In the past two decades, the performance method of animation on the big screen has been constantly changing, which inevitably attracts everyone's attention. In the early 1990s, Disney won almost entirely the competition for animated films, and their hand-drawn fairy tales appeared to be vivid and successful, almost entirely as a manifestation of childlike fun. The work of Don Bruce and Ralph Bakshi is often eye-catching but not particularly competitive. At first, a scene that was very interesting for the Japanese people barely attracted a native American audience, but towards the end of the twentieth century, the whole event took a major turn. Disney Alliance and Pixar have witnessed a surge in the computer animation production industry, a trend that has nearly wiped out traditional 2D hand-drawn animation. Disney boss Jeffrey Katzenberg left and founded DreamWorks Animation, and soon almost all animation studios took action with varying degrees of success. Studio Ghibli in Japan has won more and more fans, and internationally independent animators are finding it easier and easier to present their films to people. The difficulties disney faced also faded away, and they became stronger than ever, which was a turbulent time, witnessing the birth of many excellent works dedicated to new and old audiences. It remains to be seen whether this week's Pet Secret will be worthy of excellence, but it makes us feel the joy of cartoons. Admittedly, it's not a classic, but it's a good time to show you in the movie. We've increased the twenty-five of the best animated films of the twenty-first century (with the characteristics of those good films of the century so far) to fifty, and in order to include more of the films I hope to make that list. Take a look at the list below to leave your comments in the comments section. (in no particular order) 50, "Brave Legends" (2012)
Inexplicably overlooked by many theaters (perhaps because it places more emphasis on the portrayal of women than most Pixar films), "Legends of Brave" has become more mature in recent years. The film by Mark Andrews and Brenda Chapman, about an active young Scottish princess (voiced by Kelly Macdonald) accidentally turns her mother (voiced by Emma Thompson) into a bear, a typical film that directly highlights the characteristics of Pixar. The film adaptation of a simple folklore makes people feel that in addition to the influence of John Lasseter, it is also deeply influenced by Hayao Miyazaki and Tom Moore. At first, it may seem that it shows too little, but now it makes people feel that there are really some resonant elements in it. The film has a very good focus: constant quarrels, and finally ends with the love between mother and daughter. Let the audience feel the magic of reality, and the studio makes the whole film remarkable with an emotional ending. Over time, once it deviates slightly from Pixar's routine, it will be just what people expect. 49. The Fantastic Pirates (2012)
After being disappointed by a series of works and events like Rat Nation Rovers, Arthur Christmas, warehouse fires, and a split with DreamWorks, The Fantastic Pirates was a fitting victory, telling the world that Aardman Animation Studios would return to its pinnacle. Adapted from a series of books and directed by Peter Lloyd and Jeff Newwett, the film takes a straightforward and silly approach to high seas plunder, with Hugh Grant's Pirate Captain and his crew teaming up with Charles Darwin to win this year's pirate ship. Also alongside Martin Freeman, Imelda Staunton (as a comical psychotic Queen Victoria), Jeremy Pivin, and Salma Hayek, the film encounters a delightful mess, understated complements most multibillion-dollar animated films. At most you'll have access to an uncut Monty Python animation and its famous and unchanging laughs. Note: Monty Python is a British six-player comedy group and the Beatles of comedy. His works include the well-known "Python and the Holy Grail", "The Magic Star of the World", "Seven Steps of Life", etc. 48, "Heavenly Food" (2009)
First introduced to mainstream audiences by Phil Rod and Christopher Miller with their special affections, The Food of heaven seems theoretically like little room for development: a disaster film that mimics a 34-page children's book. But in Rod and Miller's hands, the film tells the story of Flinder, a quirky inventor voiced by Bill Hader, who invents a machine that can make food fall from the sky, only to see it turn into a weapon that Roland Emmerich uses to threaten the world, making the film visually and comedically unique. Young and old, wearing 3D eyes and presenting the scene in front of you can make you laugh. Not only that, but the innocence of nature and simple moral support show the true self, to be precise, let your unique personality develop freely, rather than reshape you, and it is rare to do such a good work. There is no doubt that its director has conquered the world since then. 47. The Godfather of Tokyo (2003)
There is probably no director in Japan with a greater influence than the nostalgic late director Imatoshi, and "Tokyo Godfather" is his most iconic work. His work Three Daddies and One Baby, which is very characteristic of Italian neorealism, tells the story of three homeless people who pick up an abandoned baby in a garbage can and help the child reunite with their parents: the drunkard Gin (Jiang Shouche), the transgender Hana (Yoshiaki Umigaki) and the fugitive Miyuki (Aya Okamoto). The film has flaws that Other Films don't have, it's slightly messy (Imatoshi claims that there are some accidental factors, but it doesn't make it easy to make a high-quality film) and the emotional expression is somewhat overbearing. But in dealing with the three core characters and shaping the image of the child's biological mother is the warmth and sympathy that is revealed, filling all the loopholes that preceded it, and it is a fascinating fable that remains in people's memories for a long time, making those slightly failed plots seem less important. 46 Frankenstein (2012)
