Why animated movies

Animated movies are usually family movies where the whole family can go to the theater without parents worrying about the content or the rating of the movie. See Why some people like war movies? Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Why animated movies are getting more popularity? They usually deliver a message. They are usually very creative. Escaping to a different world. They can be funny.

They can be very emotional. It combines many genres. They appeal to both kids and adults. They can inspire in a way no other movie has. Creators can perfectly translate their vision while making an animated production. There are no actors, stuntmen, or any variables in the way. Here are a few animations that will guide you through all kinds of emotions.

You will experience everything, from sadness and nostalgia to happiness and hopefulness. Every good animated movie has at least one moral you can learn something from. Here are a few life lessons you can surely learn from:. Moreover, kids of all ages can look up to heroes and their interior values shown across all kinds of adventures. Watching the movie and seeing Anna trying to save Elsa, we can learn about friendship, the power of love, kindness, and many more.

Aside from the children-targeted animations that teach the alphabet or simple math operations, adults have plenty of productions to learn from.

Watching animated movies improves vocabulary and can help you learn a second language easier. TIP: If you are learning Japanese, be sure to take a look at anime series like Naruto, Bleach, or anything that appeals to your preferences. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Mind and Soul Mind Tricks. By Claudiu Pop. If Moana herself belongs in a lineage that stretches right back to Snow White, she's firmly in the 'Disney Princess 2.

The film shines from beginning to end with its loveable characters and vibrant Pacific island imagery — all gleaming blue seas and lush vegetation — and boasts a Ghibli-esque approach to good and evil, savouring balance and harmony in favour of traditional battle-won victory.

Factor in a stack of outright Disney-bangers, Jemaine Clement channelling Bowie as a giant glam monster-crab, and a Mad Max -style action sequence with warrior coconuts, and you've got a modern great.

Yet, as strange as it may seem, the Claude Barras-directed film has Sciamma's fingerprints all over it, from Icare's alcoholic abusive mother — it is she who nicknames him Courgette — to suicide, to the lives of damaged kids in an orphanage.

If it sounds grim, it is, but the darkness is balanced out with warmth, humour and wisdom. It's also full of vibrant animation — a punk-disco thrown for the kids by the teachers is a delight — that remains relatable, allowing the story's empathy, sensitivity and hope to make the biggest impression. It's true that some elements of Dumbo have aged incredibly poorly — not just the infamous racially-caricatured crows, but the less-well-remembered 'Roustabouts' song that reduces the film's only people of colour to cheery, faceless slaves.

In all other regards, it's a masterpiece. It's achingly melancholic and deceptively dark — a tale of exploitation, misery, and eventual metamorphosis, as big-eared baby elephant Jumbo Jr. It has a tear-jerker of a song in 'Baby Mine', the circus sequences are vividly realised, and 'Pink Elephants On Parade' remains one of the boldest, barmiest bits of animation ever to emerge from Walt Disney Animation Studios.

All these years later, Dumbo still soars. A charming combination of mythically-inspired animation and screwball-inspired comedy makes Hercules a comfortable entry in the '90s Disney Renaissance, even if it went a little under-appreciated at the time of release. Studio stalwarts Ron Clements and John Musker made their follow-up to Aladdin another underdog story, this time about the son of Greek gods Zeus and Hera, who becomes a human outcast with godly powers after Hades' henchmen fail to turn him completely mortal.

Throw in a soundtrack of gospel bangers — not to mention Michael Bolton's rousing rendition of 'Go The Distance' — and you've got an energetic, slyly funny romp. How do you follow-up the most game-changing animated movie in decades? You expand the character roster with more toys that audiences will fall in love with hello, Woody's Round-Up gang , deepen the emotional pull who doesn't cry at 'When She Loved Me'?

If it could never hope to recapture the surprise of the original, Toy Story 2 proved Pixar was no flash in the pan — a sequel originally destined for straight-to-video was simply too good not to hit the big screen. In true Empire style, it expands the world and splits up our gang — sending Woody into the big bad world of retro toy collectors, and dispatching Buzz and co to save him in a jaunt that takes in a hilarious Barbie-centric trip through Al's Toy Barn.

