12 Best Animated Movies Of 2025 (So Far)

Everyone say it together now: Animation is a medium, not a genre. 

Because the biggest and most seen animated movies typically comes from the likes of Disney, Pixar, Illumination Entertainment, and DreamWorks Animation, there's always a short-sighted perspective among the general public that all animated movies are for kids. But that's simply not true. In fact, people who generally avoid animated movies because of that are missing on on some truly incredible filmmaking, and that rings true among the best animated movies of this year.

While our line-up of the best animated movies of 2025 (so far) does include some animated movies that are perfect for the whole family, this list also includes animated movies that are rather explicitly for adults, whether because of vulgar humor or graphic violence. There's an outstanding array of films with a variety of stories to tell.

Here's our list of the best animated movies of 2025. 

Sports stories are always best in animation, as we've seen in movies like "The First Slam Dunk" and shows like "Haikyu" and "Hajime no Ippo." This is to say it isn't surprising that "100 Meters" has the best visual representation of the thrill, the adrenaline, the joy, and also the potential horror of track running. 

The story follows two men from middle-school to adult life as they become track rivals for life, going through many trials and tribulations along the way. Based on the manga of the same name, by "Orb: On the Movements of the Earth" author Uoto, "100 Meters" is a fantastic exploration of what drives an athlete, about the meaning that can be found in devoting oneself to athletic excellence, but also the lowest lows that can come from failure.

Director Kenji Iwaisawa, takes the same expressionistic approach from his stunning indie film "On-Gaku: Our Sound" to this story, letting the visuals dictate the storytelling in order to best capture the feeling of being the fastest human. The movie plays around with perspective, with the level of detail in the drawings, with the art style and even reality itself in order to best express the viewpoint of its protagonists. Few animated movies, let alone sports movies, have looked this good. (Rafael Motamayor)

Some of the best movies out there are able to thoroughly alter the way you view the world, to the point that they make you associate certain real-world visuals with the movie for life. Ugo Bienvenu's French animated gem "Arco" is such a film, and you'll never see rainbows the same way after witnessing it.

Vibrant in color and style both, "Arco" is a description of not just one but two futures. The less magnificent but far more easily imaginable one takes us to the year 2075. Here lives the 10-year-old Iris (Margot Ringard Oldra), whose closest parental figure is a hologram-projecting machine and who lives in a world ravaged by climate change weather patterns that are kept (barely) in check with technological marvels that seem like natural escalations of the tech we have today.

Fortunately, the future of this future seems considerably brighter: Iris encounters Arco (Oscar Tresanini), a fellow kid from the utopian year 3000, when people visit other eras masquerading as rainbows. They're not meddling, but they're looking for areas of improvement from the mistakes of the past, and 2075 has mistakes to spare. However, the more immediate problem is that Arco is rainbow-traveling without permission, and has accidentally crash-landed in Iris' time in conditions that are incredibly difficult to replicate ...

"Arco" is the kind of movie that compliments its feast for the eyes with plenty of food for thought. Despite its heavy subject matter, it contains a wealth of heartwarming moments and its key theme is that of hope. "Arco is a metaphor for the best thing that could happen," Bienvenu told the Festival de Cannes website. If the delivery of that message was the filmmaker's mission, consider it accomplished. (Pauli Poisuo)

When "The Bad Guys" came out in 2022, it was a fun spin on your average kids' movie. The heist vibes were well-balanced with a family-friendly story that kept everyone laughing. The only problem? The first film's "Oceans 11"-esque story ended on what felt like too much of a good note. Mr. Wolf and the gang turned over a new leaf, accepted their consequences, took down the real baddy, and ended with a bright future ahead of them.

How do you pick up a story from there and actually make it good? The answer came in 2025 in the form of "The Bad Guys 2." The movie doesn't try to reinvent the wheel. We already know who these anti-hero animated characters are. They have dark pasts. They slip up often. But they want to be Good Guys now. The sequel steers into that skid, hard.

