Every Oscar Winner For Best Animated Feature, Ranked

The Academy Awards have been honoring animation since 1932 when Walt Disney began a near decade-long reign over the then-newly minted best cartoon short subject category. However, in 2001, the ceremony inaugurated the best animated feature category, beginning a now-storied tradition that has helped the medium skyrocket in popularity and prestige. Sure, some folks still sideline it as children’s entertainment — including at the ceremony itself — but so long as based god Guillermo Del Toro proclaims it as cinema, animation will live on as such.

Thanks to the category’s relative infancy, not to mention its smaller pool of competitors, the majority of the now over 100 nominees are some of the best the medium has to offer. However, not every winner is a winner, if you know what we mean. Here is our definitive ranking of every best animated feature at the Oscars, from the times the Academy got it wrong to the times they gave a modern classic its due.

Even hardcore Pixar fans will be hard-pressed to defend “Brave” as a best picture winner, even if it was the first time a woman was crowned victorious. The film, along with 2011’s “Cars 2,” ushered Pixar into a new decade with less-resounding critical reception, laying the groundwork for growing pains they are still experiencing to this day. It doesn’t help that director Brenda Chapman was fired mid-way through production of “Brave” due to “creative differences,” making her superlative win (shared with Mark Andrews) somewhat bittersweet.

However, leave politics aside and it’s still a confusing choice of champion. Sure, the film’s heart is in the right place, but its thinly veiled, one-note metaphor for parenting never quite captures the Pixar spark. Plus, the animation has held up surprisingly poorly; people will complain about the humans in “Toy Story,” but we’ll take them any day over the emaciated, blank-eyed Princess Merida.

We know what this looks like. No, we don’t dislike female characters. We just have our heads on straight. The runaway success of Walt Disney Animation’s “Frozen” made it an obvious winner back in 2014, even with the category’s inherent bias toward the House of Mouse. That said, there’s no denying that this cultural moment made “Frozen” immune to some obvious criticisms.

While it contains a powerful message about love and acceptance, not to mention wonderfully written songs, it’s simply focused on the wrong character. Anna takes up a majority of the screen time, yet Elsa’s character arc is far more compelling. The filmmakers are eager to make archaic jokes about Disney cliches, yet they saddle themselves within that very framework when a more subversive Disney Princess story was right under their noses.

“Big Hero 6” has always been a pretty forgettable entry in the Disney canon, so much so that you probably forgot it even won the Oscar. Disney bias was at its peak in the animated feature during the mid-2010s, and nothing said it louder than this film winning over LAIKA, DreamWorks, Cartoon Saloon, and even Studio Ghibli, who were all nominated the same year.

Don Hall and Chris Williams’ adaptation of the eponymous Man of Action comic series is a faithful adaptation that brings San Fransokyo and its colorful cast of characters to life with strong animation and visually striking fight sequences. And, of course, Baymax is the absolute best. However, when compared to other films on this list, it simply feels formulaic by comparison. The film takes too long to get going, forecasts its twist from a mile away, and tries to have its cake and eat it too in its messaging on growth through grief. It simply can’t compete with the big boys.

In retrospect, “Happy Feet” has aged more gracefully than its bizarre existence would suggest. Somehow “Mad Max” mastermind George Miller’s most financially successful project, this seemingly innocuous musical about singing and tap-dancing penguins unfolds into a thought-provoking look at religious dommerism and the then-impending doom of climate change. The film has only become more relevant, which would suggest it should be higher on this list.

That said, it’s still a musical about singing and tap-dancing penguins. The movie is never quite in on its own blatant absurdity, in part because its photorealistic animation attempts to place it in very recognizable terms. This tonally bizarre mixture of realism and hamminess makes for a bizarre viewing experience, even if Miller’s artistic ambition is never not interesting and, in this case, quite admirable.