At a time when it was thought that tim Burton, the once talented and personality filmmaker, could no longer create good works, he made a shocking breakthrough in this century, breaking the disappointment of people. This bit of a rough gem: the charming and beautiful Frankenstein Dog, a work that showcases Burton's unique style in many ways. A remake of a live-action short film that also helped bring him back to the eye, showing a little boy's relationship with his puppy coming to an end when the puppy's car accident ends, and the little boy Victor (voiced by Charlie Tahan) resurrects his puppy, and the whole work is full of Mary Shelley's style. The placement of the entire work in eye-catching black-and-white stop-motion animation, coupled with large-eyed Burton-style characters, gives a visual pleasure, but is also essentially a narrative work, and the successful adaptation of John August makes the film a homage to "Frankenstein" and many other monster films. It makes people feel fulfilled and also makes people walk into the most authentic Bolton. 45. Zootopia (2016)
A sign of Disney's animated pick-up: After navigating that bottleneck in the '00s, John Rust saw a bright future for commercial films through Lightning Dogs to Frozen. We've always thought that no work can really compete with the best Pixar, but this year's Zootopia reversed our thinking with strength. Its fantasies about the world of animals are simple enough to make people feel that the producers are lazy, but directors Byrne Howard and Ricky Moore have rationally created a world that attracts the public eye and encompasses a city similar to Chinatown style and magical cops in it. The city adheres to a few principles rigorously, and he is slightly confused politically, but both the film and the sound (jason Bateman insists there is no better one) took the director a lot of effort to produce. In addition to these, the positive attitude embodied in the world portrayed in the work has largely attracted the audience, and the sequel that will be launched in the future also feels like an exciting news. 44 Kung Fu Panda (2008)
DreamWorks Animation's use of movie star voices, cute animal characters, and other movie side-quests led to the company's huge commercial success in the 00s, which was mainly derived from Shrek, but received less and less applause and even declining revenue. But they are also constantly creating new highlights, and there is no doubt that "Kung Fu Panda" is such a typical representative work. In many ways, the story mainly depicts Jack Black' lazy panda who becomes a martial arts master and fights against evil forces, following the steps programmed by DreamWorks. But thanks to the directors Of John Stevenson and Mark Osborne, the work has an excellent artistic embodiment, and DreamWorks' vision and ambition limit the good development of his work, making people feel bound and suppressed by the story inside, and even (perhaps the most essential reason is advertised too much) We can already guess the development of the story. Both sequels are good, but the initial feel is no longer found. 43 Shaun the Sheep (2015)
Sensible animation is a little more frustrating than film adaptations from television cartoons: the best adaptations of The Simpsons put people in a bind. But believe the great Aardman who led his series to children (a spin-off of Super Smash Bron. Brawl) "Shaun the Sheep" out of a lot of trouble and appeared on the big screen. Directors Mark Burton and Richard Stazack use relatively little cost, and the film's titular hero character leads the flock out of the city's animal rangers and finds their way home. The film, branded by the company, has a fine stop-motion animation style with little dialogue throughout, in stark contrast to Buster Keaton, Charlie Chaplin and Jacques Tati. Such comparisons unexpectedly justify: pure, joyful and visual storylines, and you'll also see some relatively perfect fun moments and gorgeous and expressive animations. American audiences have left it as a treasure, but it is also worth being so sought. 42 Red Hot Chili Peppers (2006)
It was heart-wrenching that Imatoshi had left only four movies before he died of cancer at the age of 46. All four are excellent works, but his last work should be considered his most remarkable one. Adapted from Yasutaka Tsutsui's novel, "Red Hot Chili Peppers" is set against the backdrop of a world where people can help enter the dreams of others through a machine called DC Mini, which is stolen as the fuse of the story. (It's true that people often compare it to the "Inception" that came out later, but because of their conceit, the whole thing becomes different.) It's definitely a visual feast, and the rest of the things out of the kitchen sink are thrown at you by Kim Min (in fact, it's likely that the kitchen sink is also thrown out), causing it to completely shock you, as if looking at flowers in the fog. In the midst of madness, the narrative of the whole story seems to be a little muddy, but frankly, it is so intoxicating that it is addicted to the spiritual pleasure it gives. Imatoshi's departure is a big loss to the anime world that cannot be ignored. 41. Song of the Sea (2014)
Quietly, Tom Moore founded a powerful animation company in Ireland, cartoon cars, which is a country where great movies have been circulated without existing, but in the process of Moore's continuous introduction of new works, the entire country's film industry is constantly improving. In 2014 he released his second film, "Song of the Sea", a very fascinating fairy tale that recurs through the company's iconic style and the two children who make the lighthouse caretaker, quiet Silsa, one of whom is found to be a seal elf (half human, half seal). Feeling like a warm embrace of Celtic folklore and Studio Ghibli atmosphere, the affectionate and memorable plot makes one feel the rigor of the whole story, confident mood and tone (thanks in part to the scores scored by Runo Cules and Kíla) that make it hard to believe that Moore is almost 40 years old. Perhaps none of his works have been perfectly masterpieces, but the evidence and his predecessors suggest that soon his masterpieces will be born. 40. "Song of the Blues" (2008)
Most animation masterpieces take thousands of people years to complete, and they cost millions of dollars or more, but they don't. The song "Song of the Blues" was completely completely completed by animator Nina Pelly and released online for everyone to watch for free. Although there is no support from big-name companies like Disney or DreamWorks, this does not prevent the film from quickly becoming popular. In this work, Parry brings in the complex emotions of her personal marital failure and makes a shocking fusion with the story of the Indian Ramayana epic. In the story, the heroine, Starr, does her best to fight for her beloved man, Rama, although rama has always been suspicious of him. The film uses a large number of songs by the legend of the jazz world, Annette Hanshawn, and the effect is amazing. Before watching the film, the audience may have concerns about how Parry deals with Indian culture in the film, but Parry avoids the importance and cleverly takes an appropriate route of respecting cultural traditions, on the other hand, the fun of the story and the personality charm of the characters are emphasized and released. To describe this work in the most appropriate words, it is a school of its own. 39. The Boy and the World (2013)