It's a sequel that showed there was plenty of life yet in these toys — and this time, everyone was looking. Slap-bang in the middle of Disney's silver age came an adventure that looked unlike any other film from the studio before it. The lavish, expansive vistas of Sleeping Beauty were replaced with textured sketchbooky scrawls thanks to the new cost-cutting Xerox animation process — resulting in a film that feels properly hand-crafted and full of life, simpatico with its jazzy score.

Adapting Dodie Smith's novel, it was at the time a rare contemporary Disney film, bringing s London to life in the tale of a loved-up couple, their doe-eyed dogs, and a maniacal fashionista intent on dog-napping their litter of newborn puppies to make a fur coat. If the dalmatians themselves are adorable, it's Cruella De Vil who steals the movie — a properly iconic villain, a scrawny creature in a hulking fur coat, with green-smoke-spewing cigarettes, and that damning screech of "imbeciles!

Both visually and emotionally, Bambi is a strong contender for Disney's most beautiful animated film. Right from its extended opening multi-plane shot through layers and layers of dense forest, it's a lush pastoral coming-of-age story that revels in recreating the sense of life, love and loss inherent in the natural world.

The plot is minimal — particularly in its opening half, more intent on immersing viewers in the forest's flora and fauna — but ultimately hugely moving, as newborn fawn Bambi makes friends, loses his mother in a sequence that's now traumatised multiple generations of children to hunters, falls in love, and grows into a stoic Great Prince Of The Forest like his father before him.

The narrative's maturity sometimes clashes with more kid-friendly characters like hyperactive bunny Thumper and skunk Flower, but its closing cyclical imagery is properly stirring.

It's not every film that can take two beloved stop-motion characters from a series of shorts and TV specials and put them up on the big screen for a rollicking, Hammer horror-inspired comedy.

But Were-Rabbit is just one reason why no one should underestimate the Aardman team, who were able to bring their British sensibility to a relatively big-budget American animated movie. The larger canvas doesn't short-circuit the charm of inventor Wallace the late, great Peter Sallis and his silent, smart canine chum, and this is stuffed with the sort of sly winks and fun characters we've come to expect from the duo's outings.

The film itself may not have set box office records we have noticeably not seen a second film featuring the pair , but it won the Animated Feature Oscar in — and good thing, too, if only for all the gardening puns.

The second film from Irish animation house Cartoon Saloon is breathtakingly gorgeous — painterly and ethereal, blending stylised character models with finely-detailed backgrounds that glow with a bioluminescence befitting its subaquatic selkie-centric story. If Song Of The Sea plays to kids as a straight-up adventure, for older audiences it's a delicately drawn fable about grief and family, as stoic dad Conor Brendan Gleeson is left to raise his son Ben David Rawle and newborn daughter Saoirse Lucy O'Connell after his wife dies in childbirth — and there may be more to Saoirse than meets the eye.

Pulling from Irish folklore and steeped in a sense of cultural specificity, Song Of The Sea confirmed Cartoon Saloon as a major new voice in the medium — one whose artistry, storytelling and charm matches up to the greats of Ghibli, Disney, and Pixar. Makoto Shinkai's record-breaking body-swap anime glitters and gleams — light bounces off surfaces in glorious shimmers, refracts through the sky, reflects from buildings and iPhone screens with breathtaking beauty.

It's a film of two halves — the first is sweet, charming and witty as small-town girl Mitsuha Mone Kamishiraishi and Tokyo boy Taki Ryunosuke Kamiki find themselves waking up in each other's bodies, perhaps thanks to the cosmic interference of a passing comet.

And once their growing metaphysical relationship hooks you in, the second half of the film shifts gears into high-stakes melodrama with major emotional punch. If there's plenty of subtext about Japan itself — the push and pull between rural traditions and buzzing cities, its history of natural disasters — it's the dazzling visuals, soaring soundtrack by band Radwimps, and that central pairing that make Your Name.

Fittingly, it's a body-swap film that gets under the skin. A continuation of DreamWorks Animation's early mission to become a competitor to Disney while bringing animation to older audiences, The Prince Of Egypt masterfully blends CGI with traditional 2D animation; a first for the studio.

