Finding Nemo

Marlin the clown fish (voiced by Albert Brooks) is a fussy little anxiety machine. When he learns he’s to be a father of 400 babies, he fidgets: “What if they don’t like me?” But he’s right to be concerned for his brood in the fish-eat-fish world of Australia’s Great Barrier Reef. A shark devours Marlin’s wife and 399 of her eggs. That leaves little Nemo (Alexander Gould) — the one survivor, handicapped by an underdeveloped fin — and Marlin, burdened with an overdeveloped sense of dread. When Nemo is old enough to go to school (of fish), Dad’s pessimism is again validated: the lad defiantly swims into open water and is kidnapped. Marlin must conquer his own fear of the great wet world, that “swirling vortex of terror.” But he has a companion in his search: Dory (Ellen DeGeneres), a blue tang with a sunny disposition and a short-term-memory problem.
The Pixar pixies always fashion funny, poignant stories to match their gorgeous computer images, and this time they hit the jackpot, in a lost-child saga told from the searching father’s point of view. With its ravishing underwater fantasia, Nemo trumps the design glamour of earlier Pixar films. The dramatic set pieces — Marlin and Dory eluding jellyfish stings, Nemo’s claustrophobic panic in a plastic bag — are realized with assured energy and balanced by the voice artists’ deft comic performances. Writer-director Andrew Stanton provides artistic and political resonances galore: he alludes to favorite movies, from Pinocchio to Psycho, and fearlessly takes on the powerful pet-shop and aquarium lobbies. There is also the secret insignia of any Pixar feature: a G-rated fart joke. Nemo was the highest-grossing CGI feature of its time and is one of two animated features on the All-TIME 100 movie list. It was, and remains, a serene marine enchantment.
The Triplets of Belleville

The string of Pixar hits and the mammoth worldwide gross for DreamWorks’ Shrek gave movie studios the signal to dump hand-drawn 2-D animation for the shinier, more popular CGI. Apparently Sylvain Chomet didn’t get the news. The French comic-strip artist spent five years making The Triplets of Belleville (also known as Belleville Rendez-vous), about an old woman who raises her grandson to be a Tour de France champion. There’s a dog, some bike-napping mafiosi and three old chanteuses whose diet consists entirely of frogs they catch by tossing hand grenades into a nearby stream. Vous guessed it by now: Triplets is terrific.
Chomet, who seven years later made the Jacques Tati–inspired The Illusionist — and who, for Triplets, did use computer animation for the film’s cars, boats and trains — has a canny design eye to match his narrative wit. The old woman is stocky and clubfooted, a compact metaphor for stubborn dedication; her grandson is so spindly, he could ride Giacometti’s chariot; Bruno the dog has more personality than 101 dalmatians. The movie isn’t aimed at kids, but they will find plenty to beguile them. And don’t worry that the film is French; it has hardly any dialogue. Doesn’t need it. There’s eloquence enough in the movie’s gnarly imagery and Chomet’s understanding of the human impulse not just to survive but also to save others.
More Best & Worst Lists
View AgainBest Animated Films
- Lady and the Tramp
- Fantastic Mr. Fox
- Yellow Submarine
- Dr. Seuss' Horton Hears a Who!
- Kung Fu Panda
- Paprika
- Tangled
- The Lion King
- Akira
- Happy Feet
- Wallace & Gromit in the Curse of the Were-Rabbit
- The Adventures of Prince Achmed
- Snow White and the Seven Dwarfs
- Toy Story
- Toy Story 3
- The Little Mermaid
- Finding Nemo
- The Triplets of Belleville
- Up
- South Park: Bigger, Longer & Uncut
- Spirited Away
- Dumbo
- The Bugs Bunny/Road Runner Movie
- WALLE
- Pinocchio

























