One Category at a Time: Animated Feature

Last year saw what many assume to be the closest race in the twelve year history of this category, as Brave edged out Wreck-It Ralph. Even with two great movies like those in play, I still thought at the time that it had been a thin year for animation in 2012. Boy, was I unprepared for the sorry state affairs this year, which claims arguably the weakest list of animated releases to date. Accordingly, the resulting Oscar lineup contains two films that shouldn't be in the awards conversation at all, two films that should be in the conversation but would not have made it in a stronger year, and one film which is still widely unseen!

My Award nominations: Animated Feature

Best Animated Feature:

How to Train Your Dragon
(Chris Sanders, Dean DeBlois):
Not since the first Shrek movie has Dreamworks attempted to make a film that's more about heart than it is about snark and pop culture references. Chris Sanders and Dean DeBlois see to it that the evolving relationship between Hiccup and his new pet is done with tact, subtlety, and body language, which really is the most effective application of the animated medium. Technically, the film excels.

The Illusionist (Sylvain Chomet):
The film marks a wonderful meld of the endearing comedic stylings of classic French director/comedian Jacques Tati and the gorgeous visual film artistry of animator Sylvain Chomet. The story is beautifully told from adorable start to devastating finish with a gentle sense of humour and a meticulous attention to detail.

Megamind (Tom McGrath):
Easily the most cartoonish of this bunch, but who's to say there's not a place for cartoonishness when it's done well? Not all the jokes land but those that do are often laugh-out-loud funny, and the animation/character designs are (appropriately) absurdly over the top.

Tangled (Nathan Greno, Byron Howard):
Eschewing the more bankable style of obnoxious modernized humour that sells franchises like Dreamworks' Shrek, Disney has finally produced a completely charming family treat that can deservedly sit along side classics of the studio's 1930s-40s golden age and their 1990s renaissance. Warm, funny, blissful entertainment.

Toy Story 3 (Lee Unkrich):
The film is just as witty and lovable as its two predecessors, but is even more upfront about complex themes. Its now-famous ending is more emotionally powerful than not only either of the previous films, but than any film in years. Toy Story 3 has elevated the series from a cute family franchise to one of the great movie trilogies of all time.