The 100 best animated movies: The best Дисней animated Фильмы 

The 100 best animated movies: the best Disney animated movies

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

By Time Out contributors, edited by Dave Calhoun and Joshua Rothkopf Wed Apr 16 2014

Now we know which are the 100 best animation movies of all time. But which are the best Disney movies and which are the best Pixar or Studio Ghibli films? Which are best for kids and families and which are strictly arty, political or edgy?

We’ve applied 26 handy labels to the 100 great animations in our list. Here you’ll find all the films made by Disney.

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

A wooden puppet yearns to be a real boy; he must prove himself worthy.

Directors: Ben Sharpsteen, Hamilton Luske, Bill Roberts, Norman Ferguson, Jack Kinney, Wilfred Jackson and T. Hee

Best quote: “Always let your conscience be your guide.”

Defining moment: Playing pool, drinking beers, smoking cigars: Who knew it could transform kids into jackasses? (Literally.)

is the most magical of animated movies, a high point of cinematic invention. Its influence on fantasy is massive: Steven Spielberg quotes the soaring ballad “When You Wish Upon a Star” in his dream project

(and remade the whole picture with his aching robot-boy adventure,

). Disney’s second feature—originally a box-office bomb—begins with a sweetly singing cricket, yet plunges into scenes from a nightmare: in front of a jeering audience on a carnival stage; into the belly of a monstrous whale; beyond all human recognition. (Pinocchio’s extending schnoz is animation’s most sinister and profound metaphor.) It’s staggering to think of this material as intended for children, but that’s the power here, a conduit to the churning undercurrent of formulating identity. The takeaway is hard to argue with: Don’t lie, to yourself or others. Cultural theorists have, for decades, discussed

in psychosexual terms or as a guide to middle-class assimilation. But those readings are like cracking open a snow globe to see that it’s only water. A swirling adventure flecked with shame, rehabilitation, death and rebirth, the movie contains a universe of feelings.

will remain immortal as long as we draw, paint, tell tall tales and wish upon stars.

It ain’t easy being gray in one of Disney’s most simple, cute and memorable tales.

Directors: Ben Sharpsteen, Samuel Armstrong, Norman Ferguson, Wilfred Jackson, Jack Kinney, Bill Roberts and John Elliotte

Best quote: “It ain’t nobody’s fault you got dem big ears.”

Defining moment: Dumbo visits his caged mom at night and cuddles up to her trunk as it extends through the bars—all to the sound of the lullaby “Baby Mine.”

Disney’s tender and moving fourth animated feature, Dumbo remains the company’s shortest. Its brevity and simplicity were born of necessity: Neither

were tasked with keeping things short, sweet and cheap.

was based on a story line written for the prototype of a new toy—hardly the most poetic of origins—and tells of a baby elephant born to a single mother working in a traveling circus (the film’s early scenes of storks delivering baby animals did nothing for several generations of sex education). It has both energy—the building of the big top in the rain, the circus train chugging over the landscape—and heart: a piercingly sad story of a mother and child forcibly separated. The template is fairly straightforward, but that doesn’t mean there isn’t room for some memorable and inventive set pieces. The hallucinogenic, jazzy dance of the pink elephants when Dumbo accidentally gets drunk is a scene for the ages, while the climactic elephant pyramid, when little Dumbo becomes an unlikely hero, is both terrifying and triumphant.

Not the first animated feature, but the start of the Disney empire.

Directors: David Hand, William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce and Ben Sharpsteen

Defining moment: Snow White’s headlong dash through the moonlit forest is expressionistic, beautiful and terrifying.

They called it Disney’s folly. It took years and millions of dollars to produce

, and one huge question remained unanswered right up to the day of release: Would an audience really sit still for 83 minutes of cartoon antics? Of course, the movie was a huge hit, and kick-started Uncle Walt’s decades-long domination of the painted-cel scene. It may not have been the first feature-length animated film—that honor is held by Argentine animator Quirino Cristiani’s 1917

, though all copies have since been destroyed—but it was the first to receive a global release, and the first to wake up audiences (and producers) to the seemingly limitless potential of a brand-new medium.

truly special is not its success, however, but its originality: Working without a rule book, Disney and his animators created—fully formed—an entirely new genre. Just look at last year’s

has a dashing fairy-tale heroine, a hunky but slightly dull dude, lovable pratfalling sidekicks, important life lessons, groundbreaking and gorgeous animation, whistleable tunes and, perhaps most notably, the greatest femme fatale in film history. It just goes to show: You can’t improve on perfection.

