77. Big Hero 6 (2014) (Winner of 2014 Best Animated Feature Award)
Directed by: Don Hall and Chris Williams
Written by: Jordan Roberts, Robert L. Baird and Daniel Gerson
Starring: Ryan Potter, Scott Adsit, Daniel Henney, T.J. Miller, Jamie Chung, Damon Waynes Jr., Genesis Rodriguez, James Cromwell, Maya Rudolph and Alan Tudyk
Music by: Henry Jackman
Rated: PG
In a universe where the cities of San Francisco and Tokyo have merged together to “San Fransokyo”, Hiro Harmada (Ryan Potter) decides to give up bot-fighting and invent something to win a place at his brother Tadashi’s (Daniel Henney) science university. However, after he wins the competition with “Microbots”, Tadashi ends up dying in a fire. When Hiro learns that the tragedy might not have been an accident, he teams up with his brother’s classmates and even Tadashi’s own project, a personal healthcare robot named Baymax (Scott Adsit), to become superheroes and find out what really happened..
Despite being the first (very loose) Marvel adaptation for Walt Disney Animation Studios, the superhero aspect in Big Hero 6 suprisingly feels like an afterthought in this adorable story about coping with loss. Although many films like The Iron Giant have done this type of story to death, Baymax’s unique personality and his overall goal to try and cure Hiro of his depression due to his programming, makes him one of the most heartwarming Disney characters in a long time.
Although the villain’s identity is extremely easy to guess and the other characters such as the neat-freak Wasabi (Damon Waynes Jr.), the nerdy Fred (T.J. Miller) and the badass Gogo Tomago (Jamie Chung) don’t get enough character development, this great film shines the best in its impressive world-building with the combined city of San Fransokyo and the impressive gadgets on display here.
Overall, Big Hero 6 might not have been the epic superhero debut for Walt Disney Animation Studios in the way that The Incredibles did for Pixar a decade before, but the creative worldbuilding, the heartwarming story and Baymax’s adorable nature has helped in making this one of the Disney Revival era’s better films.
Rating: 4/5
76. I Lost My Body (2019)
Directed by: Jérémy Clapin
Written by: Jérémy Clapin and Guillaume Laurant
Starring: Hakim Faris/ Dev Patel, Victoire Du Bois/ Alia Shawkat and Patrick d’Assumçao/ George Wednt
Music by: Dan Levy
Rated: 12A
Shortly after getting severed in a freak accident, a living hand embarks on a journey to find its human, a pizza-delivery man named Naoufel (Hakim Faris and Dev Patel) who, through a series of flashbacks, tries to impress Gabrielle (Victoire Du Bois and Alia Shawkat), a librarian,while he struggles with his own life…
Out of all of the countries that have contributed towards animation history, France, along with Germany has provided the most important contributions towards the medium such as the invention of the praxinoscope and early pioneers such as Émile Cohl and Ladislas Starevich are notable for the likes of Fantasmagorie and The Tale of the Fox, which predated Snow White and the Seven Dwarfs by several years, in terms of feature-length animated films.
This latest example of French Animation, I Lost My Body, working in the foot (or hand) prints of The Triplets of Belleville and The Illusionist, is an emotional visual experience that cleverly uses the perspective of a severed hand in order to create beautiful sequences, while also maintaining its own quirky sense of humour throughout the hand’s numerous escapades.
Although the over-reliance of rotoscoped animation has not aged well in terms of character design , I Lost My Body is still an emotionally powerful film that showcases the strength of independent cinema.
Rating: 4/5
75. Onward (2020)
Directed by: Dan Scanlon
Written by: Dan Scanlon, Jason Headley and Keith Bunin
Starring: Tom Holland, Chris Pratt, Julia Louis-Dreyfus and Octavia Spencer.
Music by: Mychael and Jeff Danna
Rated: U
In a universe in which fantasy creatures such as trolls, gnomes, fauns and centaurs abandoned the use of magic in favour of modern technology, two elf brothers named Ian (Tom Holland) and Barley Lightfoot (Chris Pratt), inherit a magical staff belonging to their late father, Wilden (Kyle Bornheimer). Using a spell intending to bring him back for twenty-four hours, Ian messes it up by only bringing back his legs. Now Ian and Barley must embark on an epic quest to find a Phoenix Gem, the crucial ingredient for fixing the spell…
As Pixar Animation Studios enters a new era without the disgraced animation pioneer, John Lasseter, the first of two films that was set to come out in 2020 has a lot to prove to see if the studio that brought toys to life, looked into the working lives of monsters under the bed and took audiences on epic journeys from the skies of South America to the depths of the ocean, can survive without his involvement.
