Pixar: Worst to Best

LAST UPDATED: June 2021

As the leading studio of CG animation, Pixar has touched the hearts of millions with their impressive roster of films and asking the question of “What if?”. The variety of characters and locations is impressively combined with complex and emotional elements that appeal to children and adults. While most of Pixar’s films can be considered good, there are some that really miss the mark while others are instant masterpieces. My personal ranking has some similarities to what other Pixar fans think but there are also some contrasting opinions on my end.

24. Cars 2 (2011) = 3/10

This is easily the worst Pixar film, and can be described by one word: annoying. Not sure why this film is a sequel considering the fact that the plot is completely outlandish and focuses on Mater. Though a misleading title can’t save this film from the awful characters and the franchise jumping the shark at this point. Mater’s stupidity becomes quickly annoying and that spreads to the rest of the characters. Lightning McQueen’s side plot is pointless outside of the twist, and sometimes clashes with the spy espionage plot. One improvement over the original (even if it’s handled poorly) is the focus on car-centric issues such as lemon cars and alternative fuel. In terms of production value, it’s on-par with other Pixar films though it doesn’t save it from the characters or writing. The story doesn’t fit the franchise, and everything else outside of the animation doesn’t warrant interest. Due to the annoyance and stupidity, it drags the film greatly and becomes more of a slog with every passing scene.

23. The Good Dinosaur (2015) = 5/10

This film has some of the worst characters and storytelling from Pixar, which is juxtaposed to some of the best animation from the studio. The backgrounds and landscapes look very realistic, and the character designs are also memorable even if they can somewhat stick out negatively against the photo-realistic CG backgrounds. The visuals help stomach the mediocrity of everything else in the film. Arlo is easily the worst Pixar protagonist due to being a boring push-over, as Spot is a stereotypical dog character, and everyone else is forgettable outside of their designs. The world itself doesn’t lend to engaging and unique scenarios and storytelling usually associated with Pixar. While there are elements meant to evoke emotion, it falls flat with the characters being uninteresting from the start. It’s unfortunate that this film managed to flop after all of its troubled production history, and the first Pixar film to become a financial loss.

22. Cars (2006) = 6/10

This is probably the least creative Pixar film, but has some level of entertainment on its own right. It’s hard to care about the characters since they come across as cliché in a cliché story. Lightning McQueen is the stereotypical arrogant jerk who has to learn how to be humble. The other characters are just fine but are easily forgotten outside of their designs. Chick Hicks is unique as one of the few straightforward Pixar villains. While the themes of being humble and taking life slowly are important, it’s a shame they were executed in the most stock way, while coming from a studio that is known for taking creative approaches to storytelling. While the tractor-tripping scene could have been used for character development, it’s pointless and the most boring element of the film. Like other Pixar films, the animation is reliably great and allows for stand-out designs that are perfect for marketing toys. It’s essentially just an average film that is not outright awful but doesn’t amount to anything spectacular either.

21. Cars 3 (2017) = 6/10

Here is the true Cars 2, even if it’s a slight improvement over the original. In many ways, this film feels like an inverse of the first Cars film, as Lightning McQueen is a veteran trying to keep up with the new rookies. Lightning McQueen gets some level of development as he struggles with relevancy, Jackson Storm feels like a water-downed version of rookie McQueen, and Cruz Ramirez is a decent motivated trainer. It’s an obvious attempt to push the franchise further and tackle an issue with emotional potential. While it may not execute that potential well, there is still effort. Despite the premise not being exclusive to cars, the filmmakers did their best to make it grounded in their world. The production values are essentially the same quality as other Pixar films, with more of an emphasis on a few musical numbers in the background. The characters may not be all that engaging, but the conflict creates slightly more engagement in the film, and has the potential to become something better.