After securing the bag with the “Frozen” package of Best Animated Feature and Best Original Song in 2014, Walt Disney Animation comfortably slid into it again with “Encanto” in 2022, though not quite as smoothly. The film’s chart-topping smash hit, “We Don’t Talk About Bruno,” was never submitted for the Oscar, yet its infectious rhythm and catchy lyrics made it the earworm of 2022, securing a win in best animated feature and two nominations in original song and original score. That said, given it went up against fantastic films like “Flee” and “The Mitchells vs. the Machines,” it’s hard not to see a bit of Disney bias peaking through.

“Encanto” is a lovely movie about cultural legacies and inherited trauma, buoyed by a strong collection of songs by Lin-Manuel Miranda and playful, colorful animation. However, against the all-time classic winners in this category, the film’s characters and their deeper subtexts are too formulaic to hold their own.

Despite it being not even 10 years old at the time of writing, “Zootopia” feels like a product of its time. Before the American political landscape was shattered by the 2016 election, Walt Disney Animation won an Oscar with a cute little animal movie that was secretly about how “predators” are actually misunderstood and that “prey” needs to be less presumptuous. While certainly a cynical reading, the bottom line is that the film’s virtue signaling on race and class simply doesn’t hold up in Donald Trump’s America.

If you’re willing to put that glaring issue aside, “Zootopia” is a beautifully animated and wondrously imaginative film with two strong lead characters and a number of emotionally resonant moments between them. It certainly hits as a jumping-off point to discuss issues like prejudice and stereotyping, just don’t look too closely or else the bough will very quickly break.

You’ve never seen a version of “Pinocchio” quite like this, and neither had the Academy when Guillermo del Toro’s long-gestating passion project finally came to fruition courtesy of Netflix in 2021. Though it was also a musical, like Disney’s well-known version, it, in contrast, was impeccably hand-crafted, stop-motion animated, and unafraid to incorporate disturbing elements into the story, such as Geppetto’s drunken grief and Pinocchio’s interaction with 1940s fascism. In an extremely competitive year in the category, del Toro’s culminating moment after years of development hell gave him the edge.

As our scrutiny gets stricter as we climb this list, we wish we could rank GDT’s animation debut higher. However, it does lose steam in the third act and gets a bit too lost down its own rabbit hole to have the precise emotional effect GDT was hoping for. Plus, outside of “Ciao, Papa,” most of its musical numbers are rather forgettable, though it’s tough to compete with “When You Wish Upon a Star.”

There are few earthly delights more heavenly than spending an hour or two with British icons Wallace and Gromit. This ragtag duo of man and man’s best friend bring physical comedy gold with each cinematic outing, beginning with their three short films: “A Grand Day Out,” “The Wrong Trousers,” and “A Close Shave.” All three were nominated for best animated short film and the latter two won, setting the stage for their feature debut to be a smash with Academy voters.

“The Curse of the Were-Rabbit” has everything you could want in a “Wallace & Gromit” adventure, complete with imperfectly perfect stop-motion claymation and enough sight gags to make Buster Keaton blush. The film is undeniably a simple pleasure, not striving for any heady commentary beyond its cautionary tale on technology, but sometimes simple can be incredibly effective.

Only two anime films have won the Oscar for best animated feature and, both times, they have been directed by the legendary Hayao Miyazaki. His first win made early history (we’ll get to that one later), so it only made sense for the Academy to give him a full circle moment with “The Boy and the Heron,” his culminating personal epic that, at least for a moment, ushered him into retirement.

For diehard Miyazaki-heads, “Heron” is an utterly captivating vision. It’s an artist pouring out his soul onto the page with a story that is deeply colored by his own coming-of-age and his reckoning with mortality. It’s all beautiful stuff, but it can be difficult to parse at first glance. Everything is so personal that not every symbol immediately clicks, which holds it back from being higher on this list. With repeat viewings, though, “The Boy and the Heron” does reveal its many enticing, beautiful secrets.