Dan Scanlon, fresh off his over-hated directorial debut with 2013’s Monsters University, brings back the originality and clever world-building that made people love Pixar during their 2000s heyday. While the concept of fantasy creatures living in a modern day environment has been done before with Netflix’s Bright and several animated shows, the jokes revolving around deconstructing fantasy stereotypes actually work in the story’s message about finding magic in everyday life.
Although the roadtrip plot doesn’t break any new grounds in terms of narrative risks, the characters of Ian and Barley are extremely likeable and Chris Pratt and Tom Holland have excellent chemistry together, while the subplot revolving around their mother (Julia Louis-Dreyfus) teaming up with a friendly Manticore (Octavia Spencer), also has its fair share of fun as well.
Overall, Onward may not be the best animated film out there, but the worldbuilding, fun characters and the heartwarming story is why Pixar can still make an impact, even as they, like Ian and Barley themselves, are prepared to move “Onward” to continue their quest for animation success!
Rating: 4/5
74. Isle of Dogs (2018)
Directed by: Wes Anderson
Written by: Wes Anderson
Starring: Bryan Cranston, Koyu Rankin, Edward Norton, Liev Schreiber, Bill Murray, Bob Balaban, Jeff Goldblum, Scarlett Johansson, Kunichi Nomura, Tilda Swinton, Ken Watanabe, Akira Ito, Greta Gerwig, Akira Takayama, Frances McDormand, F. Murray Abraham, Yojiro Noda, Fisher Stevens, Mari Natsuki,Nijiro Murakami, Yoko Ono, Harvey Keitel, Frank Wood and Courtney B. Vance
Music by: Alexandre Desplat
Rated: PG
As a result of an outbreak of dog-flu, the cat-loving Mayor of Megasaki City (Kunichi Nomura) exiles all of the city’s dogs to Trash Island, a wasteland polluted by smog and litter. However, his 12-year old nephew Atari (Koyu Rankin), is heartbroken to have been forced to part with his beloved friend Spots (Liev Schreiber), and builds a plane to fly to the island. When he crashes there, he ends up meeting Chief (Bryan Cranston), Rex (Edward Norton), King (Bob Balaban), Boss (Bill Murray) and Duke (Jeff Goldblum), five dogs who agree to help him find Spots and to find out the truth about Megasaki’s dog-hating craze….
Paying tribute to the films of Akria Kurosawa in its sweeping cinematography and Japanese backgrounds, Wes Anderson’s second animated film after his excellent 2009 adaptation of Roald Dahl’s Fantastic Mr. Fox, is one of the most visually stunning films out there, even when compared to Anderson’s other films, with several shots of Akira and the dogs walking across the wastelands looking as stunning as a David Lean film.
This film manages to deliver in both Wes’s deadpan humour, especially in the visual gags alone and his skill at creating a large amount of quirky and memorable characters that his fans have come to expect from his filmography is still present with the likes of Tilda Swinton, F. Murray Abraham and Scarlett Johansson all getting a chance to make their character’s memorable despite not having much screen-time. Isle of Dogs is more akin to something like Watership Down or The Snowman in how the relationship between humans and dogs is developed, especially in the character development of Chief and the conflicts he has with his friends due to him being a stray who never went through the traumatic experience of the other dogs being forcibly separated from their humans.
As with Fantastic Mr. Fox, the use of stop-motion is breath-taking as like that film, everything from the character animation to the smoke and even the water is so beautifully animated, one could even argue that it even rivals the anime genre with how interesting Japan looks in this film. However, some of the cultural appropriation criticisms are valid, even if the film was supposed to be about the dogs, and the entire subplot regarding the character of American exchange student, Tracy Walker (Greta Gerwig), could have been cut entirely.
Overall, Isle of Dogs is a true testament to the possibilities of animation and is one of the best Wes Anderson films out there that will be worth watching as a double-bill with Fantastic Mr. Fox. Apart from some questionable aspects, Kurosawa would be proud of this achievement, Anderson-san.