20. The Incredibles (2004) = 7/10

Despite the boom of the superhero genre in modern pop culture, this film continues to be unique. It’s interesting to see the concept of superheroes being held to the law, particularly in the scenario where superheroes are banned. Using Mr. Incredible and Elastigirl, it showcases both sides of the spectrum when it comes to handling this conflict, along with Syndrome being a great and complex villain. The environment is well-established with the clever use of different color palettes to reflect Mr. Incredible’s mood. The action also holds up very well, especially with the battles in the second half. While it’s necessary for Mr. Incredible to go through his mid-life crisis arc, it does its job too well as it makes the film boring, particularly during instances in the first half. This also leads to a sense of realism that feels too realistic. While there’s not much comedy, the occasional bits of humor stand out with clever one-liners from certain characters.

19. Finding Dory (2016) = 8/10

While initially feeling like a rehash, there are enough unique elements to make it stand out on its own and expands on the world-building with new places to explore. Dory herself continues to be charming and funny as the viewer sympathizes with her struggles. In terms of new characters, Hank, Destiny, and Bailey are all charming while comedic relief like Becky and Gerald are entertaining. Nemo and Marlin don’t do much despite aiding Dory in her quest. The whole road-trip concept of finding loved one(s) feels rehashed from the original. Like the original, there are certain spots on the journey that feel more like fluff rather than forwarding the plot. The visuals are on-par with the original while the emotional elements are just about as strong as before, particularly with the baby Dory flashbacks. Speaking of baby Dory, she is one of the cutest things in animation and aids in the sympathetic emotions associated with her arc.

18. Monsters University (2013) = 8/10

For a prequel that contradicted a line from the original, this film has a weird paradox of having unique themes while executing it with college clichés. Mike’s arc is very interesting and allows for a level of connection towards certain people who have been through similar college experiences. Sulley’s progression is also intersting to a lesser extent. The other Oozma Kappa members have unique designs and some level of personality that makes them distinct. Unfortunately, the film becomes progressively less interesting when the Scare Games occur and it doesn’t pick up steam until the resolution. In spite of that, there are still comedic and enjoyable moments during the Scare Games and the climax. The university setting is emulated well, even if it mainly relies on college campus stereotypes. The themes about finding success through alternate routes and not being fit for certain passions are executed very well and creates the most emotional impact.

17. Brave (2012) = 8/10

Despite being a film that’s a mix of Disney Princesses and Brother Bear, this film ended up being an entertaining watch with some interesting lore. Merida is easily among the most progressive Disney Princess (despite her personality having some Disney Princess clichés), but she’s the least apologetic princess due to her rebellious nature. While not a very engaging character, Queen Elinor also has some level of likability and her arc compliments Merida’s arc. Despite tackling more modern themes, Pixar does a great job at interpreting a fantastical world of the past in a similar manner to other Disney Princess films, while being unique. Another interesting aspect is the lore and how it ties into the themes of family and respect. Even if Mor’du may not be that memorable, his backstory adds to the world-building and themes of the film. Outside of the world and Merida, there isn’t much else that stands out.

16. Finding Nemo (2003) = 8/10

A noteworthy Pixar film, with some of the best humor and animation in the Pixar pantheon. In comparison to other Pixar films, this is one of few that takes advantage of a vast color palette to bring an immersive underwater world to life. Dory is the stand-out character with her short-term memory and bizarre personality allowing for plenty of humor. Marlin and Nemo follow typical tropes of the lost-and-found story but both have their own unique personalities. The various side characters are also memorable on their own right, even if some of them are only around for one scene. While certain parts of Marlin and Dory’s journey may seem like filler material, their chemistry makes those scenes an entertaining watch. The humor is also very strong, despite the odd choice for Pixar to include multiple instances of toilet humor. Despite just being “good”, there are certain stand-out elements that give it some re-watch value and lasting impact.

