The 100 best animated movies: the best romantic movies

World-famous animators pick the best animated movies ever, including Disney and Pixar movies, cult movies, kids movies, stop-motion, anime and more

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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 most romantic animated movies and all the most romantic anime movies.

But how many have you seen? Take our poll to find out.

Fantastic Mr. Fox (2009)

An idiosyncratic auteur gets animated with this stop-motion take on Roald Dahl’s children’s novel.

Director: Wes Anderson

Best quote: “Redemption? Sure. But in the end, he’s just another dead rat in a garbage pail behind a Chinese restaurant.”

Defining moment: Fox and friends come face-to-face with a mysterious black wolf.

It’s tough being a wild animal. Not that the witty, snappily dressed Mr. Fox (George Clooney) likes to complain about his days making life hell for his human nemeses, farmers Boggis, Bunce and Bean (one fat, one short, one lean). It’s in his nature, after all. But when Fox’s wife, Felicity (Meryl Streep), informs him that they have a pup on the way, our vulpine protagonist realizes he has to tame the beast within. Good luck.

There’s nothing docile about Wes Anderson’s first foray into animation. Anderson’s dioramic visuals and pithy plotting translate perfectly to a cartoon world. You’re captivated right from the first gorgeously autumnal shot of Mr. Fox leaning against a tree, an image accompanied, in a very Andersonian touch, by the Wellingtons’ 1954 tune “The Ballad of Davy Crockett.”

As with all of the director’s films, potent emotions underlie the comic-strip surface: Both Fox and his sullen son, Ash (Jason Schwartzman), must come to terms with their instinctual ambitions, which tend to clash with their everyday responsibilities. (The heart breaks when Felicity claws her husband’s furry face in frustration at his blithely destructive impulses.) As the foxes find their way of life increasingly threatened, the question arises: How do you use your nature to your advantage? The answers aren’t easy, but it should be clear that Anderson isn’t out to cater to anyone except the audience he knows so well.—Keith Uhlich

Wallace & Gromit in The Curse of the Were-Rabbit (2005)

An eccentric inventor and his loyal canine companion hunt a mutant bunny.

Directors: Steve Box and Nick Park

Best quote: “I’m sorry, Gromit—I know you’re doing this for my own good, but the fact is I’m just crackers about cheese.”


Defining moment:
Gromit follows the oversize bunny in a vehicular chase that goes below ground.

British animator Nick Park made his name with a series of award-winning stop-motion shorts featuring Wallace, an inventor whose creations often go awry, and Gromit, his devoted dog. In their Oscar-winning feature debut (a coproduction between Park’s Aardman Animations and DreamWorks), the two are hired to protect their town’s vegetable patches from ravenous rabbits. Wallace tries to brainwash the bunnies with his latest creation (the Mind Manipulation–O-Matic), but instead ends up creating a bigger foe—a towering were-rabbit that emerges at every full moon. The canvas is a bit bigger than in Aardman’s previous excursions: Celebrities like Ralph Fiennes and Helena Bonham Carter lend their vocal talents, and there are a few beautifully bombastic action scenes. Yet the endearingly handmade qualities of Park’s shorter works are still fully evident, especially in Gromit’s priceless silent reactions to his human master’s frequent obliviousness.—Keith Uhlich

Who Framed Roger Rabbit (1988)

A live-action gumshoe must prove that a cartoon rabbit has been wrongly accused of murder.

Director: Robert Zemeckis

Best quote: “I’m not bad—I’m just drawn that way.”

Defining moment: Roger falls for the ol’ shave-and-a-haircut trick.