Rating: 4/5
73. Anomalisa (2015)
Directed by: Charlie Kaufman and Duke Johnson
Written by: Charlie Kaufman
Starring: David Thewlis, Jennifer Jason Leigh and Tom Noonan
Music by: Carter Burwell
Rated: 15
Set in the mid 2000s, a depressed customer service agent and motivational speaker named Michael Stone (David Thewlis), sees everyone around him with the same face and voice (Tom Noonan), hating how he cannot see anything unique about people. When attending his book promotion in Cincinnati, he suddenly finds a unique voice in the form of Lisa (Jennifer Jason Leigh), an insecure young woman, who he dubs “Anomalisa”, but he struggles to overcome his perspective on the world…
Some may feel that this story’s photorealistic stop-motion was unnecessary for this type of film apart from one dream sequence, as the puppets are so realistic that one wonders whether directors Charlie Kaufman and Duke Johnson should have just done this in live-action. However, Anomalisa, based on Kaufman’s short play, is still an incredibly interesting and emotional experience for being one of the first Best Animated Feature nominees to be R-Rated, along with 2011’s Chico and Rita.
Being incredibly honest about relationship toxicity and how depression can effect a person’s view on the world, Anomalisa uses its story to showcase the complexities of Fregoli delusion, which is made more impressive at how serious it takes this subject matter, in spite of Tom Noonan’s voice popping out of every supporting character.
Overall, even though the puppets can look unintentionally creepy at times, Anomalisa is still a powerful experience that shows off Charlie Kaufman’s ability to tell great stories about emotionally mature and complex narratives in his filmography.
Rating: 4/5
72. The Triplets of Belleville/ Belleville Rendez-vous (2003)
Directed by: Sylvain Chomet
Written by: Sylvain Chomet
Starring: Monica Viegas, Béatrice Bonifassi, Lina Boudreault and Michel Robin
Music by: Ben Charest
Rated: 12
Madame Souza (Monica Viegas) is an elderly woman who trains her grandson, Champion (Michel Robin), to become the best cyclist in France. When Champion is kidnapped by the French Mafia during the Tour de France, Souza, along with her obese dog, Bruno, follow them to America. Now, Souza must rely on the help of the Triplets of Belleville, a group of retired entertainers and singers, if she ever hopes to save her grandson…
Being the first independent film to have been nominated for Best Animated Feature at the Academy Awards, as well as the feature directorial debut of Sylvain Chomet, who would go on to higher success with European animation, The Triplets of Belleville is a charming and funny experience.
Being almost completely muted on spoken dialogue, the character animation and use of pantomime is what makes this film so lovable. While the CGI and some of the close-up human designs leave a lot to be desired, the antics of these four elderly women are really funny and creative.
Overall, The Triplets of Belleville is worth watching if one is looking for a great example of European animation, as well as for anyone looking for some light-hearted fun.
Rating: 4/5
71. The Secret of Kells (2009)
Directed by: Tomm Moore and Nora Twomey
Written by: Fabrice Ziolkowski
Starring: Evan McGuire, Brendan Gleeson, Christen Mooney, Mick Lally, Michael McGrath, Liam Hourican, Paul Tylak and Paul Young
Music by: Bruno Coulais and Kila
Rated: PG
Set in 9th century Ireland, Brendan (Evan McGuire) is a young monk who is constantly getting into trouble with his strict uncle, Abbot Cellach (Brendan Gleeson). When the famous monk, Brother Aiden (Mick Lally), arrives at the Abbey of Kells to warn the monks of Viking invasion, he forms a friendship with Brendan and asks him to help him finish his greatest creation, the Book of Kells. Together with a mischievous forest fairy named Aisling (Christen Mooney), Brendan must venture beyond the abbey and learn about Irish mythology if he ever hopes to accomplish his task…
The debut feature of Irish Animation Studio, Cartoon Saloon, which is also the first instalment in an unofficial trilogy that celebrates the country’s folklore and culture, is fantastic just on visuals alone. While a bit short and slightly slow paced when compared to the other two films in this series, The Secret of Kells is still one of the best debut features for any new animation studio.
Both Brendan and Aisling are adorable protagonists, the worldbuilding around this fictional version of the creation of the Book of Kells is filled with respect for Irish mythology, and as mentioned before, the animation is absolutely stunning, with the Ghibli, Richard Williams and Disney influences making this version of medieval Ireland, absolutely beautiful and mysterious.
Overall, The Secret of Kells is an epic and beautiful experience, even if Cartoon Saloon’s later films are slightly better.