It also has a pleasantly deep narrative element that explores the drudgery and challenge of walking the "straight and narrow" after a happily ever after conversion from evil to good. From maintaining the family-friendly tone to carrying on the story with conviction to not pulling punches when it comes to the challenges of long-term redemption, this one sticks the landing. Add in the fact that it stands out even as a sequel, and it had to make the list of best animated movies of the year. (Jaron Pak)

Naoko Yamada ("A Silent Voice") has rewired expectations surrounding coming-of-age dramas with her vibrant, dreamy "The Colors Within," which uses striking 2D animation to etch a vivid world. The slice-of-life aspect of the story is allowed to unfold at a languid pace, allowing teenagers Totsuko, Kimi, and Rui to develop organic bonds while they deal with mundanities at school. This is a film about teenage hopes and dreams, which manifest in unstated daily moments, such as the trio forming a rock band inside an empty building, or verbalizing their doubts about faith. Nothing feels forced or melodramatic, as all three protagonists take a more reflective route to navigate societal expectations while embracing who they truly want to be.

Totsuko's ability to see people's emotional cores as a blend of colors lends "The Colors Within" the heft it requires to stand out as a genre entry. These sequences are rendered with the fluidity of a dance, which contrasts with the unspoken growing pains that each child has to deal with. Yamada's latest, however, isn't as intensely heartwrenching as "A Silent Voice" — if anything, it is the opposite, as it takes its time to ground itself and uses mindful silence to build character. These soft moments build up to the most rousing explosion of music, which rings true as the purest form of self-expression for our central trio. (Debopriyaa Dutta)

"Looney Tunes" is a pinnacle of American animation and the hilarious "The Day The Earth Blew Up: A Looney Tunes Movie" does that legacy proud. Porky Pig and Daffy Duck (both voiced by Eric Bauza) are in danger of having their home foreclosed on, and have to find a quick way to come up with money. In the background of their job hunt, an alien invasion is happening.

The "Looney Tunes" characters were designed to tell stories in seven minutes or less, and stretching them out to feature length hasn't always worked. But it does here, where the off-the-walls plotting feels just like a classic "Looney Tunes" short. It's a sci-fi homage, of course, most obviously parodying "Invasion of the Body Snatchers" and "Armageddon," and that kind of humor has always been essential to "Looney Tunes."

Marvin the Martian better make room, because "The Day The Earth Blew Up" introduces another character to the "Looney Tunes" roster: an alien invader (Peter MacNicol, unrivaled at making flustered anger hilarious) in a flying saucer. The alien's costume looks right out of a B-movie from when Chuck Jones was still making new "Looney Tunes" shorts.

The hyper expressive (and physics defying) character animation honors Jones' style, while Bauza once more proves he's the best Mel Blanc mimic in the business. Even with no Bugs Bunny, "The Day The Earth Blew Up" will have you wheezing all the way through. (Devin Meenan)

Listen, the "Detective Conan" franchise is massive, with 1000+ anime episodes and 28 (!) feature films to consider thus far. The latest franchise flick, "Detective Conan: One-Eyed Flashback," stands out for two reasons: It is an action-heavy, intrigue-driven "Conan" adventure that hardcore fans are bound to appreciate, but it is also the perfect gateway mystery thriller for franchise newcomers. The maze-like plot is set into motion once a retired Tokyo cop witnesses a murder, and one thing leads to another once our titular sleuth gets involved. There's also Kogorō, who is allowed to shine as a man on a mission without Conan completely upstaging him at all turns (which is a refreshing departure from the norm).

"Detective Conan: One-Eyed Flashback" is part semi-serious sleuthing and part gritty procedural, and this unconventional tonal mix surprisingly works in favor of a film that would've otherwise been too exposition-heavy. There's a kinetic momentum to the story established here, which, combined with striking animation, lends to a noir-heavy mystery that lets us understand how Conan operates while the world around him struggles to catch up to his genius. Yugo Kanno's jazzy soundtrack is also a bonus, allowing us to glide in and out of fluid action sequences that take place on the snowy landscape.

