Oscar Predictions: Best Animated Feature. READ MORE: 2. 01. Oscar Predictions. The Academy has been giving out the Best Animated Feature prize for 1. Pixar has claimed nine victories, the most of any studio. But “Finding Dory,” the studio’s critically hailed blockbuster sequel to Oscar- winner “Finding Nemo,” did not make the cut this year. Instead, Pixar’s home, Walt Disney Animation Studios, which has been on a meteoric rise over the past several years, notching back- to- back wins for “Frozen” and “Big Hero 6” in 2. Zootopia,” which easily placed among the nominees, along with their latest princess musical, set in the Pacific Islands, Thanksgiving breakout “Moana,” with a song contender written by “Hamilton” star Lin- Manuel Miranda.“The Red Turtle”But while these dominating animation studios have big- time contenders, so does Studio Ghibli with “The Red Turtle,” which broke out at Cannes and Toronto. Sony Pictures Classics is handling the domestic release and push for Oscar, which Studio Ghibli hasn’t won since Hayao Miyazaki’s “Spirited Away” in 2. Also screening at Cannes in The Director’s Fortnight was eventual Swiss Oscar entry, stop- motion coming- of- age story “My Life as a Zucchini.” And stop- motion studio Laika keeps creating strong animated stories; lyrical Japanese fairy tale “Kubo and the Two Strings” is their most visually elegant to date, and took home a BAFTA. Contenders (in order of likelihood to win): 1. Sign up for our Awards newsletters here. Check Out More Oscar Races: Best Picture. Best Director. Best Actor. Best Actress. Best Supporting Actor. Best Supporting Actress. Best Animated Feature. The 2. 5 Best Animated Films Of The 2. Century So Far. We’ve moved. Our new home is over at THEPLAYLIST. A Huge List of Dog Movies. I watched a dog move when I was like 6, I have combed the entire web using over 20 rephrasing of how to explain it each on 6 different search engines. NET. Please update your bookmarks and come on over to our new digs. Thanks for following us all these years, now follow us to our new house. Surprisingly, of all the many, many names we were called over our ranking of The 5. Best Films Of The Decade So Far, . We were a touch disappointed, to be honest, as we had a snappy comeback at the ready: we were already in the planning stages of an all- animation feature, so we felt justified in separating the live action picks from their hand- drawn, computer generated, stop motion and claymation brethren. So here is that list: the time frame is extended this time to include any animated film in any style (bar rotoscoping, which we excluded because of its reliance on live- action filming first) from 2. The last fifteen years have seen the animation industry undergo huge upheavals, from the titanic union of old- school giant Disney with beloved game- changer Pixar, to the rise to international and Oscar- winning glory of the extraordinary Studio Ghibli (and its imminent dissolution), to the massive leap in quality made by the likes of Dream. Works and other up- and- comers. All these factors combine to provide a mainstream and arthouse filmmaking landscape that’s friendlier toward a more diverse range of animation styles and subjects than ever before. The sheer breadth of choice we have, and the extremely subjective nature of the beast (one viewer’s pretty is another viewer’s twee) means that we’re fully confident that this ranking will inspire its fair share of rage/accusations of bias as well. Movies The latest movie news, casting updates and rumors, trailer sneak peeks, and expert reviews on MTV.But like many of the films listed below have taught us, we’re going to be brave, follow our dreams and find inner reserves of strength and goodness to face whatever life and the commenters throw at us, as we take you on this trip through our 2. And if you want more of the best films since 2. But the major shining light (along with “The Emperor’s New Groove,” which is admirably Chuck Jones- esque) was “Lilo & Stitch.” It’s a riff on “E. T.” on the surface —eccentric young girl befriends intergalactic runaway— but directors Chris Sanders and Dean De. Blois (who’d go on to make “How To Train Your Dragon”) make it sing through specificity: the delirious mischief of the adorably psychotic Stitch, the gorgeously realized Hawaiian setting, and the surprising pathos of Lilo and her older sister, who are being investigated by social services. It perhaps doesn’t stand with the early ’9. Disney, but it’s a wonderfully weird and enormously satisfying film. But Disney’s hand- animated . It’s admittedly for very young children, and some adults who grew up with previous Disney Pooh films were apparently disappointed that this wasn’t quite as, well, Disneyfied. But this is a short, calm, gently screwy homage to one of the sweetest and best- loved children’s characters of all time that respects Pooh’s original source material —AA Milne’s wonderful books. So it’s unsurprising in retrospect than when director Gore Verbinski and star Johnny Depp reteamed for an animated picture, they produced one of the odder animated movies ever made by a studio. Melding “Chinatown” with any one of a number of classic Westerns, but with animals and a slightly deranged high- on- peyote vibe, it sees Depp’s Hunter Thompson- ish chameleon become mistaken for a hero by a town suffering from drought. Rehearsed with the actors in costume (an absolute rarity in the animation world) before being brought to stunning life by Industrial Light & Magic, the VFX company’s sole animated feature to date, it’s a reminder of the oddball vision that Verbinski could bring without blockbuster bloat, and while it barely even qualifies as a kids’ movie, it still proves an enormously entertaining trip.