An army of animators were summoned to make this biblical epic, pitched by studio co-founder Jeffrey Katzenberg as an animated adaptation of The Ten Commandments. Alongside its stunning Egyptian vistas and finely-drawn, expressionistic characters — not to mention a giddily tense chariot race sequence — it boasts gargantuan '90s star power, with Michelle Pfeifer, Sandra Bullock and Jeff Goldblum amongst the voice cast, with Val Kilmer in a dual role — lending his rich timbre to both Moses and God himself.

As if that weren't enough, Hans Zimmer's staggeringly cinematic soundscape and an Oscar-winning accompanying duet from vocal powerhouses Whitney Houston and Mariah Carey makes this ambitious venture a rewarding entry at a time when DreamWorks became a viable Disney rival. Cartoon Saloon and co-director Tomm Moore wrapped up its Irish Folklore Trilogy with this latest release, a fantastical tale set against the very real issue of English colonial destruction in Ireland.

Robyn Honor Kneafsey , the daughter of a hunter dispatched to wipe out the local wolf population discovers a kindred spirit in a pack and fellow youngster Mebh Eva Whittaker , who embodies a wolf when she sleeps.

Together, the pair sets out to save the wolves and the forest from the schemes of the Lord Protector Simon McBurney. Moore and the Saloon gang have always trodden their own animated path, and Wolfwalkers is no different, mixing boxy woodcut style for the townsfolk with loose, flowing line work for the creatures of the woods. Both sweet and powerful, it's a crime that the pandemic meant it was predominantly released online.

If you want a perfect example of how ultra-expressive animation can complement and benefit a freewheeling comic masterclass of a voice performance, look no further than Aladdin — because the title character has the entire show stolen from him by Robin Williams' Genie.

The big blue guy is a creation of pure, cartoonish elasticity — shape-shifting from second to second as the comedy icon's firecracker heavily-improvised performance explodes in multiple directions at once. That the visual comedy lives up to William's wit is a marvel — no wonder Will Smith and Guy Ritchie couldn't match it in the live-action version. The Middle-Eastern stereotypes certainly don't fly today, but everything else does — the carpet included.

Disney's second animated feature is a major leap forward from Snow White — more narratively expansive, more technologically complex, and way, way darker. Adapting Carlo Collodi's novel, it follows the titular wooden puppet on an existential quest to earn his humanity — one that finds him exploited by a shady showbusinessman, swallowed by a rampaging whale called Monstro, preyed on by an upsetting cat-man, and, in a truly disturbing sequence, taken by a demonic coachman to the sinful 'Pleasure Island' where rebellious boys are mutated into donkeys and shipped off for nefarious purposes.

It is, in short, not really one for kids — but adults will find much technical mastery in its vivid tracking shots and creepy character animation. Rarely a team to rest on its laurels and it has some well-earned laurels , Pixar, spearheaded by Lee Unkrich, decided to really challenge itself and develop a film showcasing the cultural touchpoint that is the Day of the Dead. Or at least, that's the background — the real story here is of young Miguel Anthony Gonzalez , who dreams of being a famous musician like his idol, Ernesto de la Cruz Benjamin Bratt.

That's no straightforward ambition, especially when his family has banned music after his great-great-grandmother's husband left her to pursue a career as a performer. Literal buried secrets come into play as Miguel crosses to the land of the dead on a mission to learn the truth.

Coco is a vibrant film that honors Mexican cultural traditions, and — because the Emeryville studio is so good at it — plucks at the heartstrings as effectively as some of the guitar players here. There are magical moments happening at every turn—between the attractions, shows and even Cast Member interactions—and the memories you will make here are unforgettable.

No other theme park destination has a handle on the magic like Disney does. That honor goes to Persephone, the main character of a Silly Symphonies short that served as a sort of test run for Snow White. The Walt Disney Company is known and loved internationally by people in every part of the globe. They bring magic not only through their shows, rides, characters and the unmistakably unique ambiance of the theme parks but also through the overall brand itself.

Gone With the Wind was rejected by 38 publishers. Legend has it that Walt Disney was turned down times before finally getting financing for his dream of creating Walt Disney World. Begin typing your search term above and press enter to search.

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