Discovering stunning animation from some of the world's non-traditional animation producing countries is always exciting. If The Boy and the World, a Brazilian animation, foreshadows something, it must herald that the land will be a fertile ground for the best animation in the near future. "Boys and the World" premiered in 2013, was released in the United States last year and was nominated for an Oscar earlier this year. This week, the film squeezed into the home theater market. The plot of the film resembles a fable about a young boy who is forced to embark on an adventure alone after his father has gone away in search of work. The film has no lines, all the verbal dialogue is processed into vague pronunciation, and there is not much narration. In a euphemistic way, the film shows many of the current situations in the world today, such as industrialization, globalization and the exploitation of workers. Although the title of the work resembles "The Worker and Heaven," one of the fictional cartoons "Tickles and Scratches the Cat" from The Simpsons, its content is completely different—it is more like a beautiful fantasy, with a clever narrative without a hint of preaching. This epitomizes the clever tactics of the film's director, Alai Abreu38, "Avril and the Fictional World" (2015)
Leaving aside the successes of The Cosmic Curiosity and The Adventures of Tintin, Europe's traditional long-form, sophisticated comic and graphic fiction works rarely have the opportunity to impact the big screen. But the recent Avril and the Fictional World has given the world hope. The film was co-directed by Kristen Danmills and Frank Yegengi. Although it is nominally adapted from the work of the writer Czech Quirtadi, Adella, it is actually more original. The story creates a parallel world in which the French Empire continued to rule until the end of the 19th century and the beginning of the 20th century. In the story, the young "April", the protagonist of the story, Marianne Ktilard, is tracking down the whereabouts of her parents, who are rumored to be dead, while at the same time discovering a serum that can make people physically invincible. The work uses a simple and fresh style to create a spectacular steam world, and the storytelling method of the story is also extremely clever, effortlessly intertwining the main line and side lines of the story. It achieves the standards that Brad Bird's Tomorrowland should have been. If it can enter the home theater market, it will be well worth renting home to see. 37. The Adventures of Tintin (2011)
When it comes to European comics, Steven Spielberg's The Adventures of Tintin is finally bringing Hergé's young detective Tintin (a film that played a major role in another animation, Avril and the Fictional World), onto the big screen in Hollywood, or more precisely, to New Zealand. The film was able to air in vivid graphics thanks to New Zealand's Peter Jackson's Vita Digital Film Stunts Company, which was produced through motion capture. At that time, Spielberg's first animation work did not receive enough attention, but knowledgeable people can see the shining point of this work. Written by three heavyweight writers Steven Moffat, Edgar Wright, and Joe Cornish, the film's screenplay combines three stories from the Adventures of Tintin series to create a sort of original story that focuses on the friendship between the protagonist Tintin (Jamie Bell) and Captain Adok (Andy Serkis). This combination eventually led to one of Spielberg's most energetic films in years. Obviously, the director explored more possibilities for the media to convey information in this play with great interest, and the result was that the play was faithful to the original, but at the same time evolved a completely new content, even comparable to "Raiders of the Lost Ark" in terms of ornamentality. 36. "Goldfish on the Cliff" (2008)
After "Hal's Moving Castle", which disappointed the audience physically and mentally, Miyazaki changed the creative route back to the relatively young and cute "Goldfish On the Cliff", which has about the same storyline as the mermaid. It tells the story of a young mermaid girl, Who is separated from her family and is eventually found by a young boy named Sosuke and her mother, who names her Po Niu. The whole film is very soothing and relaxed, there is not much conflicting plot, and amazingly, Miyazaki's previous works are becoming more and more epic, and the scale and worldview of this one are relatively small. However, there are still many things worth saying in the movie, especially the extremely cute characters in it, Miyazaki is very careful to make the mermaid Bo Niu retain some mermaids, water and other elements to distinguish them from humans. Not to mention the visual effects of the film, when the plot plays out to Bo You's father asking her, the visual effects are very stunning. It's hard to interpret this particular story in a whole new way, but fortunately, Goldfish on the Cliff was made by the master. 35. The Magician (2010)
From "Steamboat Willie" and "Bugs Bunny" to the Pixar animated shorts and "Shaun the Sheep", silent comedy has always had an important influence on animation, but rarely has a more direct impact on director Sylvia Jomai's work. The director pays homage to his hero with 2010's The Magician, based on a script left behind by the late French comedy maestro Jacques Tati. In the film, a magician like Tati performs from Paris to Scotland, and becomes friends with a young girl named Alice, on the other hand, it is also equivalent to Tati's apology and reconciliation letter to her long-estranged daughter. Jomai's film is full of deep sadness, the tone has a foggy blur, and the medieval art style draws out the sadness in people's hearts. But Tati's spirit is also fully expressed in the physical performance of comedy, in perfect framing and fine detail. For a character who is not much discussed today, this tribute could not be more appropriate. 34. The Girl Who Traveled Through Time (2006)
