Trippy Anime Movie Where Guy Gets Shot Up Butt

Trippy Anime Movie Where Guy Gets Shot Up Butt

The 100 best animated movies: the best psychedelic movies

Earth-famous animators pick the best animated movies ever, including Disney and Pixar movies, cult movies, kids movies, stop-motility, anime and more than

At present nosotros know which are the 100 best animation movies of all time. But which are the best Disney movies and which are the best Pixar or Studio Ghibli films? Which are best for kids and families and which are strictly arty, political or edgy?

We've practical 26 handy labels to the 100 great animations in our list. Hither you'll observe all the films that lean toward the psychedelic in some or all of their imagery.

But how many accept you seen? Have our poll to discover out.

RECOMMENDED: Explore the 100 all-time animated movies ever made

My Neighbor Totoro (1988)

Miyazaki proves he has the heart of a child, the heart of a painter and the soul of a poet.

Director: Hayao Miyazaki

All-time quote: "Trees and people used to be good friends."

Defining moment: The offset advent of the roving cat-bus will have viewers of all ages gasping in please.

Some filmmakers build their great artworks with claret, sweat and toil. Japanese primary Hayao Miyazaki seems to sprout his from seeds, planting them in good earth and patiently watering them until they burst into blossom. My Neighbor Totoro is the gentlest, nigh unassuming film on this list, a tale of inquisitive children, mischievous grit fairies, magical trees and shy sylvan creatures. Only in its ain quietly remarkable way, it's besides 1 of the richest and most overwhelming.

This is a story whose roots get deep: into Japanese tradition and civilization, into its creator'due south personal past, into a commonage childhood filled with tales of mystery and a dear of all things that grow. There is darkness at the picture show's heart—the fearfulness of losing a parent, the loneliness and frustration of babyhood—but its affect is gossamer-low-cal, delighting in elementary pleasures like raindrops on an umbrella, dust motes globe-trotting in the sun and midnight dances in the garden. The visual style is unmistakably Japanese (unadorned and aesthetic) and the theme song is so sugary-chirrupy-sweet that it'south impossible to dislodge in one case heard. Simply the cumulative event is unique and utterly all-encompassing, returning us to a world nosotros have all, at one time, lived in—and peradventure will over again.—Tom Huddleston

Yellowish Submarine (1968)

The cartoon Beatles rampage through a psychedelic Pop Art dreamscape.

Managing director: George Dunning

All-time quote: "Nothing is Beatleproof!"

Defining moment: The gorgeously downbeat "Eleanor Rigby" sequence, utilizing monochrome photos of Liverpool.

This may testify to be the most divisive motion picture on our listing: Hardened Beatlemaniacs will tell you lot that Yellow Submarine is a travesty, employing fake (and not especially convincing) Liverpudlian accents to tell a nonsensical tale steeped in late-'60s acid-fried sentiment, never mind that the Fab Four pop upwards in person at the stop to give their approval. Fine art maniacs, meanwhile, will tell you it's a dazzling work of the imagination, harnessing every animation technique available at the fourth dimension to create an middle-frazzling, insanely inventive trip. To be fair, they're probably both right: The script is silly, the story is cringeworthy, and the Beatle characterizations are a bit soft. But visually information technology'south breathtaking, ane of the few genuinely hallucinatory movie theater experiences, and fully deserving of its high placement here.—Tom Huddleston

Fantasia (1940)

In Disney's extravaganza, eight fantastical vignettes are scored to music by Bach, Tchaikovsky and Stravinsky.

Director: No less than 11 directors slaved on individual sequences, many without credit.

Best quote: "Mr. Stokowski! Mr. Stokowski!"

Defining moment: Sorcerer's apprentice Mickey Mouse finds himself on the wrong cease of the broomsticks.

By the end of the 1930s, Mickey Mouse, the bedrock grapheme of a growing empire, had declined in popularity. Then Walt Disney deputed the elaborate curt "The Sorcerer's Apprentice." Accompanied by the highly hummable Paul Dukas composition of the same proper noun, it follows the red-robed rodent as he magically brings an ground forces of broomsticks to life. While in postproduction on the brusque, Disney decided to surround it with similar vignettes scored to other classical compositions, and Fantasia was built-in. Bated from some interstitial material narrated by Deems Taylor (during which Mickey himself greets star conductor Leopold Stokowski), the music dictates Fantasia'southward visual-aural menstruum. Abstruse color patterns rise and fall to Bach, life-size mushrooms trip the light fantastic toe to Tchaikovksy, a hippo and an alligator practice a slapstick Ponchielli ballet, and the devil himself summons dark spirits to Modest Mussorgsky's churning Night on Bald Mountain. Silly and sublime in equal measure—every bit well as a film that served to introduce generations of kids to the joys of classical music—this is ane of the Mouse House's finest.—Keith Uhlich

Akira (1988)

A biker teen unleashes a psychic with apocalyptic powers—oh, and it'southward 2019.

