Which is the best animated film of 2015

The 75 best animated films of all time
By Julius Vietzen, Stefan Geisler, Gregor Torninus, Lars-Christian Daniels, Christoph Petersen, Micha Kunze, Carsten Baumgardt, Robert Cherkowski and Andreas Staben - 02/27/2015 at 9:45 am

The FILMSTARTS editorial team discussed, voted and decided: We are presenting the 75 best (long) animated films of all time!

Rank 75: "Finding Nemo"
(Andrew Stanton, USA 2003)

The underwater adventure "Finding Nemo" is one of the biggest hits of the successful pixel smithy Pixar. Director Andrew Stanton uses the story of a father clownfish's search for his little son, who got caught in a fishing net on his first day of school, in unforgettable maritime sequences - an action zigzag in which worried Papa Marlin through a shoal poisonous jellyfish maneuvered even reminiscent of one of the most exciting sequences from "The Empire Strikes Back". In addition to exuberant visual ingenuity, there is also a lot of playful puns and, last but not least, with the doctor fish lady Dorie, who suffers from “memento” -like short-term memory loss, an unforgettable sidekick, which not by chance comes even more into focus in the sequel “Finding Dorie”.

Rank 74: "Paprika"
(Satoshi Kon, Japan 2005)

An apparatus is developed in a psychotherapeutic laboratory. which makes it possible to record dreams and watch them like a video on the screen. And not only that: With the device, the therapist can also interact with the dreams of his patients and influence their course. One day a prototype of the invention is stolen ...: Director Satoshi Kon transforms this science fiction material into a brightly colored, visually stunning anime mixture of classic drawings and 3D effects from the computer, in which the actual plot becomes a minor matter. In a rousing flow of images underlaid with catchy electro pop, he virtuously combines dream and reality into a uniquely sensual experience, while at the same time exploring the ethical limits of technology and science as well as the influence of the virtual on reality.

Rank 73: "South Park - The Movie"
(Trey Parker, USA 1999)

When the creators of the cheeky brute satire series "South Park" got the chance to bring the pop culture phenomenon to the big screen in 1999, they made no compromises: Trey Parker and Matt Stone operate far beyond the boundaries of political correctness and good taste, as always Don't abandon the minimalist aesthetics of the TV episodes in the cinema either. To do this, they transform “Bigger, longer and uncut” (the subtitle of the film in the original) into a real musical with cheeky and catchy songs, of which “Blame Canada” was even nominated for an Oscar (the F-word was allowed in the The show didn't fall, of course, so singer Robin Williams covered his mouth at the point). But the creators not only used their freedoms for more or less adolescent punchlines, but mercilessly held up the mirror to their critics with a clever, ambiguous story about censorship, media power and bigotry.

72nd place: "Asterix and Cleopatra"
(René Goscinny, Albert Uderzo, France / Belgium 1968)

When the "Asterix" creators René Goscinny and Albert Uderzo discover in 1967 that their publisher has arranged the filming of several of their comics about the little Gaul and his friends behind their backs, they are pissed off and from the first result ("Asterix the Gauls") especially visually disappointed. They ensure that the other two films, which have already been largely completed, are destroyed and secure decisive creative influence for the subsequent production. The choice falls on the particularly popular sixth volume in the series and in fact “Asterix and Cleopatra” is also one of the highlights in the very eventful history of the films. A clear step forward is not only made visually, the ironic joke of the template, enriched here with musical interludes, is very effectively brought to the screen when Cleopatra makes a bet with Caesar to build a palace and the Gallic heroes again between them Fronts guessed.

71st place: "Rango"
(Gore Verbinski, USA 2011)

After three "Pirates of the Caribbean" blockbusters, director Gore Verbinski didn't feel like pirates anymore, grabbed his star Johnny Depp and instead shot an animation western with him about a cowboy chameleon: "Rango" is with its dry sense of humor, Its subtle allusions and rough manners are so different from the usual Hollywood animation monotony that you sometimes wonder how Verbinski got away with it (his simple explanation in the interview: "We just didn't ask anyone for permission."). Depp speaks the main and title role of the chameleon, who is bored in the terrarium and ends up stranded in a desert coffee shop, where it becomes a sheriff ... "Rango" is a film made by cinema fans for cinema fans, bristling with quotes and yet completely different than other animated films, which can already be seen from the fact that people are allowed to smoke and die here unabashedly.

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