You Wont Believe the Incredible Animations That Won This Years Oscars
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Emily St. James was a senior correspondent for , covering American identities. Before she joined in 2014, she was the first TV editor of the A.V. Club.
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The Best Animated Feature category at the Oscars might as well be called the “Pixar Award.” The trophy has been handed out just 18 times, since the 2002 Oscars ceremony (which honored the films of 2001), when
Won. At nine of those 18 ceremonies, Pixar took home the prize, including winning four years in a row, from 2008 to 2011 (for
But there’s a challenger on the horizon. Going into the 2019 Oscars, Sony Pictures Animation’s Spider-Man: Into the Spider-Verse has won every major precursor award, including a clean sweep of the animation industry’s Annie Awards.
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Swooped into the race in December and stole the thunder of Pixar’s Incredibles 2, which also boasted great reviews and an even better box office take, but came out in June and feels a little like old news. (That two superhero movies are squaring off in this category feels like a thing that will never happen in, say, Best Foreign Language Film.)
Then, just to complicate things, the Cinema Audio Society’s award for animated sound mixing — which, as awards expert Ben Zauzmer points out, has gone to the winner of the Best Animated Feature Oscar for five out of the last six years, including predicting upset wins for
. (That the two awards have lined up like this in the past few years is probably just a coincidence, as the voting bodies for CAS and the Oscars are very different, but hey, anything to make the race more exciting!)
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(which won Best Animated Feature at the 2005 Oscars) with the sequel it all but demanded. As with so many projects launched after their creators had years and years to think about them,
Feels like it has thousands of ideas in its head. Not all of them land, but enough of them do. And the ones that don’t still contribute to a complicated examination of just why our culture is so gaga for superheroes.
This sequel reverses the structure of the first film, leaving Mr. Incredible at home with the kids, while Elastigirl goes out to battle evil and further the good name of superheroes (who are still outlawed in the
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Universe). The two also meet eerie mirrors of themselves in a brother and sister duo who have ideas about how to create a new world brimming with superheroes.
Somehow brings its seemingly dozen plotlines together into a rousing climax. If it’s not quite at the level of the first film, well, the first film is maybe the best movie Pixar ever made, so ... that’s not really a problem.

). It’s also his tribute to Japanese cinema, it’s set in Japan, and it makes the very odd choice to have the titular dogs (who have been banned from futuristic Japanese society) speak English while the human characters largely speak untranslated, unsubtitled Japanese. If that doesn’t sound like at least a recipe for thinkpieces to you, I don’t know what internet you think this is.
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Was the subject of the best film writing of 2018, much of it from Asian-American critics grappling with the movie’s obvious craft but also finding themselves put off by how it unintentionally turned Asian characters into alien outsiders. (See: Mashable’s Angie Han; the Los Angeles Times’s Justin Chang; Karen Han at the Daily Beast.) Anderson’s obvious love of the films of Akira Kurosawa, Hayao Miyazaki, and many, many, many other famous Japanese directors is impossible to ignore. But it’s also hard to ignore what Karen Han dubbed his “cultural tourism.”
, which plays in similar thematic territory, obviously). But it boasts strong voice work from a massive cast that features everybody from Bryan Cranston to Yoko Ono and — as always with Anderson — a visual design worth getting lost in. So you should definitely check it out
Is also set in Japan and while it also features a dog as a character (granted, a supporting one), it was actually made by a Japanese filmmaker: Mamoru Hosoda, well known to anime fans for movies like
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Does just one thing very well. It follows a young boy named Kun in the emotionally fraught months after his new baby sister, Mirai, enters his life, as his parents try to juggle the demands of two children, their jobs, and their attention-starved dog. Kun begins to have imaginary-or-are-they visits from figures from his family’s past and future, which help him learn to better understand his own emotional outbursts.
Feels a little samey, even at a short running time of barely 90 minutes. But that’s Hosoda’s design, ultimately. The last 15 minutes of

Are so dazzling, on both a technical and a narrative level, that they will make you realize why the rest of the movie fell so readily into the rhythms of a child’s day-to-day life. This is a movie for patient viewers, but trust that you will be richly rewarded.
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Is probably going to struggle to scrounge up votes when Academy voters turn in their ballots. Just 10 to 15 years ago, when the Best Animated Feature category frequently found itself filled with the likes of
But hopefully you registered the part where I said the movie is “terrific, ” because it is. The sequel sends Ralph, the video game villain who learned in the first film that acceptance of yourself and others is its own kind of heroism, and his best pal Vanellope, a girl who delights in doody humor and driving cars really fast, out of the arcade and onto the internet to find a rare part that will fix Vanellope’s broken arcade console.
For a while, the movie seems like it might just be a series of jokes about famous memes, but be patient. The second half of the film proves a surprisingly thoughtful meditation on online toxicity, the ways friendships can turn bad, and how hard it can be to let the people you love grow and change. It’s a triumph in the way that it couches a bunch of moments that will make you bawl your eyes out in what initially seem like silly jokes.
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Is still in a handful of theaters, but your best bet is to buy it digitally. The physical release arrives February 26 — two days after the Oscars.
Is an energetic swing through decades of comic book lore, somehow pitched simultaneously at those who know everything about Spider-man and those who know absolutely nothing. It’s funny, moving, thrilling, and genuinely groundbreaking from a technical standpoint.

It’s also built atop a terrific screenplay, one that so effortlessly pays off every single setup it raises that it makes so many other movies feel like they’re straining just a bit. Miles Morales is just a normal kid, growing up in Queens. Then he meets a radioactive spider, gets bitten, etc., etc., etc. But what makes this story so unique is the way it incorporates other versions of Spider-man — not just Peter Parker, but Spider-Gwen (a spider-powered version of one of Peter’s girlfriends), a Spider-Man from a film noir-inspired universe, and a cartoon pig named Peter Porker (a.k.a. Spider-Ham).
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And then it starts messing around with the multiverse, which is not the sort of thing that’s easy to do in a movie that’s already juggling so many other ideas. It also tries to give major character arcs not just to all of its heroes, but to all of their family members and all of the villains. That
Not only pulls all of this off, but ties itself up in a neat little bow is one of the storytelling achievements of the year, making it easy to see why it’s became the frontrunner for this year’s prize.
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