In Disney’s extravaganza, eight fantastical vignettes are scored to music by Bach, Tchaikovsky and Stravinsky.

Director: No less than 11 directors slaved on individual sequences, many without credit.

Defining moment: Sorcerer’s apprentice Mickey Mouse finds himself on the wrong end of the broomsticks.

By the end of the 1930s, Mickey Mouse, the bedrock character of a growing empire, had declined in popularity. So Walt Disney commissioned the elaborate short “The Sorcerer’s Apprentice.” Accompanied by the highly hummable Paul Dukas composition of the same name, it follows the red-robed rodent as he magically brings an army of broomsticks to life. While in postproduction on the short, Disney decided to surround it with similar vignettes scored to other classical compositions, and

was born. Aside from some interstitial material narrated by Deems Taylor (during which Mickey himself greets star conductor Leopold Stokowski), the music dictates

visual-aural flow. Abstract color patterns rise and fall to Bach, life-size mushrooms dance to Tchaikovksy, a hippo and an alligator do a slapstick Ponchielli ballet, and the devil himself summons dark spirits to Modest Mussorgsky’s churning

. Silly and sublime in equal measure—as well as a film that served to introduce generations of kids to the joys of classical music—this is one of the Mouse House’s finest.

Disney’s most stylish baddie concocts a devilish plan.

Directors: Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman

Best quote: “I live for furs. I worship furs! Is there a woman in all this wretched world who doesn’t?”

Defining moment: The puppies sneak past Cruella De Vil, covered in soot, disguised as black Labradors.

What is it with Disney villainesses? So much wrath and murderous rage with so little cause. A year after the evil fairy Maleficent put a curse on

for not being invited to her christening, dognapper Cruella De Vil arrived. Flicking ash on the carpet, her mwah-ha-ha plan is to turn 99 dalmatian pups into a fashion statement. With its modern London setting and jazzy score,

dragged Disney into the 20th century, leaving behind fairy tales, princesses and musical numbers. Oddly, it’s the earlier scenes, before the puppies arrive, that stick in the mind. Sick of the bachelor life, Pongo studies the lady dogs and their “pets” (owners) passing under his window. And the meet-cute in Regent’s Park is witty and utterly lovely. Later, the twilight bark—the doggie telegraph communicating news of the missing puppies—is Disney at its finest.

The film that makes little kids (and grown adults) cry.

Directors: James Algar, Samuel Armstrong, David Hand, Graham Heid, Bill Roberts, Paul Satterfield and Norman Wright

Best quote: “Faster! Faster, Bambi! Don’t look back! Keep running! Keep running!”

Defining moment: Bambi and his mother graze peacefully in a clearing. Her ears prick up. Something’s not right. A gunshot rings out. They run for their lives.

is so many firsts: the first time we cried in the theater, when…you know when; the first time we realized that really bad things happen to adorably cute deer. In 1942, Walt Disney described

as “the best picture I have ever made, and the best ever to come out of Hollywood.” Today, it still has friends in high places.

director John Lasseter and the Pixar crew are huge fans, arguing that, from boy to buckhood,

contains some of Disney’s most charming animation (Walt set up a small zoo at the studio for his team to study the animals). And in the roll call of Disney supporting actors, Thumper the rabbit is an all-time great. Despite its reputation for being sentimental, the film’s closing scene—Bambi abandons his mate and newborn twin fawns to join his father in the forest—is as un-Disney as it gets.

Best quote: “I’m the king of the swingers / The jungle VIP / I’ve reached the top and had to stop / And that’s what’s botherin’ me.”

Defining moment: King Louie of the Apes and Baloo the Bear’s scat-’n’-dance routine.

is so loopy, hip and happening, you can’t help wondering if Disney’s animators were passing the bong as they worked. Just look at the vultures, with their mop tops and British accents (the Beatles were intended to do the voices but John Lennon refused). After rejecting an early draft of the script as too dark for a family film, Walt Disney instructed a second team to drop “the heavy stuff” from Rudyard Kipling’s stories of Mowgli. They created some of Disney’s most lovable characters: Baloo (the Bill Murray of bears) and smooth-as-silk Shere Khan the Tiger. The film is a high point for Disney musical numbers—“Bare Necessities” and “I Wanna Be Like You” are pure joy. Walt himself died during production, and historians credit the huge box-office success of

with saving the studio’s animation department from closure.

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

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.

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.

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

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.

The calypso-inflected Hans Christian Andersen adaptation that revived the Mouse House’s ailing fortunes.