After three years of less-than-stellar films, including two sequels, Pixar needed a hit come 2017. Nobody knew quite what to expect from “Coco,” but it became a surprise holiday smash hit and, just like that, got Pixar back on track. The Academy awarded them the Oscar yet again after no Pixar film had even been nominated the year prior.

If this were a list of the best endings of any animated feature, “Coco” would top it without question. However, while Lee Unkrich and Adrian Molina’s family tale is emotionally resonant, it lacks a bit of its punch on repeat viewings. The film’s plot relies so heavily on its twist that its adventurous spirit feels less novel. Still, when Pixar is building a world this beautiful to look at and listen to, it’s tough to complain.

“Up” made a gigantic splash at the Oscars back in 2010. Not only was it nominated for five awards, making it one of the most nominated animated films in Oscars history, but it became the second animated film to ever earn a coveted best picture nomination and the first to do so since the category was enacted. So, yeah, it was gonna win best animated feature without a fight. Hell, if its opening montage had qualified for best animated short film, it probably would have won that too.

Pete Docter’s long-awaited Pixar follow-up after “Monsters, Inc.” is one of the studios’ most emotionally affecting films (and that’s saying something). It’s a story about living your life to the fullest, no matter what losses you may experience along the way. Though its fantasy elements can feel a bit disparate, from talking dogs to exotic birds, its imaginative mixture is part of what gives it its charm.

Plenty of folks would balk at the idea of “Toy Story 4” sitting so high on this list, for its very existence serves as a demerit against a perfect trilogy. Though it does sit in the shadow of its predecessors, real fans know that Josh Cooley’s continuation is still a hilariously funny, conceptually clever, and expertly animated story that has as much on its mind as its predecessors.

Some viewers were likely turned off by this fourth entry’s decision to conclude with Woody separating from his community of toys, the very group that gave him his purpose since movie one. However, it is this bold and challenging statement on personal agency and self-realization that makes “Toy Story 4” as emotionally complex and cathartic as its previous installments. If the first three films were about Woody’s relationship with Andy and his fellow toys, this is a film about Woody’s relationship with himself, making it an essential coda to the entire franchise (fifth entry notwithstanding).

On its initial release, it looks funny for “Ratatouille” to stand tall amongst Pixar’s other award-winners. It’s a great movie, don’t get us wrong, but its conceptual ambitions are far tamer than films like “Toy Story” or “Monsters, Inc.” Nonetheless, it wasn’t an especially competitive year and, with four nominations ahead of competitors “Persepolis” and “Surf’s Up” (including Best Original Screenplay), the rat movie took home the gold pretty easily.

Brad Bird’s noble tale of a rat and his human deserves its place as not just one of Pixar’s most popular films among young film fans, but also one of the best films of all time on IMDb. Sure, part of this is because it became every substitute teacher’s favorite way to get out of teaching, but a much larger reason is that many of its merits –- particularly its heartfelt underdog story about creative ambition — newly resonate with a generation of obsessed foodies and content creators. The movie got its own fan-made musical, in case it wasn’t clear how much people love this film.

Many casual moviegoers may have forgotten about this absolute gem of a film, but diehard animation lovers know “Rango” has the juice. Not only did it break a four-year winning streak from Pixar at the time, but it did so as one of the only animated Western features ever made and the first nomination for a Nickelodeon film since the category’s inception.

“Rango” isn’t just a fantastic animated Western but certainly one of the best Westerns of all time, in part because it captures the style and period of the genre with the kind of arresting detail that only animation can provide. Add that to a varied cast of strange but likable characters, a stirring commentary on groupthink and bureaucratic corruption, and a steely tribute to Clint Eastwood’s legacy as the Man With No Name, and you have just the right mixture that makes for a wild card winner at the Oscars.

From here on out, it’s untouchable classics only! And where better to start than with the film that started it all? Despite Pixar’s many wins in this category, it was DreamWorks that won the inaugural best animated feature award with “Shrek,” an incisive and hilarious farce on animation’s very own fairy tale legacy. The film was even nominated for best adapted screenplay alongside films like “A Beautiful Mind” and “The Fellowship of the Ring.”