Manager: Katsuhiro Ohtomo

Best quote: "The hereafter is non a straight line. Information technology is filled with many crossroads."

Defining moment: Motorcycle gangs tear through the night destroying all in their wake—a scene that would requite Mad Max chills.

Anime'southward breakout moment, this supercharged sci-fi thriller turned a niche subgenre into a global phenomenon: Western teens started using the term cyberpunk in casual geek-speak, while Japan's printed manga of a sudden flew off the shelves. To the nonfan dragged along for the ride, the movie felt a lot similar Blade Runner and Brazil, featuring incredibly vivid details and attention paid to urban decay. But Akira was as well a watershed moment for sci-fi in a larger sense, popularizing ideas of citywide ruination, futuristic rebirth and a distinctly Asian notion of psionic powers that would influence everything from The Matrix to Inception. The mutable setting of Neo-Tokyo anticipated the larger playground of the Internet, still years off but somehow of a piece with these youthful speed racers.—Joshua Rothkopf

Information technology's Such a Beautiful Day (2012)

A one-man masterpiece.

Director: Don Hertzfeldt

Best quote: "Someone sits on the shore and tells him how the waves accept been there long before Neb existed, and that they'll withal be there long later he's gone. Beak looks out at the water and thinks of all the wonderful things he will do with his life."

Defining moment: In the epic finale, a stick hero is reborn into an ageless beingness and learns all the secrets of the universe.

How satisfying it is to detect Don Hertzfeldt's cocky-fabricated saga of schizophrenia and self-loss nestling comfortably in the college reaches of our rankings. Written, directed, produced, blithe, photographed, voiced and distributed entirely by Hertzfeldt himself (he admits to getting a little aid with the editing), It's Such a Beautiful Twenty-four hours is the tale of a immature everyman, Bill, who finds his listen and his world unexpectedly going to pieces. Hertzfeldt'south manner may have started off uncomplicated, with stick figures and basic line drawings, simply by the time of this feature, information technology had broadened to include a dizzying array of in-camera, nondigital visual effects. The result is 1 of the great outsider artworks of the modernistic era, at once sympathetic and shocking, cute and horrifying, angry and hilarious, uplifting and almost unbearably sad. Seek it out.—Tom Huddleston

Fantastic Planet (1973)

Surreal social commentary in a Gallic blithe sci-fi milestone.

Manager: René Laloux

Best quote: "I was only a tiny toy, merely on occasion a toy who dared to rebel."

Defining moment: A mother runs in terror cradling her child, simply to be picked up and flung to the ground by a giant blueish hand.

Accept the big'uns-versus-little'uns conflict from Gulliver's Travels, sprinkle with the Blue Meanies from Yellow Submarine, add together a political allegory as forceful equally Orwell's 1984 and you're kickoff to grasp this unique combination of Gallic creativity and Czech production expertise. No other blithe characteristic looks like this, since planet Ygam and its weirdly wonderful inhabitants are drawn in a deliberately antique manner, like some illustrated bestiary from before Columbus gear up canvas. The tiny Homs (think hommes, French for "men") are kept every bit pets by their otherworldly conquerors, the giant Draags (maybe drogues, French for "drugs"), but they have the spirit and ingenuity to plow the tables on their technologically avant-garde notwithstanding dangerously self-captivated masters. This definitely prefigures the world of Hayao Miyazaki's Nausicäa, even if it lacks his robust storytelling and crisp action. It'southward a '70s landmark all the same.—Trevor Johnston

Waking Life (2001)

Conversations swirl in a treatise on the need to stay curious.

Director: Richard Linklater

Best quote: "Are you lot a dreamer? I haven't seen besides many around lately."

Defining moment: Floppy-haired Wiley Wiggins floats high above his suburban neighborhood, a black shape against the blue heaven.