With the death of Imatoshi and the retirement of Hayao Miyazaki and Takahata, Japanese animation is in dire need of some fresh blood, and one of the most promising names that has emerged in the past decade is Hosoda Mori, whose debut on stage was made famous by this work "The Girl Who Traveled Through Time". Based on a 1967 novel and strictly speaking a sequel to the novel, the film focuses on Makoto Cyano, a teenage girl in Tokyo who discovers that she can travel through time and space, albeit with limited time limits. The film is more like a youth movie than a science fiction movie, the first half of the film is ingenious, full of witty and humorous atmosphere, delicately capturing the daily life of teenagers, which many animated films dare not try, and then the second half of the film becomes a musical, making it look much inferior. In the near future, Hosoda will make more visually beautiful films (such as the recent "Children of monsters"), but there should be no work that can match this one. 33. "Ait Bear and Xena Mouse" (2012)
The directors of Fright Town, Stephanie Ober and Vincent Pator, made a big turn in the subsequent productions, abandoning the effect of stop-motion animation and mixing in with a more classical atmosphere and the feel of a children's book series. Even so, the finished product is stunning. Co-directed with Benjamin Rayner, the film is based on a series of books by female writer Gabriel Vinson, about a brave little mouse who doesn't want to be a dentist (obviously, all rats grow up to be dentists), and a homeless bear who refuses to be a lawyer and becomes an entertainer, which sounds very strange, but ends up being a loving, universal story about friendship overcoming suspicions, and using agile hand-drawn animation to show the plot. The 80-minute plot is full of urine spots. Its translation is also rarely well translated, by Forrest Whitaker, McKenzie Foy, Lauren Beccaul and Paul Giamatti, almost as good as the French version. 32. "Wolf's Child Rain and Snow" (2012)
After the inexplicable Summer Wars, Hosoda returned with the more down-to-earth works "The Girl Who Traveled Through Time" and "Wolf's Child Rain and Snow", adding some new elements to the werewolf theme in "Wolf's Child Rain and Snow" that has been filmed by many people. The story tells the story of two small children, Rain and Snow, who were born to a human mother and a werewolf father, but lost their father at a young age. As they grew older, the transformations among werewolves and humans became more and more difficult to control, and their mother had to take them to the countryside to live, but the siblings soon began their lives in a different way. The tone of the whole film is relaxed, like a fusion of "Twilight" and Kore-eda-style films, but there is a real emotional outpouring, making the contrast between human adolescence and werewolf period very special, making people feel very novel, which is also Hosoda's first masterpiece. 31. The Secret of the Book of Kells (2009)
In recent years, there have been few surprising films in the animation world like The Secret of the Book of Kells, and Tom Moore and Nora Tomei seem to be well prepared to produce such a beautiful film that it will be able to become the masterpiece of their reputation in the future. Based on Celtic mythology and history, the story tells the story of a young boy, Brandon, and Ashirin, a god of the forest, who become friends to fight against the creators of the Book of Kells and try to protect it from vikings and mysterious beasts. More stylistic, eccentric and more experienced than "Song of the Sea", and less attention to the narrative, but only to make the whole film feel a little more special, a gorgeous work of art that immediately feels like a new look, like ancient time itself. Irish production companies have been nominated for an Oscar for this, and it's exciting that Moore and Tomei will also have new films for everyone in the next few years. 30. Becoming a King (2000)
At the turn of the century, Disney began to decline, failing to bring a single box office bomb in nearly a decade. However, during this period, there are still many amazing works, and "Becoming a King" is one of the most interesting. The production team initially wanted to present a musical epic, but later changed the style to produce an anecdotal comedy that was very different from the traditional Style of Disney, telling the story of an arrogant Inca emperor Kuzko (David Spade) who was framed by his evil minister (Isa Kate) and turned into a camel, and forced to work with farmer Pacha (John Goodman). Its story is smaller (there are actually only four main characters, including Patrick Warburton's idiot confidant Clonko), but in it audiences feel joy from the bottom of their hearts, and their sense of humor is no less than Chuck Jones's absurdism and the Golden Age's "Simpsons". Admittedly, this is not a mainstream work, but its interest is outstanding. 29 Mary and Marx (2009)
Australian animated films and animated films based on true stories are very rare, but Mary and Max combines both. This is director Adam Elliott's first feature film (his Naked Harvey Breaks The Life won the 2003 Academy Award for Best Short Film) and is based on his friendship with a New York pen pal about an Australian child (played by Belton Whitmore) who writes a letter to an autistic New Yorker (played by Philip Seymour Hoffman) and their friendship lasts for decades afterwards. The story itself may be a little too bizarre, but it dares to challenge themes that are not often dealt with in animated films – loneliness, depression, bullying, psychosis, Asperger's syndrome – and the director's courage is something to be affirmed, and his delicate emotional handling also makes the film stand out a lot. By the end of the film, the friendship between the two is very touching, and the tragic death of Hoffman's character makes the film even more touching. 28. "Super Invincible Dog: The Curse of the Human Rabbit" (2005)