What’s left to say about “Shrek”? The film’s sharply written characters and unconventionally beautiful love story would be enough to keep it relevant even 20 years after its debut, but the franchise’s meme-fueled internet stardom has further sent its status into the stratosphere. Though DreamWorks surely has mixed feelings over its … let’s call it multifaceted popularity, it’s enough to bankroll the entire cast to return for a fifth “Shrek” installment over 15 years after its fourth, so the studio probably isn’t complaining too much.

Though certainly a newer entry in the Pixar canon, Pete Docter’s “Soul” is undoubtedly as moving and thoughtful as any entry before it. It tackled big questions about being an artist, which was sure to appeal to Academy voters, and, despite being relegated to streaming amid the COVID-19 pandemic, everyone could appreciate its stunning level of craft. Case in point: it earned an additional nomination for best sound and an additional win for best original score.

Though some may have qualms with the film’s choice to put a white woman’s voice in a black man’s body for a decent portion of its runtime, it’s a small price to pay for what, in total, is a beautifully imaginative and introspective story on the meaning of life. The film’s virtuosic jazz music, brilliantly abstract imagery, and outrageously funny banter prove the old dogs at Pixar can still learn new tricks and do it in style.

Both the first and second “Toy Story” films were made prior to the category’s introduction in 2000, though both films saw Oscar nominations regardless. When the Academy got a long-belated opportunity to give this franchise its due, they went big, bestowing “Toy Story 3” the third-ever best picture nomination for an animated film. They also nominated it for best adapted screenplay (a nod to the first “Toy Story” and its original screenplay nomination), best sound editing, and awarded it best original song and best animated feature.

Everyone remembers the emotional wallop behind “Toy Story 3,” an altogether miraculous conclusion to the franchise’s Andy arc. Though it may recycle some characterization in its villain, the deceptively devious Lotso, it more than makes up for it with its meaningful character relationships, high-stakes heist drama, and a swath of new additions to the cast that make its expansive toy world feel bigger than ever before. And then, that ending. Chef’s kiss.

Back before Disney/Pixar dominated the category, “Finding Nemo” was its first major hit with the Academy, wiggling its way into best original screenplay and best sound editing on top of nominations for best animated feature and best original score. Director Andrew Stanton’s film likely won in a landslide, for his father-son story was such a bold technological step up for Pixar after “Monsters, Inc.” that folks began to take notice of the company’s stellar abilities.

It has been over 20 years since “Finding Nemo” first graced our screens and, in that time, it has become a cultural touchstone. It’s a bit overplayed in that regard, but, if you spend some time away from it, you’ll be amazed at how well the film ages with the very generation that grew up with it. For children, it’s an entertaining and genuinely thrilling aquatic adventure. For adults, it’s a moving portrait of fatherhood and coming-of-age, not to mention genuinely hilarious and gorgeous to look at. It’s a win-win!

After “The LEGO Movie” was brutally snubbed by the Academy in 2015, animation pioneers Phil Lord and Chris Miller came back in a big way with “Spider-Man: Into the Spider-Verse.” The film took the world by storm, becoming a word-of-mouth hit at the box office and introducing countless new interpretations of Spider-Man to audiences struggling with superhero fatigue. It quickly became a modern classic, synching a win at the Oscars.

Years before cinema’s moment with multiverse films, “Spider-Verse” introduced the concept in a vibrant, hyper-stimulating action romp that galvanized the animation community with its 2.5D blend of CGI and hand-drawn aesthetics. Despite being not even a decade old at the time of writing, it has gone on to inspire several notable animated films and is now considered one of the all-time greats, hence its high rank on this list. However, most importantly, it took a broad story and anchored it down to the core “Spider-Man” theme of owning up to personal responsibility while learning to lean on those who offer help. It was an exciting new twist on an essential formula, which makes for great filmmaking.