15. Toy Story (1995) = 8/10

For being the first full-length CG animated film, this film holds up very well (for the most part) even if it may be slightly boring. As a child, I remember being bored during certain scenes. Now, I personally find this film to be entertaining and noteworthy but still slow at times and feels too grounded in reality. Woody and Buzz are animation icons at this point and the most entertaining parts of the original. Like some of the best Pixar films, the side characters are also engaging and evokes a sense of wonder (or nostalgia for adults). This film (and franchise) does the best job at world-building and immersion of the perspective of toys. In addition, it also allows for engagement among Woody’s conflict and the other conflicts associated with being a toy. The songs and score are both amazing and helps the film stand out. For the most part, the animation holds up outside of the designs for the humans and Scud. Even with the limitations at the time, Pixar still managed to pull off a large feat in the world of animation and technology.

14. Up (2009) = 8/10

The best opening for a Pixar film, as the “Married Life” scene is among the best in animation and manages to pack an emotional punch. While the elements dealing with Kevin and Charles Muntz may seem a bit weird for the story, it works well and ties back into Carl’s arc. Carl is definitely one of the best elderly characters in animation and is physically and mentally strong despite his age. Russel is likable as the tag-along and Dug and his dog buddies also have some time to shine as comic relief. The animation manages to create a beautiful depiction of South America and Paradise Falls. His goal and connection to Ellie is the core of the emotional moments of the film, along with the larger themes of family. The one notable flaw is the conflict of Charles Muntz and finding Kevin feeling somewhat out of place despite being established beforehand. Even with a slower pace outside of the action scenes, it helps to complement the emotional moments and allows them to really connect with the viewer.

13. Luca (2021) = 8/10

In a literal “fish out of water” story, this film is one of Pixar’s most simplistic stories. However, its simplicity works to the advantage of this film, as its themes of friendship have plenty of emotional weight. While not among Pixar’s greatest characters, the titular protagonist is compelling enough to carry the plot and has great chemistry with his friends and family. In a departure from Pixar’s usual expansive world-building, Portorosso and Luca’s underwater world aren’t developed that much. However, the simplicity in the story compliments the basic world-building. Portorosso comes to life beautifully with more muted and light colors, as that’s contrasted with the harsh and darker color palette for Luca’s underwater world. The naivety of the sea creatures while on land contributes to much of the film’s humor. Despite being one of Pixar’s more simplistic outings, the film shines due its laidback storytelling and array of heartwarming moments.

12. Monsters Inc. (2001) = 9/10

An amazing and emotional film, this film strikes the right chords and creates a world that is creative. The character designs and world have plenty of variety, ranking among the most unique Pixar worlds. Sulley works well as a father figure to Boo and Mike also works as an anxious but supportive friend. Boo is cute and contributes to the most emotional moments in the film while Randall is a cunning villain. The concepts of using screams and laughter for energy is creative and ties back into the human concept of monsters hiding in the closet (and eventually using that to create a subversion in monster-human relationships). While most of the characters are memorable, Waternoose could have been better even if his character was still somewhat engaging and developed. In addition, there isn’t much outside of the world-building that makes this film’s storytelling stand out in comparison to other Pixar films.

11. Incredibles 2 (2018) = 9/10

Coming from Pixar’s sequel “craze”, this film manages to go above and beyond in terms of quality and (mostly) improves on the original. The rapid progression of technology has allowed for more detailed and fast-paced action scenes along with more vibrant visuals. The humor is also excellent, even though most of it comes from Jack Jack and the Parr family discovering his powers. Mr. Incredible and Elastigirl continue to both be compelling characters, as Dash and Violet become more interesting with their own minor arcs. The most notable flaw is Evelyn Deavor as the villain. While she isn’t that bad and there are some interesting ideas behind her motivations, the execution and the twist somewhat falls flat. Another notable flaw is the character arcs of Mr. Incredible and Elastigirl essentially being similar to the last film, with their roles being swapped. However, this can be somewhat overlooked as their arcs in this film feel unique enough with their different experiences.

