres to the basic outline of the Ramayana—with its multiheadeded gods, monkey armies and heroic warriors—adding her own distinctive touches. The most delightful of these is giving Sita the voice of Jazz Age singer Annette Hanshaw, whose cheery musical stylings (especially during the literally earth-shattering climax) add a defiant layer to a story normally defined by paternalism and machismo.—Keith Uhlich
No more little miss shy and retiring, this princess means business.
Directors: Nathan Greno and Byron Howard
Best quote: “I’m malicious, mean and scary/My face could curdle dairy.”
Defining moment: Escaping the tower, Rapunzel feels grass under her feet for the first time, and breaks into song (as you would).
The brothers Grimm’s “Rapunzel” must have presented modern Disney with a bit of a head-scratcher. Long gone are the days when a Disney princess would spend her hours mooning around a tower dreaming of a knight in shining armor to rescue her. So in this version (with Pixar’s John Lasseter executive-producing), gone is the handsome prince, replaced with an egotistical thief, Flynn Ryder. When he first smarms his way upstairs, Rapunzel thwacks him with a frying pan. This sparky princess will do her own escaping, thank you very much, twirling all that hair like a lasso. Tangled has energy and humor in spades. Best are the beasts: Maximus the army horse (on a mission to capture Flynn) and Pascal the chameleon.—Cath Clarke
Disney takes a modern approach to an old-fashioned fairy tale.
Directors: Jennifer Lee and Chris Buck
Best quote: “Wait, you got engaged to someone you just met that day?”
Defining moment: Whether you think it’s a feminist belter or reactionary pop drivel, the Oscar-winning song “Let It Go” is a new Disney classic.
Despite its box-office appeal and Oscar wins, Disney’s most recent animated smash divides opinion. Some see Frozen as a delirious throwback to the studio’s classic era, with tongue firmly in cheek and belting torch songs galore (the stage musical cannot be far away). For others, though, its shiny veneer masks old-fashioned ideals: The heroines are all slim, perky and good-looking, and the idea that freedom drives women mad might not be a particularly welcome one. Whatever your take, there’s no denying that Frozen is ridiculously entertaining: beautifully animated, breathlessly paced and winningly goofy. The fun part is seeing those classic fairy-tale characters—the adventurous princess, the handsome prince and the wicked queen—being forced through a postmodern blender.—Tom Huddleston
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
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
Fun for the whole family—with ghosts and booger-green zombies.
Directors: Chris Butler and Sam Fell
Best quote: “Can’t you be like other kids your age?”
Defining moment: Norman attempts to wrench a book of spells from the rigor-mortis-stiff grasp of a corpse.
If, in a few years’ time, a generation of teenagers develops an unhealthy fixation with wearing black and the undead, point the finger of blame at ParaNorman. Never has a kids’ film been so gloriously ghoulish. Our hero is a horror-film-obsessed 11-year-old called Norman (nicknamed Ab-Norman by the kids at school, who graffiti “freak” on his locker). Norman can see ghosts—which terrifies his meat-and-potatoes dad, who’s worried that his son will grow up into “limp-wristed hippie stuff.” The second stop-motion animation from the studio Laika (after 2009’s Coraline), ParaNorman was brought lovingly to life, with up to 300 people working on it at a time, and 3-D printers to animate characters’ faces. The detail, down to the zombies’ tombstone teeth, is stunning.—Cath Clarke
Part art piece, part gross-out comedy, part apocalyptic epic, all indescribable.
Director: Phil Mulloy
Best quote: “That villain’s penis is huge!”
Defining moment: When our hero Mr. Christie accidentally kills God. Well, He was disguised as a spider.
How’s this for a plot synopsis? After being seduced by a studly French sailor, straitlaced upper-middle-class father, husband and unwitting reality-TV star Mr. Christie goes insane and decides to dig a hole to Australia in the garden. Emerging in the Tokyo subway system by mistake, Mr. Christie inadvertently murders God and is exiled to the land of the dead, where he meets Adolf Hitler, Jesus and Dracula. Sadly, just as he’s starting to get a handle on things, the local parish priest decides to rape Mrs. Christie, leading to the destruction of the universe. Part of artist and animator Phil Mulloy’s ongoing Christie series (which has so far consisted of 12 shorts and two features, with another in the pipeline), Goodbye Mr. Christie utilizes ultraminimalist animation, computer-modulated deadpan voices and a dry, mordant wit to create something that is at once enlightening, aggravating, strangely moving and extremely funny.—Tom Huddleston
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