Rating: 4/5
70. Mirai (2018)
Directed by: Mamoru Hosoda
Written by: Mamoru Hosoda
Starring: Moka Kamishiraishi/ Jaden Waldman, Haru Kuroki/ Victoria Grace, Gen Hoshino/ John Cho, Kumiko Aso/ Rebecca Hall, Mitsuo Yoshihara/ Crispin Freeman, Yoshiko Miyazaki/ Eileen T’Kaye, Kōji Hashimoto/ Victor Brandt and Masaharu Fukuyama/ Daniel Dae Kim
Music by: Masakatsu Takagi
Rated: PG
Kun Ota (Moka Kamishiraishi and Jaden Waldman) is a four year old boy living a happy life with his parents and dog, until a new baby sister, Mirai, arrives. With his life suddenly changing, Kun finds himself prone to temper tantrums. However, unlike most toddlers of his age, every time Kun gets upset about something, he ends up going on life changing adventures with alternate and future versions of his family, including a human version of his dog, Yukko (Mitsuo Yoshihara and Crispin Freeman), a younger variant of his mother (Kumiko Aso and Rebecca Hall), and most importantly, a teenage version of Mirai (Haru Kuroki and Victoria Grace), who tries to teach him life lessons about growing up…
As of 2024, Mirai is the only non-Studio Ghibli anime film to ever be nominated for Best Animated Feature, as well as the first nomination for a long deserving new face of Japanese Animation, Mamoru Hosoda. The likes of The Girl Who Leapt Through Time, Summer Wars and the outstanding Wolf Children all deserved to have gotten more recognition in their years, and while this is not his best film, Mirai still keeps the love of genuine human relationships that fans have loved about his work.
While the animation is absolutely stunning, especially in Kun’s adventures with the alternative reality and past and future versions of his family, the main narrative feels like a collection of shorts for a miniseries, rather than a full length narrative about coming of age. Also, while his behaviour is realistic in four year olds, Kun’s angry tantrums can be incredibly annoying for some people who aren’t prepared for it, even when he learns lessons. However, as expected from Hosada, the ending is so heartwarming that it makes the experience worth it.
Overall, while Hosada’s long wait for an Oscar nomination ended by going to one of his lesser works, Mirai is still a cute and visually stunning little adventure that pays tribute to the legacy of family bonds and love.
Rating: 4/5
69. The Sea Beast (2022)
Directed by: Chris Williams
Written by: Chris Williams and Nell Benjamin
Starring: Karl Urban, Zaris-Angel Hator, Jared Harris, Marianne Jean-Baptiste, Kathy Burke, Jim Carter, Doon Mackichan and Dan Stevens
Music by: Mark Mancina
Rated: PG
Set in a time in which sailors and sea captains worldwide fought against sea monsters, the greatest of all of these is the crew of The Inevitable, led by Captain Crow (Jared Harris), his loyal first mate Sarah Sharpe (Marianne Jean-Baptiste) and his adopted son, the brave sailor Jacob Holland (Karl Urban). When on a mission to win a bet from the King (Jim Carter) and Queen (Doon Mackichan) to capture the Red Bluster, the greatest sea monster of all, a series of events lead to Jacob being stranded on an island along with his biggest fan, an orphaned girl named Maisie (Zaris-Angel Hator). The only hope of survival, is for Jacob and Maisie to bond with the Red Bluster itself, or Red as Maisie names it, in order to get back home…
Despite having a string of bad luck regarding layoffs, film cancellations and shady studio politics in the last few months, it is not wise to completely give up on Netflix Animation yet, as movies like Klaus, Over the Moon and I Lost My Body have all been great ones so far. This latest effort from former Disney animator, director and writer, Chris Williams, who previously co-directed Bolt, Big Hero 6, Moana and served as the voice of the quirky shopkeeper, Oaken in the Frozen franchise, is possibly the closest thing to an animated Pirates of the Caribbean film with a dash of How to Train Your Dragon thrown in for good measure.
The Sea Beast may not be the most surprising animated film of the year, but this epic sea adventure surprisingly tones down a lot of the jokes that one would expect from a mainstream animated film aimed for families, the relationship between main characters Jacob and Maisie is far more down-to-earth. While the message is predictable, the way it is executed is far more realistic and emotional as it does address that in order to stop prejudice, one needs to properly understand the history behind conflicts and realise that not everyone on one side is either good or evil, which is really impressive.
With incredible animation, an epic score as expected from the likes of Tarzan and Brother Bear composer Mark Mancina, and some of the most interesting characters in mainstream American animation for a while, The Sea Beast is a great animated adventure that shows that with the right people, Netflix Animation can still be one of the greats!
Rating: 4/5
Chaz’s Cinematic Odyssey 