If you're a long-time "Conan" fan, you'll certainly appreciate that the franchise's 28th feature installment is anything but stale. On occasion, it even feels like a breath of fresh, crispy mountain air. (Debopriyaa Dutta)

You might or might not have read Dav Pilkey's silly, beloved "Dog Man" graphic novels, but their eponymous animated adaptation promises a boisterously fun adventure. No prior knowledge is required here — all you need to know is that the titular supercop, Dog Man, goes after his nemesis, Petey (a cat of the most villainous nature!) in this particular iteration of the story. While Petey and the other bad guys speak with eloquence, Dog Man only woofs and barks while on his mission to fight crime and put his archenemy back in jail. Hilarious shenanigans ensue, with plenty of sentimental moments peppered throughout this high-velocity flick.

Visual overstimulation is the name of the game here, but this anarchic absurdity is the beating heart of "Dog Man," even though that can be a bit of an acquired taste. Most of the gags in the film (including a sly reference to "Apocalypse Now") are of the goofy variety, designed to elicit a belly laugh before you move on to the next big thing. This relentless hilarity doesn't compromise with the more serious emotional beats, as "Dog Man" morphs into a wondrous character portrait and a tense political thriller once you look past the armor of gags it uses to lure you in. This adventure might be designed with a younger demographic in mind, but "Dog Man" has something to offer for everybody if you are willing to meet its chaotic premise halfway. (Debopriyaa Dutta)

It might be officially passé to try to paint the narrative of Pixar as a studio in need of a comeback, but there's no denying that "Elio" felt closest to the Pixar of old. The animated sci-fi film doesn't get style points for simply having an original story amid a sea of sequels and other franchise plays — not when the last few years have given us the likes of "Coco," "Soul," "Luca," and "Turning Red." But there is something to be said for a production that managed to overcome all sorts of behind-the-scenes shakeups and still deliver a satisfying (if compromised) experience truly worthy of the big screen. Directors Madeline Sharafian and Domee Shi took the strong foundation laid by original director Adrian Molina and introduced kids to a new pair of unlikely heroes: the starry-eyed Elio (voiced by Yonas Kibreab), desperately searching for a sense of belonging, and his incurably optimistic extraterrestrial bestie Glordon (Remy Edgerly).

Throughout its journey into the cosmos, "Elio" always wears a nerdy love of science on its sleeves and a passion for adventure that seeps through every frame of this kaleidoscopic thrill ride. The vibrant colors constantly dazzle, the collection of oddball characters all but jump off the screen, and the willingness to broach some genuinely tough emotional material pays off with one of the hardest-hitting endings of any Pixar film. At every point, this trek into the stars feels like a love letter to what sci-fi and animation can do: a reminder to be the best, most inspiring versions of ourselves we can be. (Jeremy Mathai)

Genndy Tartakovsky's "Fixed" was originally set to be theatrically released by Warner Bros. in 2023, but was off-loaded to Netflix during that studio's wrecking-ball-like savings crunch. One might assume that the move to streaming would keep viewers from finding "Fixed," but, having seen the movie, it's hard to say who would want to find it. "Fixed" is assertively jejune, sophomoric, brazenly adolescent. "Fixed" is a slapstick farce whose every single joke is centered on testicles, poop, humping, testicles, poop, genitals, testicles, humping, and more humping. The story follows a dog named Bull (Adam DeVine) who learns that he is to be neutered the next day, giving him 24 hours to mate with his lady-love, Honey (Kathryn Hahn). Other dogs are played by Idris Elba, Fred Armisen, and Bobby Moynihan.

Tartakosvky animated the hell out of "Fixed," bringing a revolting, chaotic, "Ren & Stimpy"-like energy to his film. No two expressions are alike throughout "Fixed," no two frames the same. Tartakovsky is wholly devoted to every single one of the film's gross-out, bottom-of-the-barrel gags. Also, there is a noted and impressive integrity in making a film that is meant to be so aggressively off-putting. "Fixed" is a film that may have viewers cackling from sheer incredulity. It's rare that we get old-world, Spike & Mike Sick and Twisted Festival of Animation vibes anymore, especially in feature film form. "Fixed" fits a very specific niche, but God bless Tartakovsky for so capably filling the hole. (Witney Seibold)

The family-friendly animated feature has had some tumultuous years. Pixar has struggled, streaming has had mixed success in the medium, and even mega-hits like the "Spider-Verse" films are plagued by the same common stories of overworked animators and delayed release dates.