After their short film won two Oscars (and one nomination), Nick Parker and Aardman had to come up with high expectations from the public to produce their first feature film, "Super Invincible Dog." The title "The Curse of the Human Rabbit" is not perfect, because "Escape from Death" may be more relevant, but it is still a masterpiece. They use clay to make the characters, with the protagonist being a middle-aged inventor from Yorkshire (Peter Sarris) and his silent long-suffering dog. Because their pest control company is threatened by a half-human, half-rabbit creature, they are in trouble. Wallace is also competing with the evil Victor (Ralph Fiennes) for the attention of his female boss, the Rich Toddington (Helena Bonham Carter). The film doesn't resonate emotionally with the audience, but the stunning action scenes, excellent art design and British intelligence make up for it. 27. Star Baby (2002)
The late '90s and early '00s were the most dismal period of Disney animation: before Frozen, there was almost no profit at the box office, in large part because of the emergence of bad films like "The Legend of the Bear" and "Ranch is My Home." But the main highlight (other than Becoming a King) is "Interstellar Baby". It's a more superficial improvisational replay of ET Alien — the eccentric young girl and a star-escape man befriending — but the idea of directors Chris Sanders and Dean Deblos (who later co-produced How to Train Your Dragon) makes the story even more interesting: the mischievous, eccentric but cute Stey Boy, the beautiful Hawaiian story setting, and Lilo's tragic story and her delirious sister. It may be a little different from the works of Disney's Golden Age in the early '90s, but it is indeed a wonderful and satisfying work. 26 Winnie the Pooh (2011)
Every generation thinks that the children of today's age are missing some of the fun of childhood due to the overdevelopment of technology. But in Disney's animated film Winnie the Pooh, directors Don Hall and Steven Anderson evoke simple glamour of the times and the joy of reading, with characters constantly interacting in creative ways throughout the script. Admittedly, this film is for very young children, and some adults who have grown up with the Pooh series of movies are disappointed, this is not the Disney of the past. Still, it's short, calm, and respectful of Pooh's original material— A.A. Milne's wonderful book, recreating one of history's cutest and most popular children's characters. 25. "Rango" (2011)
Even though Pirates of the Caribbean didn't perform well in the beginning, they were admirable while maintaining a weird style. So it's no surprise that director Gore Wimpinski and star Johnny Depp once again teamed up presenting one of Disney's oldest-fashioned cartoons of all time. The film blends Chinatown with elements from many classic Westerns, but also incorporates animal characters and a slightly deranged atmosphere. The story tells the story of Hunt Thompson-style chameleon played by Depp who is mistaken for a hero by a drought in a small town. The film uses motion capture, allowing actors to perform in front of the camera and with the help of Industrial Light and Magic to complete the special effects, which is the only animation film produced by the special effects company to date. Due to the quirky atmosphere, this film has long been showing signs of not selling well. At the same time, it is not strictly a children's film, but it still takes the audience on a wonderful journey. 24. "Frightened Town" (2009)
The film is based on a surreal French-language television program and became the first stop-motion animation to participate in the Cannes Film Festival. Belgians Stefan Ober and Vincent Patar tell an absurd story: a cowboy (plastic toy), an Indian (plastic toy) and a horse (also a plastic toy) live together in a house in the countryside and rub each other with wonderful sparks. To celebrate the horse's birthday, they ordered 50 bricks online, but the order went wrong and ended up sending 500,000 bricks. So they built a big wall, but the malicious underwater monster stole it. In the process of hunting down the monster, the three of them went to heaven and earth and experienced a bizarre adventure... The plot is illogical and messy, and the production is very rough. But in the face of the flaws of the grand narrative, it devotes all its energy to how to make the characters more crazy and the story more absurd. 23. Millennium Actress (2001)
We have mentioned Imatoshi more than once: his talent is not only in Japanese anime, but also in animation in the general sense of the word he also has many exciting ideas. So his passing ten years ago was a huge loss to the global animation world, heartbreaking. It is widely believed that his masterpiece is 2001's Millennium Actress. This one is more mature than most anime and has some unique charms. As a retired movie star, the heroine used her memories to show us a documentary about herself. Through different genres and formats, she uses characters from the film to tell her own story. Audiences who prefer clear and unambiguous narratives may be disappointed, but this puzzle-solving script brings a remarkable charm to Imatoshi's films. 22. Monster House (2006)
This was undoubtedly Robert Zemeckis's best performance. The success of this motion-capture film is partly because it only needs to creep the audience, and partly because Zemeckis didn't direct it himself (it was Jill Crane's guide). Monster House is one of the few films that successfully combines the styles of Tim Burton and Ampereen, and the film is full of horror and suspense. Dan Harmon and his friend Rob Scrabco co-wrote the screenplay for the film, which tells the story of three teenage teenagers who venture to investigate a weird house. Due to the lack of three-dimensional characters created by the previous "Polar Express", this time the filmmakers have made a lot of efforts in this regard. The young protagonists are young and stunned, and the effect is also very good. Of course, it may not be the best movie of the same type, but it must be the most interesting one. 21. How to Train Your Dragon (2010)
Because dreamWorks' films vary widely in quality, from the near-masterpiece Kung Fu Panda and the first Shrek to the surprising Madagascar 3 to the messy Shrek sequel and Shark Legend, their animations are almost always seen as the second best under Pixar. Among them, "How to Train Your Dragon" is the only exception. It's a thrilling adventure story with an ET-alien friendship between the protagonist Viking and his dragon. The 3D modeling of the flying bridge, the construction of the worldview and the first-class visual effects, coupled with the help of the film art legend Roger Deakins, make this film extremely good in all aspects. DreamWorks often falls short of his rivals in terms of pop culture or inviting stars to star, but in this one, they make everything work for the story, and the end result is perfect. 20. Finding Nemo (2003)
