“[Animation is] not a genre! A Western is a genre! Animation is an art form, and it can do any genre. You know, it can do a detective film, a cowboy film, a horror film, an R-rated film, or a kids’ fairy tale. But it doesn’t do one thing. And, next time I hear, ‘What’s it like working in the animation genre?’ I’m going to punch that person!” – Brad Bird
Two of the worst camps of people are: 1) People that automatically dismiss animation as a children’s medium; and 2) People that argue that film isn’t art because it’s the byproduct of multiple collaborators and not a singular vision. This is ironic considering the process of making an animated film consists of a rapid succession of hand-drawn images in a sequential order. This is to say, every frame of an animated film is a work of literal art. And it might be the most important art form because as Bird put it, an animated film can be anything.
Not only is every genre available, but animation also affords artists the canvas on which to create anything. There’s always a level of suspension of disbelief when it comes to live action that animation never suffers from. Animation taps into the primordial part of our brains that separates the real and the unreal, the logic and the surreal. We subconsciously understand that since real people aren’t involved, the rules are different. There’s no other art form that speaks to every generation and culture. Because imagination is universal. And this list will be a celebration of the makers of imagination.
These are the 100 Greatest Animated Films of All Time.
80. The Rabbi’s Cat (2011)
The Rabbi’s Cat is a charming and thought-provoking film that explores themes of identity religion and the importance of open-mindedness. Based on a graphic novel of the same name, the film revolves around a rabbi and his talking cat who embarks on a unique journey of self-discovery in 1930s Algeria. The cat who gains the ability to speak after devouring the parrot of a wandering Russian artist challenges the religious and societal beliefs of the Jewish community he lives in. With his newfound voice the cat asks difficult questions about faith and justice questioning the rigid traditions and orthodoxy that have characterized the community for years. Although the film is ultimately an exploration of religion and the complexity of faith, it is first and foremost a comedy. Through the cat’s questioning of nature and his interactions with different religions and spiritual traditions, the film encourages viewers to reflect upon their own beliefs and challenge the status quo. It presents an open-minded approach to religion suggesting that there are multiple paths to enlightenment and that tolerance and understanding are essential in a diverse world but does so in humorous way.
–Sailor Monsoon
79. Only Yesterday (1991)
Only Yesterday is an enchanting and contemplative film that delicately weaves together the past and present to tell a story of self-discovery and personal growth. Directed by Studio Ghibli veteran Isao Takahata, the film showcases his masterful storytelling and attention to detail making it a truly remarkable cinematic experience. The narrative centers around Taeko a 27-year-old woman who takes a break from her hectic city life and embarks on a trip to the countryside. This journey serves as a catalyst for Taeko to reflect on her childhood specifically her fifth-grade self. Through a series of flashbacks and introspective moments we are transported back in time to Taeko’s formative years exploring her relationships with family friends and even her first crush. The genius of Only Yesterday lies in its ability to seamlessly blend the past and present. These transitions are flawlessly executed with the animation style shifting from a modern realistic depiction of Taeko’s world to a more whimsical and dreamlike portrayal of her memories. This juxtaposition not only creates a visual treat but also amplifies the emotional impact of the story. What sets this film apart from other coming-of-age stories is its quiet introspection. Taeko’s journey is not about grand adventures or dramatic plot twists; instead it focuses on the small moments the seemingly inconsequential experiences that shape who we are. Through Taeko’s nostalgic musings we are reminded of the complexities of growing up the lingering regrets and unresolved emotions that often go unnoticed but continue to influence our lives.While Only Yesterday is a deeply personal and introspective film, it also tackles universal themes that resonate with audiences of all ages. It captures the essence of growing up, the bittersweet journey of self-discovery, and the importance of embracing one’s past to move forward. It reminds us that our childhood selves are an integral part of who we become and that sometimes revisiting the past can offer the clarity we need in the present.