Live action and animation have been mixed multiple times, but never quite as brilliantly as in Robert Zemeckis’s blockbuster film noir parody. The setting is postwar Los Angeles, where characters like Bugs Bunny, Dumbo and Mickey Mouse are actual Hollywood contract players as opposed to artists’ caprices. A bowtied-and-overalled hare named Roger (voiced with sputtering glee by Charles Fleischer) is accused of murdering the human founder of Acme products for having slept with his comely spouse, Jessica (smokily realized by Kathleen Turner). Only alcoholic private eye Eddie Valiant (Bob Hoskins) can clear this poor bunny’s name and save him from the death-dealing hands of the conniving Judge Doom (Christopher Lloyd). Zemeckis and chief animator Richard Williams (whose Academy Award–winning work here was part of a deal to complete his long-gestating opus The Thief and the Cobbler) keep the eye-popping sights coming. Highlights are the many classic cameos, including a hilarious piano duel between Daffy and Donald Duck; a careering car chase involving a Bronx-accented cab named Benny; and Eddie’s own “dark night” in the ominously cheery Toontown, where even Droopy Dog is out to get him.—Keith Uhlich

Beauty and the Beast (1991)

Romance, music and comedy combine in a latter-day Disney milestone.

Directors: Kirk Wise and Gary Trousdale

Best quote: “It’s no use. She’s so beautiful. And I’m…well, look at me!”

Defining moment: The camera sweeps through the ballroom as the couple hits the floor.

Disney had long been in the doldrums when The Little Mermaid showed it could entertain a new generation, but this adaptation of the classic fairy tale pushed the quality threshold to a new level, making it the first animated feature to be Oscar-nominated in the Best Picture category. The key was taking the emotional heart of the story entirely seriously, bolstered by a soaring, Broadway-on-steroids score from Howard Ashman and Alan Menken. So while there are jaunty high jinks from the anthropomorphic fixtures in the Beast’s imposing castle, they never overshadow the tale’s pent-up yearning, as the hairy protagonist must find true love before the petals fall from a rose or remain forever in bestial form. Crucially, the visuals convey enough heft and scale to wow the grown-up audiences who truly appreciate the story’s romantic spell.—Trevor Johnston

Wall-E (2008)

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

When the Wind Blows (1986)

An elderly British couple thinks it can survive a nuclear attack with Blitz-era gumption.

Director: Jimmy T. Murakami

Best quote: “There’s no need to forget your manners just because there’s a war on.”

Defining moment: Surveying their destroyed kitchen, the couple brews a cup of tea and baffles over their silenced TV.

A sick joke on paper, this devastating domestic drama today feels like one of the more honest works of the anti-nuke movement. It’s a complete and utter downer, making a larger point subtly through the employment of animation itself: Such an adorably hand-drawn universe is too precious to last in a world of mutually assured destruction. We’re all living in a cartoon if we actually believe survival is possible when the radiation headaches mount and your hair starts failing out in tufts. (Heartbreakingly, the husband assures his wife that women don’t go bald—a “scientific fact.”) Big-name pop stars lent their music to the cause, including Roger Waters, Squeeze and David Bowie, who crooned the soulful, undanceable title track. If you haven’t seen this one, that’s totally understandable; it makes The Day After look like a gentle summer shower.—Joshua Rothkopf

Mary and Max (2009)

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

Cinderella (1950)

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

Tangled (2010)

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

Whisper of the Heart (1995)

A bookish Tokyo schoolgirl ponders her future—and delicately comes of age.

Director: Yoshifumi Kondô

Best quote: “It looks like springtime has come for Shizuku at last.”

Defining moment: The heroine’s telling first visit to the creepy-yet-enticing antiques emporium.

Yoshifumi Kondo was admired enough to be Miyazaki’s anointed successor at Studio Ghibli, but he completed only this single remarkable feature before succumbing to an aneurysm at 47. Although Miyazaki’s screenplay allows a brief flourish of airborne fantasy, this is predominantly an intimately observed story on a canvas even more compact than Only Yesterday, spotlighting a book-loving high-school student whose fortunes change when she follows a stray cat into a mysterious antiques shop. As this chance encounter transforms her outlook on life, a delicate love story blossoms between two shyly hesitant youngsters, yet the key focus is really the adolescent flowering of the creative urge—the “whisper of the heart.” A shame it slightly loses its nerve in the end; otherwise, this is tender, wise and magical fare deserving much greater prominence in the esteemed Ghibli canon.—Trevor Johnston

Lady and the Tramp (1955)

What happens when a well-groomed cocker spaniel meets the love of her life, a stray mutt from downtown?

Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske

Best quote: “I wonder what the leash-and-collar set does for excitement.”