Luckily, we've been overthinked: It turns out that for the Pixar animated sequel, Finding Nemo 2 is more "Toy Story 3" than Cars 2 or Monsters University. But can you blame us for worrying about this? After all, the original is almost a miraculous existence. This is a story about an overprotective father (Albert Brooks). When his son was taken to the other side of the ocean, his nightmare came true. The story is full of dazzling colors, and a large number of incredibly memorable characters play out an extremely interesting story. Arguably the best voice cast of Pixar ever (Brooks and Alan deGeneres are perfect, in addition to William Dafoe, Allison Gianni, StephenGan, Jeffrey Rush and Eric Barna). But the key point is that the emotional impact of the film is something that has never been seen in any of the studio's works, and this emotional shock gradually shortens the gulf between an affectionate and extremely neurotic father and his adventurous but vulnerable son. 19. Monster Power Company (2001)
After two excellent "Toy Stories" and a box office-like (and somewhat unfair) Bugs Agents, Monsters inc. is a movie that shows that Pixar will be much more than that. Like Toy Story, the film is a film about the unstoppable fantasies of childhood—the stories behind the monsters in each child's bed or closet. The film is starred by the company's most beloved actors, one is Mike Vazzaski from the leg-on-the-legs movie directed by Billy Christo, and the other is John Goodman's mildly melancholy Sully. Sully accidentally let some vicious children run into their monster paradise. The film is not as narratively as perfect as Pixar's post-productions, but its design is still gorgeous and satisfying. In contrast, the decent, but unnecessary prequel "Monsters University" eclipses, thus proving the strength of the original. 18. Toy Story 3 (2010)
A full decade after the launch of the much-loved Toy Story 2, it would be easy to refurbish or run a nostalgic livestream of a third Toy Story, which would still make a billion dollars. But the creative team of John Lasseter, Andrew Stanton and director Lee Unkrich gave up, and Andy went to college. The adventure that followed was remarkable: the occasional danger, the melancholy of the blockbuster, and some deep thinking made it more influential to adults than its previous films. Because these movies are never really about plastic toys. They're about childhood, a state you can only really grasp when it's over when your new friends play with your old toys. 17. "Aberration" (2015)
Given Charlie Kaufman's serious antics, it should perhaps not come as a surprise that the second film he directed was an animated film. However, a few years ago, there was a notice that Kaufman was working with Duke Johnson on a single-frame film called "Aberration", which attracted the attention of many people. It shouldn't have been, but the film (based on 2005's "Sound Play") that only Kaufman was able to create, with a mixture of almost world-weary despair and secret romanticism, a beating heart buried beneath a huge brain, tracking down a British writer (David Hewlis) at an Airport Hotel in Ohio who had a one-night stand with a young woman (Jennifer Jason Lee) while everyone else in the world looked the same and sounded like Tom Nunan. It's a story of depression and crisis, presented in a bleak but aesthetic way, with the familiar clout of Kaufmanian – self-loathing, loneliness, fragile life. Tempered and sublimated through their own forms. 16. "Ghost Mother" (2009)
Lately, we've seen more talent in more animators, thanks in part to Portland's Laika, a studio made in single-frame productions that became overnight famous for this wonderful "Ghost Mom." The film is based on a book co-written by freak idol Neil Gaiman and director Henry Selrick, who directed "The Nightmare Before Christmas." The film recounts the heroine (voiced by Dakota Fanning) escaping from her derelict parents to another world, but later turns out to be more sinister than she thought. The film's graphic design is gorgeous (using the highest quality 3D technology ever, flat in the "real world", very expansive in the "Wizard of Oz" scene), and ingenious, affectionate, atmospheric, rich, interesting, exciting and novel, just like fine wine has become more and more mature in the past half century. Both "Psychic Boy Norman" and "Box Monster" are worth a try, but laika's first work to date is still the best. 15. The Lego Movie (2014)
The idea of the film sounded terrible, it would be a brawl farce (choosing to use toys to play a superhero story), but it didn't work out, and the film was very successful, cleverly handling a lot of complicated issues, better than Phil Rod and Chris Miller's previous "Heavenly Food" (some members of our editorial board were very unhappy that the film did not make the list). The film parodies the traditional hero film "The Chosen One" from the ordinary to the counterattack, and the protagonist Emmett, played by Chris Pratt, is chosen to fight against the evil demon lord voiced by Will Farrell. Although this is an action comedy with a slightly silly character, it still succeeds in bringing a little surprise to the audience in a funny atmosphere. After Toy Story, there are few animated films that tell childish stories as well as The Lego Movies, making it one of the biggest surprises of recent years. 14. "Ratatouille" (2007)
Ratatouille is unique among Pixar films, not only because Brad Bird made drastic changes in the post-production period (which is also a common occurrence), but also because the style of the film is much more mature than others. The story is set in the culinary world and is intended to satirize critics in today's world. Heavily influenced by Liu Beiqian and Proust, the film has a slower pace and a pronounced personal style of the director, but it has unexpectedly achieved great commercial success. The film tells the story of a small mouse played by Paton Oswart, born with a good sense of taste, and therefore talented in cooking, with the dream of becoming a chef in Paris and taking an adventure. This style of story can only be presented by Pixar. Even if other movies have a wider audience, "Ratatouille" is definitely their best product13, "Chicken Run" (2000)