An attempt to celebrate Horse’s birthday goes awry when an internet order for 5. But it’s also invested with a totally lunatic energy that’s less about grand narrative arcs than the momentary interactions and weirdnesses that cram every single bonkers scene. We could have easily (and nearly did) include “Tokyo Godfathers” or “Paprika” (the latter said by many to have inspired Christopher Nolan’s “Inception”), but we’d say that his masterpiece was his second feature, 2. Millennium Actress.” Far more mature than most animated features, whether Japanese or American, this film has a fascinating concept, as an elderly retired movie star brings a documentary crew through her memories, switching genres and form as she tells her story through her cinematic roles. Fans of clear- cut narrative are likely to be left disappointed, but there’s a fascinating and rich puzzle box to untangle, grappling successfully with Kon’s favorite themes of the nature of reality and the power of art. We’ve moved. Our new home is over at THEPLAYLIST. NET. Please update your bookmarks and come on over to our new digs. Thanks for following us all these years, now follow us to our new house. Co- written by “Community” creator Dan Harmon and his friend Rob Schrab, it’s the tale of three adventurous pre- teens investigating a spooky local home. Working where “The Polar Express” didn’t by stylizing the characters further, it makes its young protagonists believably and likably childlike in a way that few films bother with, leading to both great gags ( “It’s the uvula!” “So it’s a girl house?”) and pathos more effective than most. Here are a few examples of ways you can filter the charts: The Top 10 Movies Starring Queen Latifah; The Top 20 Movies Starring Queen Latifah; The Best Horror Movies Of the 1980s; The Best Science Fiction Movies of 1977; The. Here are a few examples of ways you can filter the charts: The Worst Sex Horror Movies of All Time; The Top 10 Sex Horror Movies of All Time; The Top 20 Sex Horror Movies of All Time; The Top 50 Sex Horror Movies of All Time. People really seem to like it & while it. There are better looking films here, but few that are as much fun. The exception being “How To Train Your Dragon,” a thrilling adventure tale that combines a boy- and- his- dog, “E. T”- ish central relationship between a young Viking and his dragon pal with stunning, 3. D- enabled flying sequences, world- building and the company’s most painterly visuals (created with aid of cinematography legend Roger Deakins). So often Dream. Works falls back on pop- culture gags or celebrity casting, but this (and to a lesser extent its sequel) is where they let the story lead the way, and the result is an absolute triumph. The story of the over- protective father (Albert Brooks) whose worst nightmare comes true when his son is taken across the ocean is a dizzyingly colorful, enormously funny story full of incredibly memorable characters and arguably Pixar’s best- ever voice cast (Brooks and co- lead Ellen De. Generes are perfect, but we also get Willem Dafoe, Allison Janney, Stephen Root, Geoffrey Rush and Eric Bana). But at its heart, it packs as big an emotional punch as anything the studio’s made, gradually shortening the gulf between a loving but destructively neurotic father and his adventurous but vulnerable son. If the sequel’s even half as good as this, it should still be a classic. Like “Toy Story,” this film takes up an irresistible childhood conceit —the story behind the monsters under every child’s bed or in the closet— and filled it with two of the company’s most lovable characters in Billy Crystal’s eyeball- on- legs Mike Wasowski and John Goodman’s fuzzy blue Sully, who accidentally let a supposedly- deadly child, the utterly adorable Boo, into their monster’s paradise. The film’s not as narratively perfect as some of the later Pixar pics (the Yeti diversion is dead air), but it’s still gorgeously designed, has a giant heart and proves utterly satisfying. Decent- but- unnecessary prequel “Monsters University” paled in comparison, which is a testament to the strength of the original. Rather than going for a victory lap, the creative team of John Lasseter, Andrew Stanton and director Lee Unkrich switched things up the third time out, allowing time to have passed and for Andy to be heading to college. The adventures that ensue are remarkable: there’s genuine peril at times, quite a bit of darkness and some pretty deep soul- searching that makes it even more affecting to adults than its predecessors. Because these films were never really about plastic playthings —they were about childhood, a state you can really only appreciate after it has concluded and someone new is playing with your old toys. We’ve moved. Our new home is over at THEPLAYLIST. NET. Please update your bookmarks and come on over to our new digs. Thanks for following us all these years, now follow us to our new house. The picture is gorgeously designed (with a use of 3. D that’s still among the best ever, flat in the . In practice, “The Lego Movie” is a sly, subversive, giddy joy, with Phil Lord and Chris Miller topping their previous animated pic “Cloudy With Chance Of Meatballs” (which some of us are very grumpy isn’t in this list. Capturing a childish sense of play in a way that few had done outside of “Toy Story” but filtering it through a millennial mash- up mentality, it must figure as one of the most glorious mainstream surprises in recent memory. Set in the world of fine cuisine, the picture targets and celebrates critics, is relatively slow paced, and draws from influences as diverse as Lubitsch and Proust. It’s auteurist, borderline- arthouse animation somehow went on to make hundreds of millions of dollars worldwide. Bird’s tale about a rat (played perfectly by Patton Oswalt) with a refined palate and culinary dreams works as a talking animal picture, a romantic comedy, a love- letter to Paris (those cityscapes!) and to food, and could only have been made by Pixar. Some of their other films might have had a broader appeal, but “Ratatouille” is truly refined. Following a group of hens who enlist the help of cocky rooster Red (a pre- decline Mel Gibson) to escape their farm when they learn they’re destined to be turned into pies, it brilliantly and evocatively channels WW2 POW movies like “The Great Escape” with a very British eccentric charm. Encompassing the immaculate design, classic physical comedy and thrilling action that characterized the Aardman shorts, it’s also more narratively well- rounded, with a finale as rousing as anything else on this list. Fingers crossed Aardman returns to this kind of form soon.
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