–Sailor Monsoon
78. The Adventures of Tintin (2011)
If the proposed trilogy ever happens and the sequels are as good as this one, I’d have no problem declaring this the greatest adventure series ever made. Yes, even over Indiana Jones. Steven Spielberg, Peter Jackson, and Edgar Wright came together to collaborate on an adventure film, and not a single person in America gave a shit. We constantly bemoan the lack of original films being produced and regularly decry Spielberg for becoming lazy but he turned in a film that’s so energetic and fun, it comfortably sits alongside his best action films. It drives me crazy that there are five Despicable Me/Minions films and we couldn’t get one sequel to this. Spielberg never lost it. We just stopped caring.
–Sailor Monsoon
77. Batman: Mask of the Phantasm (1993)
Before Spider-Man: Into the Spider-Verse, THIS was the greatest animated superhero film. Batman: Mask of the Phantasm came on the heels of the first season of Batman: The Animated Series and was originally intended as a direct-to-video release. It remains the only Warner Brothers Animation DC production to be released into theaters. While it was partially based on a number of Batman comic storylines (primarily Batman: Year Two), it made major modifications to those plots and added new characters, including the Phantasm.
Batman: The Animated Series was a watershed cartoon, providing a darker, richer presentation of Batman and his foes, and including some of the best voice acting in any animated series. Mask of the Phantasm took of what worked great for a half-hour TV series and expanded it in every way that mattered, creating a film that represented the best that Warner Brothers Animation could do (and on a much shorter schedule than originally intended). With series stalwarts Kevin Conroy, Mark Hamill, Efrem Zimbalist Jr., and others reprising their roles, the film added film and television actors like Abe Vigoda, Stacy Keach, and Dan Delany to the cast. The writing, animation, and direction were all top-notch, and the resulting film is one of the best Batman films of all time. It was even cited by Robert Pattinson as an inspiration in his recent portrayal of the Dark Knight in Matt Reeves’ 2022 The Batman.
All I’m saying is, it’s a great animated Batman film and you should check it out.
–Bob Cram
76. Wolf Children (2012)
Wolf Children raises an interesting conundrum I never thought of before, which is “If werewolves were real, how would one raise some werewolf children without getting caught?” Every werewolf movie deals with someone either turning into or fighting a lycanthrope and this is the first one I know of that shows the difficulties of raising one. If all this film had going for it was its premise, it would still be great but it’s far more than that. It starts off as a typical love story, then transitions into a startlingly accurate representation of motherhood, and then becomes a teenage drama. The film is a heartwarming tale about a mother trying her best and the difficulties of adolescence. It’s one of the best portraits of a family I’ve seen. It just happens to be a family of cute ass werewolves.
–Sailor Monsoon
75. Guillermo del Toro’s Pinocchio (2022)
If you don’t feel bad for Robert Zemeckis, Henry Selick and/or Phil Tippett while watching this, you haven’t seen their respected Pinocchio or stop-motion releases because this movie wipes its ass with all of them. This is the umpteenth retelling of The Adventures of Pinocchio by Carlo Collodi but this one sets itself apart from the various other adaptations by having Guillermo del Toro as a director. That immediately elevates it because you know he’s going to inject it with his signature “eye protein”. That may sound like the latest scam by Alex Jones but it is, by Del Toro’s definition, eye candy for the brain. In other words, he makes visually stunning movies that are more than just pretty images. Having this take place during the rise of fascism in Italy, is such a good no-brainer of an idea, I’m amazed it hadn’t happened sooner. It’s even more brilliant once you connect it to the original Pleasure Island whose victims were children who were being used as a literal workforce. I’d say about 50% of the film is the story you know but the other half is filled with deviations that run the gamut between everything from something major like that or Death to the Whale and the characterization of Jiminy Cricket.
It’s not radically different in terms of personality but this one is surprisingly more slapstick-y. Like he’s always getting crushed or whapped or squished by stuff. Del Toro never aims his films towards children, so it was welcomed to see him doing something just for the youngsters. Because I don’t think the rest of it is for children. Not that they couldn’t see it or even enjoy it but I think this might be a potential kindertrauma film in the future for some of them. And that isn’t a criticism. I love the fact that he made something a touch dangerous for kids. They’ve been soft-served pap since the beginning of the 90s. We’re long overdue for a resurgence of films like Return to Oz or Something Wicked This Way Comes. That’s what this is — a kid’s film that doesn’t talk down to them, isn’t afraid to show death and the harsh realities of war, and isn’t bright and colorful and filled with non-stop pop culture references. While the cast is filled with big-name movie stars, the only one that would appeal to children is the kid from Stranger Things but I doubt he’s putting any ass in the seats. It feels like the movie Disney should be making, but is too afraid to.