Defining moment: As if you have to ask: a romantic Italian dinner, a single spaghetti strand and two slurpers.

None of Disney’s animated productions speaks better to that studio’s legendary machine than this one, hatched a full 18 years before its ultimate completion. The story was inspired by an actual dog, Lady, the pet of scenarist Joe Grant (also the cowriter of Dumbo), who began shaping material as early as 1937. In the subsequent decade, several more scripters hacked away at drafts, incorporating their own doggie anecdotes. By the early ’50s, a working story was approved, but technology demanded a wider canvas: This was the first animated film to be crafted in CinemaScope (a far greater headache for draftsmen than you’d imagine). As for that famous “spaghetti kiss,” a now-classic bit of flirtation? Walt almost killed it. Legendary artist Frank Thomas defied his boss and mocked up a rough version that won the day.—Joshua Rothkopf

Only Yesterday (1991)

The best film Mikio Naruse never made.

Director: Isao Takahata

Best quote: “So many memories playing in my head like a movie, almost overpowering me.”

Defining moment: A ’60s Tokyo family tucking into a whole pineapple becomes a metaphor for life’s promises and disappointments.

A story about a 27-year-old remembering her school days while working on a farm in the country sounds like truly unlikely animated material. Trust the instincts of Studio Ghibli mainstay Isao Takahata, however, who reckoned that when we see recognizable life animated, it acquires a kind of solidity that makes us look anew at the everyday. Here’s a drama that aims to understand the present by reexamining the past, yet it’s not doused in nostalgia. Instead the film explores with uncanny insight and accuracy the sundry minor high-school setbacks that have inhibited protagonist Taeko’s subsequent romantic fortunes. Better days may lie ahead, though, as the story works toward a final-reel emotional release that feels truthful and earned—something rare in any kind of cinema, and arguably unique in the annals of animation. It’s Ghibli’s secret classic.—Trevor Johnston

Sleeping Beauty (1959)

Never has a party snub had such dire consequences.

Director: Clyde Geronimi

Best quote: “Now you shall deal with me, O prince, and all the powers of hell!”

Defining moment: Evil fairy Maleficent turns herself into a fire-breathing dragon and goes to battle.


In the Disney villainesses hall of fame, Maleficent ranks up there with Cruella De Vil. The self-proclaimed “mistress of all evil,” Maleficent is the badass fairy who casts a spell on Aurora at birth, causing the princess to prick her finger on a spinning wheel and die before her 16th birthday. Why? All because the king left her off the guest list at Aurora’s christening. After nearly a decade of preparation, Walt Disney wanted Sleeping Beauty to stand out from existing princess-led fairy tales Snow White and Cinderella, and so it does. Inspired by medieval art and tapestries, this is Disney as its most wow-worthy, best of all in the lurid scenes at Maleficent’s lair. Sleeping Beauty marked the end of an era—it was the final animation overseen directly by Walt himself, now busy building theme parks and making TV. That said, rebellious, feisty Aurora also harkens to the sparky princesses of Disney future, even if she’s muscled into a supporting-actress slot by a certain scene-stealing bad fairy.—Cath Clarke

ParaNorman (2012)

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

Millennium Actress (2001)

A career-spanning interview of an elderly film star traces a romantic odyssey fusing life and art.

Director: Satoshi Kon

Best quote: “It’s the key to the most important thing in life.”

Defining moment: When we first realize Chiyoko’s memories and movies are blurred into one.


A fictional reclusive screen legend recalls how she embarked upon a lifelong romantic quest to track down the rebel artist who captured her young girl’s heart. Was she hopelessly deluded, or in the throes of a grand passion many of us will never be fortunate enough to experience? So strong are her memories that her devoted interviewer (and his nonplussed cameraman) find themselves sucked into her past, where personal travails and melodramatic film roles intermingle via Perfect Blue auteur Kon’s dizzying narrative transitions. The sheer single-mindedness of Chiyoko’s journey almost traps the movie in a groove, yet Kon saves the day with some thought-provoking final-reel reveals, by which point the sheer audacity of his fluidly imaginative direction and loving re-creation of Japanese screen history—from samurai swashbucklers to modern sci-fi epics—has long since cast their spell.—Trevor Johnston


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