Pixar’s second-ever victory in the Best Animated Feature category was another critical and commercial darling in “The Incredibles.” The studio simply animating humans felt like small potatoes when compared to monsters and fish, but the film’s subversive storytelling, vintage quality, and stunning action setpieces made it feel like their biggest production yet. Not only did it win the animated feature category, it also got nominations in original screenplay and sound editing (though Michael Giacchino not getting nominated for original score is a glaring omission).

In an era where superhero movies have long overstayed their welcome, Brad Bird’s brilliant film has stood the test of time as, arguably, the greatest superhero movie ever made. “The Incredibles” asks us to consider what makes a superhero at their core and, as it turns out, it is far from mere ability, but rather a deeper ethos of courage, compassion, and humility. Mr. Incredible is not just incredible because of his strength, but because he seeks help from his family. This emotional throughline underscores every inch of this film, with a story that feels super all these years later.

“Inside Out” was Pixar’s biggest conceptual gamble yet, but leave it to previous two-time Oscar nominee Pete Docter to find a way for it to capture our imaginations and tug at our heartstrings in equal measure. The film found a way to turn the topical issue of mental health into a compelling adventure, rightfully becoming another Pixar production to earn a Best Original Screenplay nomination. Its Best Animated Feature win was all but secured.

When the culture let us down, Pixar came to pick up the slack by teaching millions of children and adults how to process their own mental health. It’s no surprise “Inside Out 2” was such a resounding success with audiences; folks imprinted on this movie’s portrayal of happiness and sadness as a pendulum of daily life, not to mention the absolute tragedy behind imaginary friend Bing Bong. The film unlocked our inner child while helping them grow up, all with beautifully rendered characters and a cavalcade of hilarious visual gags. Making lofty topics this engaging is the exact kind of Pixar magic that rarely ever lets diehard fans down.

The first — and for a long time, only — anime film to be crowned the champion in this category, “Spirited Away” was many Academy members’ first major exposure to Japanese animation (in part thanks to John Lasseter coaxing Disney into helping localize Hayao Miyazaki’s library of films) and a landmark moment for the medium’s stateside popularity. The category saw its first crop of five nominations, yet none of the other four nominees — all American productions — could top Miyazaki’s vivid imagination and, for American viewers, novel imagery.

The film’s historical status alone secures a high spot on this list, but the film itself is, of course, a masterclass in filmmaking, animated or otherwise. Chihiro’s endeavor into the world of kami is more than just a twisted fairy tale with numerous bizarre yet lovable creatures; it’s a journey into childhood discovery and personal independence. Miyazaki has always painted sensitive portraits of children undergoing big changes, but “Spirited Away” feels like his magnum opus in this regard, an open-hearted yet still ever so illusory confrontation with maturity. In turn, an entire generation matured with it, helping it become one of the most beloved animated films ever made.

Say it ain’t so! Many hold “Spirited Away” as their No. 1 best animated feature winner, but we beg to differ on a few counts. For one, “WALL-E” still holds the record for most nominations given to an animated film since the category’s inception at six (“Beauty and the Beast” was also nominated for six before the category existed), including in Best Original Screenplay. Though it missed out on a best picture nomination, many believe that its omission inspired the Oscars to expand the race to 10 nominees one year earlier, a number the category hadn’t seen since 1943.

However, the more important reason “WALL-E” gets top billing is to make up for lost time. Upon release, Andrew Stanton’s life-affirming masterpiece garnered a reputation for being revelatory in its first half but underwhelming in its second. After all, the film’s transition into more consistent dialogue and incredulous sci-fi farce was a bit tough for some people to swallow. Well, those people were and still are wrong, for we are slowly approaching a civilization that actually looks and sounds like the Axiom: raging consumerism, folks hypnotized by screens, and technology controlling our every decision. Whatever slander the naysayers were spouting back then looks pretty foolish now. It’s time to accept that this prescient tale of robot love and human resilience is the best of the best animated features, Hayao Miyazaki be damned.