Best quote: “Somebody’s got to nail that girl’s fins to the floor.”

Defining moment: In the infectious “Under the Sea,” Sebastian the crab attempts to convince wayward Ariel of the merits of ocean living.

received more acclaim, but it was this cheery musical adaptation of Hans Christian Andersen’s bleakly fatalistic fairy tale that redesigned the template of contemporary Disney animation and returned the studio to pop-culture prominence. The formula—take a story everyone knows with a plucky princess, then add a bunch of hip, catchy-as-chlamydia show tunes—still works, as the recent success of

demonstrates. But alongside the witty, verbally intricate contributions of ingenious songsmiths Howard Ashman and Alan Menken, it’s the depth of yearning for other lives and other forms that gives this one emotional resonance and staying power. Well, that and the lasciviously tentacled, Mae West–and–Divine-inspired sea witch Ursula, surely among the greatest Disney villains.

No more little miss shy and retiring, this princess means business.

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.

The thuggish villain of a classic arcade game gets tired of being bad and breaks out of his cage.

Best quote: “I don’t need a medal to tell me I’m a good guy.”

Defining moment: Pac-Man shows up at a party and hogs all the hors d’oeuvres.

In the universe of Rich Moore’s quarter-per-play nostalgia bath, the characters are nervous: Our 8-bit arcade heroes of yore have been supplanted by buxom first-person shooters, while their antagonists—like the Donkey Kong–esque Wreck-It Ralph (an inspired John C. Reilly)—attend support groups to talk through their preprogrammed bitterness. Over everyone hangs the threat of a final “game over,” their cabinets unplugged forever. The clever setup avoids too heavy a wink by quickly adding emotional heft, as Ralph busts into another game to befriend the adorable-but-obnoxious Vanellope von Schweetz (Sarah Silverman), who just wants to build her candy car and win the race.

is loaded with cameos—from Sonic the Hedgehog to the ever-profane Q*bert—but it somehow feels fresh: a sincere tale of finding your own identity.

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

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

), 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.

Never has a party snub had such dire consequences.

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

to stand out from existing princess-led fairy tales

, 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.

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.

Disney takes a modern approach to an old-fashioned fairy tale.

Best quote: “Wait, you got engaged to someone you just met that day?”

Defining moment: Whether you think it’s a feminist belter or reactionary pop drivel, the Oscar-winning song “Let It Go” is a new Disney classic.

Despite its box-office appeal and Oscar wins, Disney’s most recent animated smash divides opinion. Some see

as a delirious throwback to the studio’s classic era, with tongue firmly in cheek and belting torch songs galore (the stage musical cannot be far away). For others, though, its shiny veneer masks old-fashioned ideals: The heroines are all slim, perky and good-looking, and the idea that freedom drives women mad might not be a particularly welcome one. Whatever your take, there’s no denying that

is ridiculously entertaining: beautifully animated, breathlessly paced and winningly goofy. The fun part is seeing those classic fairy-tale characters—the adventurous princess, the handsome prince and the wicked queen—being forced through a postmodern blender.

Disney’s comeback was assured when this lively romp made millions.

Best quote: “Three wishes, to be exact. And ixnay on the wishing for more wishes.”

Defining moment: The first appearance of the genie, voiced by Robin Williams, is a rat-a-tat stand-up routine set to dizzying visuals.

heralded the modern age of animation. The cave-of-wonders sequence was the first use of computer animation in a major Disney feature (with admittedly mixed results), while the appearance of Robin Williams as the Genie was a landmark in the employment of celebrity voices: This wasn’t so much a character as a self-portrait in ink and paint. Most importantly, the film’s massive success—it was the biggest movie of 1992 and the biggest animated film ever at the time—proved that, after years of false starts and disappointments, the public was once again ready to hand over their cash to an all-singing, all-quipping animated spectacular. The film has its problems: Accusations of underlying racist attitudes, particularly of the original cut with its “They cut off your nose if they don’t like your face” lyric, were perhaps justified. But this is the work of a company rediscovering its core purpose, to bring joy.

Like Shakespeare at the zoo, it’s the story of one lion cub who goes from pampered prince to outcast, and then to lord of the pride.

Best quote: “I was first in line until the little hairball was born.”

Defining moment: On a cliff edge, Scar lets his brother, Mufasa, the king of the lions, fall to his death.