Trippiness of a highly exact nature wasn't unexpected from the director of Slacker and Dazed and Dislocated. Still, Richard Linklater's hypnotic plunge into rotoscoping proved a litmus test even for his fans: You either let the flow of cosmic ideas sweep you lot up in a stimulating rush or you checked out somewhere. In either example, the filmmaker'south creativity was undeniable. Friends morph into banks of fluffy, chatting clouds; flirters launch words like dearest into earholes. Amateur philosophizing was never so well-supported or flattered past its form. Fans of Earlier Sunrise noticed Julie Delpy and Ethan Hawke lounging in bed (a hint of two sequels yet to come up). Yet for the most function, all footholds evaporated. Waking Life was—and still is—a surreal invitation to cut loose.—Joshua Rothkopf

Allegro Non Troppo (1976)

Animation meets classical music in an Italian-style Fantasia.

Director: Bruno Bozzetto

Best quote: "Someone called Disney has already made this?"

Defining moment: Humanity'due south development scored to Ravel'due south Bolero is a magnificent set piece.

Of class, Disney's Fantasia is the acknowledged reference betoken for Italian mischief maker Bruno Bozzetto's animated drove of classical pops, interwoven with boisterous live-action interludes in which a difficult-pressed animator battles an egomaniac conductor, his shifty producer and an unlikely orchestra of geriatric ladies let out of their cages (no, really) to play the score. At that place's definitely a Monty Python–style antiestablishment surrealism in both elements of the motion picture, not to the lowest degree the musical sections, in which nosotros see humanity evolve from the sludge at the bottom of a Coke canteen, the serpent in the garden of Eden tormented past the sheer variety of the sins he's almost to introduce into the earth, and the absurdity of materialism represented past the urge to erect college and higher buildings. Certainly, it's uneven, and some of the humor feels dated, but in that location's not a hint of classical-music snobbery here.—Trevor Johnston

Fritz the Cat (1972)

Difficult to exist a collegian feline in the city? Not really, particularly when in that location'southward so much sex and pot to be had.

Managing director: Ralph Bakshi

Best quote: "I've fought many a proficient man, and laid many a expert woman."

Defining moment: Fritz gets handsy in a bathtub with at to the lowest degree three other animals.

It's not an overstatement to carve up the whole of animated movie theatre into two eras: Earlier Fritz and After Fritz. Aside from condign a global sensation (and outgrossing virtually Disney films up to that signal), Ralph Bakshi'south libidinous Greenwich Village romp was a slap in the confront to purists who hoped to keep cartoons safe for kids. Notoriously, the film received an X rating (and includes a fair amount of bare-assed rutting), merely that pejorative label might accept besides been due to its director's overall vision, inspired by Robert Crumb'south countercultural characters and filled with Vietnam State of war–era surliness. Bakshi cut his teeth at Paramount Pictures and in advertizing for clients similar Coca-Cola; he was no fool to the realities of commerce. All the same, it took someone familiar with the game to suspension the rules so completely. His triumph is animation's puberty.—Joshua Rothkopf

Mind Game (2004)

This anime film is a searingly intense brew-upward of styles, genres and narrative techniques.

Manager: Masaaki Yuasa

All-time quote: "I was killed! Shot by that creep! Then I was sucked upward to heaven."

Defining moment: Nishi, the protagonist, is murdered and sent into limbo, where he encounters a shape-shifting god who's preoccupied with grooming himself in front of a mirror.

This aggressive feature came out of nowhere in 2004 to rock the anime earth, making stars of director Masaaki Yuasa and his Studio 4°C. The plot starts as typically convoluted gangster fare, before the main characters are plunged Pinocchio-style into the belly of a whale to embark on an utterly bonkers journeying of cocky-discovery. Though little actually happens, the pic somehow keeps upwards a blistering pace, propelled by a cord of flashbacks, hallucinations, virtually-death experiences and other surreal flights of fancy. Throughout, the animation style shifts in accordance with the mood, fifty-fifty incorporating alive actors at points. Disorienting on the beginning viewing, very funny on the second, and strangely moving on the tertiary, this is bold, nearly reckless filmmaking.—Alex Dudok De Wit

Heaven and Earth Magic (1962)

Wonderfully madcap early-1960s experimental piece.

Director: Harry Smith

Best quote: This is all most the imagery. Words are also pedestrian, human being.

Defining moment: A motorcar that allows you to play a game of tennis with a baby.

