They've enthralled or terrified generations of kids, and now they're giant worldwide blockbusters. So what are the best animated features of all time? Using an obscure system of weights and measures, TIME's Richard Corliss has compiled and annotated the countdown, from No. 25 (Lady and the Tramp) to No. 1 (see for yourself). Are your favorites on the list? Let the great debate commence; we know it'll be animated.
It’s said that when he first watched a rough cut of his studio’s next feature cartoon, Walt Disney absolutely disapproved of one scene: when the Cocker Spaniel Lady and the roguish mutt Tramp dig into a plate of spaghetti on a romantic night and catch ends of the same strand, their faces coming closer to a kiss as they nibble. This, of course, is the moment — played to the strains of Peggy Lee and Sonny Burke’s Neapolitan ballad “Bella Notte” — that immediately entered the DNA of millions of moviegoers and is still cherished more than a half-century later.
Disney’s 15th animated feature, and its first released in CinemaScope, was one of its more modest productions in a decade when the studio had mixed results with its ambitious adaptations of such famous tales as Alice in Wonderland, Peter Pan and Sleeping Beauty. Returning to the core Disney values of humor and heart, veteran directors Clyde Geronimo, Hamilton Luske and Wilfred Jackson gave Lady and the Tramp the pedigree of a winner that delights every new generation of children.
Stop-motion animation is exacting, exhausting work: building puppets, placing them on a miniature stage and moving them one frame at a time — tens of thousands of times. Harder still is bringing insouciant life to this arduous process. That’s what director Wes Anderson and animation director Mark Gustafson managed in this delightful version of the Roald Dahl children’s classic about a dapper, larcenous fox (voiced by George Clooney) who aims to pull off one last, impossible heist. The vibe of Fox and his wife (Meryl Streep) and rebellious son (Jason Schwartzman) is as comically tense as it is in families from earlier films by Anderson (The Royal Tenenbaums) and co-writer Noah Baumbach (The Squid and the Whale). But the brood soon bonds, revealing its humor and humanity, its intrinsic and intoxicating foxiness.