The opening alone is worth the price of a DVD: a majestic scene as beasts of the savannah gather to pay tribute to new lion prince, Simba. Even inside Disney, expectations for

were low. As producer Don Hahn later summed it up: “Lion cub gets framed for murder by his uncle, set to the music of Elton John…good luck with that.” But it stormed the box office as 1994’s second-highest-grossing film. Why? For a start it has one of the best (possibly

best) Disney villains, the king’s brother, Scar, drawling and plotting with supreme boredom and devilish sarcasm. The soundtrack by Tim Rice and Elton John is endlessly hummable, and the animation—best of all, a wildebeest stampede, which took three years to animate—is spectacular.

Best quote: “Oh, he’s so handsome…just like his reward posters.”

Defining moment: The opening tune sung by “King of the Road” balladeer Roger Miller sets the scene perfectly, with laid-back country charm and wheezy gags.

Disney may be infamous for manhandling the world’s finest folktales into moralistic all-American parables (see also

, etc.), but there are times when it really works.

director Wolfgang Reitherman’s decision to transplant hokey, cowpokey Western movie tropes to Ye Olde England should have led to disaster, but the resulting film is so sweet-natured, so casual, so doggone friendly that it becomes impossible to resist. The minuscule budget meant that entire sequences and characters were lifted wholesale from earlier Disney hits (just think of Little John as a brown Baloo), but somehow this only adds to the film’s unpretentious, shaggy-dog charm.

Lewis Carroll is brought to the screen the Disney way.

Best quote: “If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn’t.”

Defining moment: Alice disappearing down the rabbit hole is only the beginning of the weirdness.

Walt Disney had long had his eyes on adapting Lewis Carroll, and when he did so, the results were faithful enough to qualify as one of the studio’s strangest offerings. Evoking the books’ original John Tenniel illustrations but with more than a touch of Disney cuteness, the film as a whole is in thrall to Carroll’s singular visual imagination and his play with language. But it doesn’t quite know how to turn dotty schoolgirl Alice’s episodic odyssey following the white rabbit into anything resembling a satisfying story. One can only imagine what apple-pie audiences thought of it at the time, besieged by hookah-puffing caterpillars, hallucinogenic mushrooms, the Mad Hatter’s tea party and an evidently psychotic Queen of Hearts. It was subsequently a late-night favorite among the herbally assisted.

Roald Dahl’s beloved but trippy children’s book—about escape, adventure and the company of giant insects—meets its creative match.

Best quote: “Try looking at it another way.”

Defining moment: The eponymous peach is set free from its tree and rolls to freedom, leaving much bewilderment in its wake.

Many filmmakers have struggled to nail the blend of the whimsical and the macabre in Roald Dahl’s inimitable children’s fiction. Oddly, the ones who succeed best are those who put their own creative personality first: Nicolas Roeg, Wes Anderson and, in this winningly surreal take on Dahl’s least overtly filmable work, Henry Selick.

director’s Gothic-style puppetry and doleful sense of humour are ideally suited to this initially melancholy, increasingly manic tale of a lonely young orphan whose life takes a turn for the better when he boards a giant peach bound for New York and populated with lovable mutant bugs. Short, strange and bookended with live-action sequences scarcely less cartoonish than the rest, it’s a fond but inventive tribute to a great storyteller.

Disney tackles J.M. Barrie’s tale of Neverland and the spirit of childhood.

Best quote: “But Mother, I don’t want to grow up!”

Defining moment: Peter leads Wendy and her siblings across the London night sky.

Parents, do you know where your children are? Maybe they’re following mischievous spirit Peter Pan past the second star and straight on to Neverland, where kids can be kids to their hearts’ content. The sight of grown men threatening children with cutlasses and even a ticking bomb makes this occasionally uncomfortable viewing today (and its dubious treatment of the crimson-hued Native Americans is hard to forgive). But while definitely from a more innocent age, the comedy still plays: Blustery Captain Hook remains an endearingly fallible bad guy, hotly pursued by an ever-ravenous crocodile, while the vigorous action throughout suggests that the Disney team had one eye on Warner Bros.’ Looney Tunes output. It’s somewhat superficial overall, but still the best adaptation of Barrie’s play, perennially unlucky onscreen.

If you like Disney animated movies, you should try…

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The 30 best animated short films ever made

Roman Polanski serves up a twisted good time with this S&M-tinged showdown between a fussy director and a smarter-than-she-seems actor.

Never before released stateside, Eric Rohmer’s wonderful 1996 Gallic romance is ready to charm with its tale of an introvert torn between three women.

Settle in for Lav Diaz’s generous feast of a Filipino drama—four hours of social injustice, class resentment and tricky domestic tensions.