10. Ratatouille (2007) = 9/10

As one of Pixar’s more bizarre stories, this film manages to reach the same level of quality, storytelling, and heart as its predecessors. The specific theme of something extraordinary being able to come from the most unexpected places is executed well, despite not offering much that is new. The handling of the connection between the rats and humans is also done well in a fictional but realistic manner. Remy is a delightful protagonist while Linguini is also a good character on his own right, along with standouts such as Colette and the Gusteau from Remy’s imagination. While Chef Skinner is one of the weaker Pixar villains, he fills his role good enough to serve as a convincing antagonist. The music is also fantastic and definitely adds to the French ambiance, while some of the humor is still great, along with the emotional punch from the ending. However, certain moments could be improved to elicit emotion and tweaking some of the characters to be more interesting (particularly Linguini and Skinner).

9. Wall-E (2008) = 9/10

This film showcases the amount of risk Pixar is willing to go through as they get out of their comfort zone. With the minimal amount of dialogue, the filmmakers resorted to silent film techniques and emulated that style well. Even with minimal coherent words, Wall-E and EVE showcase a lot of character and are easily compelling. While some might find the environmental message to be preachy or slightly over-the-top, I personally think it ties back into the plot organically and has a lot more significance in today’s society. There’s a sense of fear and danger with the dystopian Earth depicted in the film and the “solution”, though there’s also a sense of optimism as the plot progresses. To help drive home the message, the animation is executed well to visually showcase the importance of taking care of the Earth or else it signals trouble if humans continue to be neglectful. The added conglomerate dominance message may seem a bit excessive for this film, but also has significance in its own right.

8. Toy Story 3 (2010) = 9/10

Another winner for the franchise, this film is on-par with its predecessors, even if may not be as strong as the second (and eventually fourth) film from a personal standpoint. With the inevitable conflict of Andy growing up, it makes sense that this would be the conflict for the film and is done well due to the hysteria of the toys potentially being abandoned. Despite being despicable, there is some level of sympathy with Lotso as his conflict of abandonment is relatable to viewers. The world-building and animation continues to progress in a way that allows for new opportunities for exploration. While it makes sense in the context of the film, it seems a bit too dark for the franchise and it slightly hampers the overall enjoyment. The emotional elements are among the strongest for Pixar, particularly with the climax and the ending. While this film could have served as a perfect end to the main part of the franchise, the fourth film indicated that the franchise has more to tell.

7. Onward (2020) = 9/10

A film that lacks in creativity for its storytelling and characters is countered by amazing performances and emotional moments. Ian and Barley are among the most generic Pixar protagonists, but are fortunately salvaged by the vocal performances of Tom Holland and Chris Pratt, respectively. Their chemistry helps elevate the emotional moments more than expected, particularly for viewers with a brother. It also helps to have fun side characters such as the mother of the Lightfoot brothers and Corey the Manticore. While the entire road trip plot may seem stock, there’s enough creativity, humor, and character moments to make a unique experience themed to Dungeons and Dragons. Another notable flaw is the various conflicts between Ian and Barley being resolved too quickly. However, it’s all worth it for one of the best climaxes in a Pixar film, with plenty of action and heart. The world-building is also clever, and highlights the importance of embracing our past while we progress towards the future.

6. A Bug’s Life (1998) = 9/10

Despite being one of Pixar’s earlier films, it still holds up well and has since become an underrated gem within the ever-expanding catalog of Pixar films. This film is arguably the most simplistic by Pixar standards but it also allows for plenty of charm, comedy, and emotion. It takes a unique approach to the “Ants and the Grasshopper” fable, where it allows the ants to stand up for themselves. Most of the characters are compelling in one way or another, with the circus bugs stealing the show at certain points of the film. Even if Flik is a typical outcast, he has plenty of personality to stand out. The environments are world-building are amazing, and they still manage to hold up decades later. There may a good amount of slower moments, but it’s justified due to its simple storytelling. The themes of rebellion and standing up for oneself are also portrayed very well, while being integrated into Flik’s arc. This film has one of the best scores in a Pixar film, with certain pieces standing out memorably.