Uncompromisingly experimental, U.S. filmmaker Harry Smith's Sky and Earth Magic existed in various versions in the belatedly 1950s and early 1960s, before settling down into this final 1962 cutting. Scrappy and fiercely DIY in its artful and produced under the auspices of Jonas Mekas's Anthology Moving-picture show Archives, this black-and-white film uses stop-motility animation techniques to tell stories with roughly cutout photographs. In terms of story, maybe Smith himself best characterizes his avant-garde, surrealist approach: "The commencement part depicts the heroine's toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. The 2d part depicts the return to Earth from being eaten past Max Müller on the day Edward 7 dedicated the Keen Sewer of London." Got that? The film'south audio consists only of sound effects, and it'due south become a pop choice for screenings with a live score.—Dave Calhoun

Rango (2011)

A talking chameleon, used to blending in, must accept a bold stand up as a Western boondocks's new sheriff.

Director: Gore Verbinski

Best quote: "You own't from circular here, are you?"

Defining moment: Bellying upwards to the bar at the local saloon, Rango tells a whopper well-nigh killing vii outlaws with 1 bullet.

Johnny Depp and manager Gore Verbinski had fabricated magic before, in the starting time Pirates of the Caribbean, a projection on which an actor'south wildest impulses met a filmmaker's warmest encouragements. The sequels fabricated them impossibly rich, yet that spirit of impulsive weirdness was something they wanted to recapture; information technology thrums through this calculator-blithe take chances, delightfully scuzzy in its dusty, Sergio Leone–esque locales. Rango follows the arc of many archetype Westerns, and speaks strongly to principles of self-respect and inner heroism. But it's also a fauna of many colors, finding room for developed pop-culture references (a Kim Novak joke?) and Depp's own filmography: Rango wears a garish Hawaiian shirt, and you tin can't help simply think of Hunter Due south. Thompson in Fear and Loathing in Las Vegas.—Joshua Rothkopf

Heavy Traffic (1973)

A grubby New York City, a murderous cast of characters and plenty of off-colour jokes—Walt would not corroborate.

Managing director: Ralph Bakshi

Best quote: "At present mind hither, boy: As long as Carole'southward got this here good thing [Slaps own butt] and this here left [Taps caput], she don't demand anything else unless she wants it—and kid, I don't want it!"

Defining moment: A Mafia dominate slurps up a forkful of pasta, out of which tiny, helpless figures fall, shaken from the strands.

"It's blithe, just information technology'south not a drawing," promised the trailer, yet the movie that followed, in scummy NYC theaters in August 1973, didn't fulfill that pledge. Ralph Bakshi's passion project, a swirling coffee of urban stereotypes (the overbearing Jewish female parent, the Italian mobster, the sassy black girlfriend, etc.), is overstated in a garish, ethnically broad manner, very much a drawing. No matter: There was nix like it at the fourth dimension. It's worth noting that potential viewers had to actively be told that animation could deal with adult subjects like criminal offence, violence and poverty. The style is manus-fatigued, superimposed over grainy photographs of Brooklyn'southward decay. Though much of Heavy Traffic has since dated poorly, it'south closer to the vibe of early on Scorsese than whatever other film on this list—and information technology still represents an artery that'southward gone largely unexplored.—Joshua Rothkopf

Paprika (2006)

A gizmo that records people'southward dreams goes missing, resulting in chaos.

Director: Satoshi Kon

Best quote: "Isn't information technology wonderful to run into inside a friend's dream equally if it were your own?"

Defining moment: The opening scene moves from a surreal chase sequence to playback of the same dream images at present stored on computer.

Information technology's chosen the DC Mini, a flimsy headset that records our dreams equally video files. There's consternation at the research unit when one of the prototypes goes missing. Soon the very material of reality tears when the addled psyches of the scientific team and investigating cop take physical course. The concluding completed feature of the ill-fated Kon (lost to cancer at 46) exemplifies his uniqueness and his foibles, since the supernova of weirdness bursting from the characters' imaginations is something to behold: fridges on the march, giant robots at large, a psycho-cutie Japanese doll. While the plot itself makes very piffling sense, Kon's depiction of flexible reality inside others' dreams parallels Christopher Nolan's Inception, and his mind-fuck cavalcade truly has to be seen to be believed.—Trevor Johnston

The Lord of the Rings (1978)

Peter Jackson was only 17 when a brave filmmaker tackled Tolkien.