–Sailor Monsoon
74. Another Day of Life (2018)
In Another Day of Life, directors Raúl de la Fuente and Damian Nenow take us on a visceral journey through war-torn Angola in the late 1970s. Based on the book by Ryszard Kapuściński, the film is a stunning blend of documentary-style storytelling and artistic visual imagery that captivates from start to finish. Set against the backdrop of the Angolan Civil War, the film follows renowned Polish journalist Ryszard Kapuściński as he embarks on a dangerous mission to cover the conflict. The narrative seamlessly weaves together Kapuściński’s personal journey and the larger context of the war creating a gripping and emotionally-charged experience. Unflinching in its depiction of the horrors of war, Another Day of Life offers a stark portrayal of the devastating consequences of armed conflicts. The film doesn’t shy away from showing the brutal realities of the Angolan Civil War including the senseless violence and loss of innocent lives. By presenting the war from Kapuściński’s perspective the film provides a nuanced understanding of the complexities of reporting during times of conflict. Although the film’s narrative occasionally feels disjointed jumping between different timeframes and locations, it ultimately serves to mirror the disorienting nature of war. This stylistic choice further adds to the immersion emphasizing the chaos that engulfs both the characters and the audience. Overall, Another Day of Life is a powerful and thought-provoking film that seamlessly blends different artistic elements to create a compelling cinematic experience. Through its striking visuals skillful storytelling and introspective portrayal of its protagonist the film not only sheds light on a lesser-known conflict but also delves into the complexities of war journalism and the human capacity for compassion amidst chaos.
–Sailor Monsoon
73. Night on the Galactic Railroad (1985)
According to many, Night on the Galactic Railroad is a faithful adaptation of the novel of the same name by Kenji Miyazawa. However, there is one huge noticeable change. All the characters are now anthropomorphic cats instead of humans. The director thought a straightforward adaptation would be far too depressing. He wanted to keep the surreal, magical quality of the books and thought that talking animals would be the best way of capturing the essence while also softening the sadder elements of the story. Which is ironic considering the author hated cats. This film is almost the invert of the catbus scene from My Neighbor Totoro. But instead of two human kids, it’s two cats and instead of a bus, it’s a train. Well, actually, the invert would be two cats riding a hollowed-out human. Which is off-putting. I didn’t think this analogy out all the way through.
–Sailor Monsoon
72. Lupin III: The Castle of Cagliostro (1979)
“One of the greatest adventure movies of all time.”
In Japan, this film is considered a flop. The Japanese took umbrage with the main character being radically different from previous iterations and consider it a failure. In America, since this was our only exposure to the character of Lupin III, we fucking loved it. We had no frame of comparison, so we judged it on its quality and it’s an immensely entertaining romp. We considered him a goofier animated James Bond and word on the street is, that Spielberg drew heavily from this film while creating Indiana Jones. That quote up top? That’s from him. Oh, and I’ve seen the majority of the other Lupin the 3rd films. Japan is crazy wrong. This is by far the best one.
–Sailor Monsoon
71. The Tale of the Fox (1937)
Practically unknown outside of Germany and France, Reynard the Fox’s origins trace back to Germanic lore from 1170. He’s a mischievous trickster that loves fucking shit up. His stories usually involve either fucking with the church or fucking with the aristocracy. Or both. He gives no shits. He’s such a popular character, that he starred in a film that came out eight months before Snow White and the Seven Dwarves. Which if you’re not a math nerd means he was around for 760 years. That’s an abnormally long life for a character whose sole characteristic is to fuck with people. Fun Fact: Disney actually thought about making a film about Reynard but ultimately decided he was too much of an asshole to be considered the hero. But years later, he would actually be used as inspiration in the designs of both Robin Hood and Nick the Fox from Zootopia.
–Sailor Monsoon
90-81 | 70-61
What are some of your favorite animated films? Maybe they’ll show up later in the list!