Aardman animation has had a lot of success — the four films they've produced so far are decent, but the genre is too monolithic, and several short films made in the 90s have explored similar issues. When they enter the CGI field where they are not good at, everything becomes difficult. "Chicken Run" was their first feature film, very good and creative, and it was shot at a low cost. The film tells the story of a group of hens who know they are going to be made into a chicken pie and escape from the farm with the help of rooster Rod (voiced by Mel Gibson, who was not yet a long time ago). The style of this film is very similar to films such as "The Great Escape", which is based on the theme of World War II, but its British old-fashioned style makes the film full of charm. The exquisite design, classic comedy bridges and gripping action scenes have always been the hallmarks of Aardman's animation, while the story of "Chicken Run" itself is self-justified, and the ending sublimates the entire film. 12. "I Grew Up in Iran" (2007)
The film "I Grew Up in Iran" won the Ghana Award and was nominated for an Academy Award, which predates the Ghanaian oscar-nominated "Waltz with Bashir". In short, both films symbolize a new life. Or, it can be said to be accepted by mainstream society. This embodies another function of animated films, which is to tell stories of growth, or brutal political stories, in the form of personal autobiographies. But it comes from life rather than fiction. Margay Shatapi's films are both poignant and funny, touching and occasionally creepy. That's because the film tells the story of her upbringing in Tehran during the Islamic riots in simple and contrasting black and white. Margay Shatapi's films are both poignant and funny, touching and occasionally creepy. That's because the film tells the story of her upbringing in Tehran during the Islamic riots in simple and contrasting black and white. But her choice of perspective is unconventional, and it is accompanied by humanized details (most of which come from comic strips she created herself) that she has embraced as a filmmaker. And since then, she's made a film as great as the one. Although she has not yet gained the influence and impact of her film debut, she has become the most dynamic and funny filmmaker on the international film stage. 11. Robot Story (2008)
Wally is arguably the most adventurous film Pixar has ever produced, transitioning from a love silent film in the front to a joyful ending in the back, and the Pixar team proved they could do both parts well. The film depicts a garbage-cleaning robot that lives in an abandoned world that only it cherishes, after which he stumbles upon and falls in love with a high-tech robot, and finally reunites with the rest of the humans. The film was made boldly, relying on very little dialogue and few lines of the protagonist, and it became Pixar's most rigorous and ironic film. Andrew's films are generally warm and funny, and he uses the wonderful action design in Wall-E to tell us a very classic and unique story: a non-traditional hero who strives to win his beloved girl and saves mankind in the process. 10. "The Wind Rises" (2013)
Miyazaki had retired before that (he had hinted a decade earlier that he was no longer in charge of filmmaking), but as Studio Ghibli's work declined, The Wind Rises seems to be Miyazaki's last work. The film is like a conclusive conclusion: a melodrama with basically no fantasies, telling the true story of an aircraft designer, Jiro Horikoshi. It is a moving portrait that paints the end of an era in Japan. It's a test of a way that can cause technological progress and even art to collapse. It was also a love letter from the aircraft designer to his beloved aviation career. If you think of it as a simple cartoon, you don't have the right understanding of the film's connotations. This film is as good as Miyazaki's other cartoons, and although it is relatively realistic, it can only be presented in the form of animation. If this is really Miyazaki's last work, then Miyazaki is bound to be deeply missed. 9. "Waltz with Bashir" (2008)
Powerfully proving that cartoons can also be very dexterous, Ali Foreman's films skillfully blend personal prose, documentaries and fantasy footage to serve as a brave experiment to show the experience of soldiers in the Lebanese war, drawing you into this tragic vision with just the right amount of highly personal calm. Films about human rights and disputes are unfortunately plentiful today, so for Foreman, it is not an ordinary feat to be able to make the film transcend the narrow shackles by making the film completely cinematic. The cartoon, a mix of Adobe Flash and classic animation, adds more surrealism to the clear memories of Forman's tragic life as a young man. Max Licht's haunting soundtrack and chronological mix of songs (PiL's "This Is Not a Love Song" is the best part) adds overall power to the film. This is very effective, educational, and emotionally arousing, as the film itself is also very entertaining. 8. The Great Fox Daddy (2009)
In this sweet but sharp adaptation of Roald Dahl's book, stop-motion animation and Wes Anderson proved to be a match made in heaven. We can't argue that this is the director's best work, but in many ways it is very representative of his reputation as an artist in capital letters. After all, aren't these highly controlled simulation models of his films a form of live-action animation? In addition to appreciating its place in Wes Anderson's films, The Great Fox Daddy is full of beauty and his most interesting film to date. Adapting a children's story gives him a broader, even hilarious sense of humor, emerging in the film in a delightful way. (The best part is cut out in the villain Farmer's short tidbits) Its visuals are modeled after Rankinbas Studios, proving that the old-school way can be completely new if executed properly. We love this movie because it's made for everyone, but it still has its sharp edge and consequences. 7. The Tale of Hui Ye Ji (2013)