5. Toy Story 4 (2019) = 9/10

For a sequel that may seem unnecessary, this film creates new complex scenarios for a toy and raising the standards of comedy and emotional moments for the franchise. In a similar vein to the ending of Pixar films, this film is a feature-length epilogue for Woody as his viewpoint of needing the love of a child through ownership is challenged through the return of Bo Peep. Bo Peep’s return is executed well and showcases a sense of growth since she left the Davis household, while serving as a foil for Woody. The new characters are instantly memorable, even if comes at the cost of pushing most of the established characters to the side. The antics of Ducky and Bunny along with the side plot of the toys stalling the RV are some of the most hilarious Pixar moments, and makes this entry the most comedic of the franchise. While the challenge to the status quo is greatly welcomed, Woody’s choice at the end of the film feels out of place in comparison to its predecessors, even if his decision makes sense in the context of this film.

4. Soul (2020) = 10/10

Recreating the complexity and emotional weight of Inside Out is no easy feat, as this film creates newfound value to the concept of human life. The dialogue is some of the most comedic and clever for Pixar, particularly with 22’s dialogue being further enhanced by Tina Fey’s performance. Joe Gardner serves as the perfect template as someone who believes they know about the joys of life, but develops a new perspective during his escapades with 22. The visuals are very unique, with a clever interpretation of how souls develop their personality and the use of 2D characters. Despite not having too much of a presence, the use of jazz is done well and showcases a taste of Black culture. The only notable issue is the predictability of the climax, particularly among the more complex elements of the film, even if it’s done well. Like Inside Out, this film conveys the complexity of human life in an understandable way, and showcases the significance of living life to the fullest and not being bound by a single passion.

3. Inside Out (2015) = 10/10

For a studio that specializes in eliciting emotion, it makes sense that there would be a film where that happens directly with the emotions themselves. This film is easily one of Pixar’s best films and also one of the most complex while making it easy to understand. All of emotions manage to be three-dimensional characters, as they could have easily been one-dimensional. Out of all of Pixar’s films, this one is arguably the best in terms of animation and takes advantage of the variety in colors to create a beautifully animated film. There’s a sense of connection between the viewer and Riley as her experiences can relate to people in the real world in one way or another. The message of being able to convey emotions properly and having some sort of balance among emotions is one that is important in life, and expressing that in creative ways. The interpretation of the mind is much more fascinating thanks to this film, as it’s a journey that is rooted in complexity.

2. Toy Story 2 (1999) = 10/10

It’s rare for a sequel to surpass the quality of the original, let alone being on-par with the original. Even if it’s an unpopular opinion, this film is the best entry in the Toy Story franchise. Fortunately, this film is not a rehash and managed to expand the franchise in new ways. Woody’s backstory is fleshed out and it creates a sense of tension in the plot, as the conflict feels more in-line with the perspective of a toy. All of the characters from the original continue to be charming, while all the new characters fit in easily. Jessie’s backstory is very tragic and creates a perspective that humans may not think about when handling toys. The animation is a step-up from the original and there’s more humorous and entertaining moments. The only nitpick is that Al Whiggin isn’t very memorable, but that’s partially because everyone else is extremely memorable. For a film that managed to be completed in nine months (among other problems during production), it’s a miracle that this film ended up being this amazing.

1. Coco (2017) = 10/10

The best Pixar film, with a perfect balance of comedic and emotional moments, while also highlighting Mexican culture in a respective way. While the storytelling may rely on clichés, the film knows how to alter these clichés to create something unique. Miguel is a loveable protagonist, with Héctor working well as comic relief and as a sympathetic character. The Land of the Dead is executed cleverly, and takes advantage of using a variety of colors to create something eye-catching while also connecting it to the actual holiday and the themes of family and legacy. The two-part climax perfectly showcases the balance between humor and emotion, and is one of Pixar’s best. This film also manages to be the most unique in executing a twist villain, with said villain being one of Pixar’s best. Unlike most Pixar films, this one stands out due to a greater emphasis on music and songs, which hasn’t been done since the first Toy Story. Speaking of music, the songs are amazing, particularly the Oscar-winning “Remember Me”.