Amidts all that, Netflix has been slowly building a small catalog of quieter success stories ("The Sea Beast" and "Nimona," to name a couple). Perhaps that set the stage for the cultural phenomenon that was "KPop Demon Hunters" earlier this year. But even if it did, no one could have predicted just how massive the film has become.

Viral original songs, stylish animation, a pitch-perfect taste of the modern KPop zeitgeist, and the biggest word-of-mouth campaign in years all played a role. Shippable characters, cozy touches, authentic female friendships, these are the pieces of perhaps the biggest success story of the year, but the totality still exceeds the parts. The widespread rewatch culture around "KPop Demon Hunters" helped make it Netflix's most-watched original film ever.

But perhaps the most astonishing thing about "KPop Demon Hunters" is that when you finally get around to watching it after everyone you know told you to, it's every bit as good as they all said. In the first three minutes, you just get it. While the specific tone and pop culture aesthetics are decidedly modern, the simple appeal of watching three best friends and a Sad Boy conquer demons both real and internal is timeless — the kind of ear-to-ear fun that recent commercial animation trends have made rare. (Rick Stevenson)

There is no bigger movie in 2025 than this Chinese animated fantasy movie sequel. To say "Ne Zha 2" has been a cultural phenomenon would be an understatement, even if American audiences are mostly unfamiliar. It is by far the biggest movie at the box office worldwide, but it is also one of the best animated movies of the year, a true blockbuster fantasy epic that happens to be animated, and a movie with action that rivals "Avengers: Endgame."

Though it obviously helps to be familiar with the first film, the story of "Ne Zha 2" is also archetypical enough to be understood without much knowledge of Chinese mythology. It follows Ne Zha, a young boy that the gods consider a threat, who is born to mortal parents and whose wild powers (and rebellious personality) are feared by all. In the sequel, Ne Zha has to fight the wicked and powerful Master Shen, while calling on the spirit of his dead friend Ao Bing for help.

Deeply rooted in Chinese philosophy and imagery, with animation that uses ink painting to provide a unique art style, "Ne Zha 2" is a gorgeous animated movie, even as the story goes to darker places with some shocking amounts of violence that all serves to compliment Ne Zha's story. This is what an epic looks like, with incredible action sequences and mythmaking. (Rafael Motamayor)

Director Dan Trachtenberg brilliantly breathed new life into the "Predator" franchise in 2022 with the release of his widely praised prequel "Prey." It turns out that he wasn't just a one-trick pony within this universe as Trachtenberg helped deliver another bold, brilliant, and wild adventure in this universe with "Predator: Killer of Killers."

This is the first time the series went animated and Trachtenberg, along with the help of co-director Joshua Wassung and writer Micho Robert Rutare, delivered the goods. An anthology spanning decades with radically different warriors facing off against the galaxy's perfect killing machines. Violent, inventive, and blisteringly paced, for a movie that was sort of surprise-announced and dropped directly-to-streaming, it goes extremely hard. Like the best expansions of any long-running franchise, it takes some big swings and doesn't just rest on what's worked in the past. In that way, it sings.

More than just your average anthology though, the movie delivers a mind-blowing, crazy ending that completely reshaped the potential future of the franchise. Not to spoil it for those who haven't seen it, but the "Killer of Killers" post-credits scene is applause-worthy for longtime fans. Still, this movie's greatest accomplishment is not just teeing up the ball for something we want to see even more. It's wholly satisfying beyond expectation, oozing why style and satisfying action. At the same time, it does leave the door open for more. It's truly the best anyone can hope for in the realm of franchise filmmaking. (Ryan Scott)