It's not as much of a fancy as "The Wind Rises," but as the farewell work of Miyazaki's Studio Ghibli and director of Grave of the Fireflies, Takahata Hoshi, "The Tale of YukiyukiHime" is a more mournful, sad and joyful farewell for this master. Loosely based on the legend of the bamboo cutter, this fable is presented in a stunning, oil-like way. The film shows a pair of humble parents finding the protagonist in a bamboo shoot. She received a great fortune and was pursued by countless suitors. But none of this can change the fact that she has lived on Earth for a very short time. The story itself and the way it is told are very simple, but also very rich (in addition to moral contemplation, there are feminist and environmental themes in the film), and this is a delicate and idyllic work that becomes the conclusion of Takahata's career and a bitter farewell. 6. "Brain Task Force" (2015)
With sequels piled up in recent years, Pixar has built a reputation for being disappointed when the studio creates decent work, as in Dinosaur Heads and Finding Nemo 2. But that's not a reaction to Mind Agents, as it's one of Pixar's most ambitious and best. Set in the brain of young Riley, Riley's emotions are thrown into chaos by moving to San Francisco, which also causes the two anthropomorphic characters of Lele and Worry to enter the area outside the brain control headquarters. It's an extremely mature and feasible way to get to know what's rolling through our minds, to fight the hard-to-capture facts — sadness is hard to avoid, and it's necessary. And that's exactly what the average "adult movie" would try to avoid. But that comes from Pixar, specifically Peter Doggett, director of The Flying House, and it's also complete joy — full of intelligence, excitement, fun (what could have been more fun this year than the movie's Easter eggs and gum ads?). And the Abstract Consciousness Zone? Or a repeating ad? Mind Agents is a fast-paced, light-hearted, well-voiced, and touching film. Pixar's standards have once again been raised. 5. "Crazy Dating Beautiful City" (2003)
78 minutes of pure French romance, Sylvia Jomai's script (with almost no dialogue) consisting of some seemingly random left turns that not only fill you with speculation, but also take you into a miraculously unique world. This old-school style full of lots of craftsmanship, full of beauty, oil painting-like animation style, makes watching a thing full of surprise, and tells this strange story with vitality. The story follows a mother who works as a female overseer whose cyclist son is kidnapped and used in a vicious gambling scheme. She joins the singing trio of the same name, which helps her rescue her son and adds more joy to the film's infectious music. It's a completely original narrative film directed by Jomai, who has a very good grasp of the story. It's a niche film (despite winning two Oscar nominations in 2003), and the film is easy for the masses to enjoy. 4. "Such a Beautiful Day" (2012)
Don Hertzfeld is not a household name (although he recently made the best sequel in 25 years for The Simpsons to make him famous), but animation fans have long since begun to celebrate his name, especially after Such a Beautiful Day. Combining the 2011 film of the same name with two earlier short films, "Everything Will Be Okay" and "I'm Proud of You," it's a lingering, somewhat bizarre, inspirational trilogy that features Hertzfield's iconic matchstick image, line style (though embellished with a series of prominent effects), satire, hyper-violence, and mental illness and self-identity in the final part of stumbling. Oblique and quirky to be able to appreciate, bleak and detached, simple but worth watching over and over again, the cold as a stone classic, established Herzfield as a good filmmaker. 3. "Flying House Tour" (2009)
Did we give the third place to Flying House Because of its overall achievements, or because of the four-minute married life of Carl and Ellie that moved us to a mess at the beginning? Is this question necessary? Taken from a helicopter or flying house perspective, Flying House Is not the most satisfying narrative film Pixar has ever produced, but it is the pinnacle of the studio's character creation and relationships. Through this film, Peter Dockert and Bob Peterson give us the best mourning film of all time, hidden in the story of a little boy full of bizarre colored balloons, stuttering boys, and funny talking dogs. Like most of Ozu's films, the film tells a lot about the generation gap, and it begins with the most touching death since the death of Bambi's mother, and as a summary, Flying House Is an inspirational animated film for all ages. 2. The Incredibles (2004)
Director Brad Bird's best film to date is a compact combination of imaginary comic book mythology, family melodrama, and excellent computer animation techniques. The film came at the end of Pixar's first wave of excellent film frenzy, just as the studio's Cars smashed the pot and then got back on track with Ratatouille (thanks to Bradbird). In fact, the film feels like the animation giant's best hour, and perhaps Pixar's most complete film, full of reasonably exciting action movie modes, and very empathetic character plots (young and old), and keenly exploits the superhero complex in American culture before the film falls into mediocrity. Skillfully designed (putting a stop to the 50s-style suburban herd mentality, whether at home or at work), the script was designed with sincerity, so that the two story lines A and B continued to complement and reinforce each other and conveyed a message of anti-heroism. The Incredibles is undoubtedly not only the best animated film of all time, but also the best superhero movie of all time. 1. Spirited Away (2001)
If the power of animation lies in its ability to immerse oneself in a world where only the imagination of a producer can be a boundary, then no film deserves the number one position than Miyazaki's Spirited Away. Miyazaki is the creator of the most complex and beautiful film imagination in the world today. What begins as a cautionary tale of "beware of what you want" thrills into a wondrous realm after the little girl's parents turn into pigs, and as the story progresses, the film becomes even more bizarre, bizarre, ambiguous, and becomes the absolute opposite of the lofty simplicity and absolute black-and-white moral judgment, which sabotages the family film. Weird, scary, exciting, beautiful, and very new for audiences who grew up in Western culture, Spirited Away was the first Miyazaki and Ghibli film watched by many people due to the Oscars and nationwide promotion. Therefore, Spirited Away should occupy a very special place in our hearts, as a passage into Ghibli's strange and unimaginable world. Success in creating a complex world.