Director: Ralph Bakshi

Best quote: "My precious…"

Defining moment: The attack at the ford by Rotoscoped Black Riders is truly unnerving.

Start, let's get the standard complaints out of the way: Yes, it can be a bit goofy, and some of the voices are way off (whose bright thought was information technology to cast C-3PO Anthony Daniels as Legolas?). And aye, information technology unexpectedly stops halfway through, with Frodo and Sam however lost in the wild and the Riders of Rohan beating back the orc army at Captain's Deep (a conclusion was actually shot for TV, without Bakshi'southward interest, but the less said about that the better). Simply please, let'south focus on the positives, and at that place are many. The characterization is simple but effective: We'd say that Sam Gamgee is more wholesomely Tolkienish here than in the Jackson version. The action scenes are genuinely gripping, especially the climactic battle. And most of all, the visual manner is just glorious, from the ornate, convincingly twisted woods of Fangorn to those utterly unique Rotoscoped Ringwraiths.—Tom Huddleston

Alice in Wonderland (1951)

Lewis Carroll is brought to the screen the Disney way.

Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske

All-time quote: "If I had a earth of my own, everything would be nonsense. Zilch would be what information technology is, because everything would be what information technology isn't."

Defining moment: Alice disappearing down the rabbit hole is simply the beginning of the weirdness.

Walt Disney had long had his eyes on adapting Lewis Carroll, and when he did then, the results were true-blue plenty to qualify equally one of the studio's strangest offerings. Evoking the books' original John Tenniel illustrations but with more than a touch of Disney cuteness, the film every bit a whole is in thrall to Carroll's singular visual imagination and his play with linguistic communication. But it doesn't quite know how to plough dotty schoolgirl Alice's episodic odyssey following the white rabbit into anything resembling a satisfying story. 1 can just imagine what cleansed audiences thought of it at the time, besieged by hookah-puffing caterpillars, hallucinogenic mushrooms, the Mad Hatter's tea party and an apparently psychotic Queen of Hearts. It was afterward a late-night favorite among the herbally assisted.—Trevor Johnston

Nighttime on the Galactic Railroad (1985)

A cosmic journey through fourth dimension, space and spirituality. With cats.

Directors: Gisaburo Sugii and Arlen Tarlofsky

All-time quote: "I'm going to be just like that scorpion…"

Defining moment: An old woman sings "Nearer, My God, to Thee" in the well-nigh cracked and haunting voice imaginable.

Kenji Miyazawa's 1927 novel is a standard text for Japanese schoolchildren but remains virtually unknown elsewhere. Combining eerie Christian mysticism, awestruck pseudoscience and bleak realism, the book follows two put-upon schoolboys, Giovanni and Campanella, as they lath the titular train to the stars and beyond. Anime directors Gisaburo Sugii and Arlen Tarlofsky made one major modify when they adapted Miyazawa'due south work for the screen: They replaced all the primal homo characters with cute anthropomorphized kittens. Merely if their intention was to make the story more appealing to youngsters, they were way off. With its meditative pace, unstructured plotting, and rambling, often incomprehensible discourses on morality and mortality, this is about every bit kid-friendly as a forenoon in church. For those with patience, however, it is a cute, ofttimes enlightening trip.—Tom Huddleston

Fehérlófia (1981)

Hungarian folktales get psychedelic…and then some.

Director: Marcell Jankovics

Best quote: "Tell your mother to chest-feed you for another vii years, then you'll exist able to pull out the tree single-handed."

Defining moment: When an animated film starts with a hallucinogenic birthing scene, y'all know you're not in Kansas anymore.

Any director who has written xv books on sociology takes his ancient legends seriously, and in Magyar maestro Marcell Jankovics'due south full-on fable, iii princes ignore the rex'due south alert about "the lock which must not exist opened." All hell (literally) breaks loose, and a white mare goddess spawns 3 man sons—who subsequently take the fight dorsum to the underworld. An archetypal saga involving daunting trials of endurance, it unfolds in a Day-Glo visual way suggesting Kandinsky's colorful curves, Matisse's cutouts and mode too many prog-rock album covers. It is different anything else in the world, ever, which makes this a must-run into, though the sheer brutality with which Treeshaker, Stonecrumbler and Ironrubber press through the pit of Hell and back may make this merely a bit too heavy-duty for sensitive younger viewers.—Trevor Johnston

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Trippy Anime Movie Where Guy Gets Shot Up Butt

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