Top 20 Animated Movies Not Suitable for Children

Being PG-13, one might assume this anthology is more restrained than the live-action “Matrix” films. Yet, “The Animatrix” contains some of the most graphic imagery in the franchise, especially “The Second Renaissance Part I” where heads are as smashable as pumpkins. As gritty and intense as the imagery is, “The Animatrix” is nothing short of visually stimulating, covering a range of genres and styles. The film isn’t style over substance, however. Where some segments are heavy on worldbuilding, others tell smaller-scale, more personal stories. Either way, you can expect them to emphasize the ideas and philosophies this series is known for. We don’t think it’s a hot take to say it’s the second-best “Matrix” movie after the original.

Director Martin Rosen is best known for “Watership Down,” which predated the PG-13 rating and has thus scarred children for generations. Rosen’s next adaptation of a Richard Adams novel, “The Plague Dogs,” would retroactively be rated PG-13, but even that feels lenient. This harrowing story follows two dogs who escape from a torture chamber posing as a research lab. While Snitter and Rowf were subjected to unspeakable cruelty, nature isn’t much more forgiving. To survive, the animals must become… well, animals. Considering how the white-coats treated them, we may be the real animals. Even with several scenes cut from the U.S. release, “Plague Dogs” is uncompromisingly bloody and brutal, but also thought-provoking in its portrayal of how the animal world views the human world.

This big-screen version of the hit Adult Swim show sets a tone with its title alone. Even then, few could’ve anticipated the opening when the “Let’s All Go to the Lobby” snacks are bombarded by a heavy metal band, who proclaim that even if you walk out, your money’s their’s now. That said, we could imagine some adults heading for the exit, specifically those who weren’t raised on this brand of irreverent humor. For those well-acquainted with the Aqua Teens, Mooninites, Plutonians, and Carl, this feature is a laugh riot that raises the stakes while undermining the plot at every turn. As for kids, let’s just say they might not be ready for this material… or the substances some adults will bring into the theater.

Jimmy T. Murakami’s film adaptation of Raymond Briggs’s graphic novel might not seem strictly adult-oriented at first glance. The film invites the viewer in with a cozy style that blends hand-drawn and stop-motion techniques, almost calling a popup book to mind. Jim and Hilda Bloggs are delightful central characters, even when they’re talking about the prospects of a nuclear holocaust. By the second act, though, this nuclear attack is no longer theoretical. Jim and Hilda carry us through the hardships with their optimism and love for each other, leading us to believe the worst is behind them. Alas, this is only the beginning. “When the Wind Blows” is a descent from denial to acceptance as we powerlessly watch a married couple succumb to fallout.

For anyone who thinks animation is just for kids, “Heavy Metal” is a rite of passage. That’s not to say “Heavy Metal” isn’t an immature film. It is with over-the-top violence and gratuitous nudity for the sake of gratuitous nudity. For anyone who was ever a rebellious teenager, though, few films better encapsulate our wildest daydreams. Capturing the spirit of the magazine that inspired it, this anthology is an 80s time capsule with the highest of high fantasy, the punkiest of steampunk, and a rock n roll sound. It’s a product of the time, but that’s why “Heavy Metal” has endured. Over four decades later, it still serves as a gateway to adult animation and an inspiration for modern anthologies like “Love, Death & Robots.”

Speaking of gateways, “Ghost in the Shell” was an entry point for many in terms of anime and adult animation. At the time, Japanese animation was gaining a reputation for being more violent and sexualized than what most Westerners were used to. Even a fair deal of “kid-friendly” anime had to be censored for those sensitive North Americans. “Ghost in the Shell” was introduced to the U.S. with a hard R rating, keeping its kinetic violence and sex-positive portrayal of the female form intact. While this made the film “not suitable for children,” its meditation on humanity, technology, and identity made “Ghost in the Shell” adult. It not only ushered in a new age of more adult animation, but smarter sci-fi films as well.

From the stunning establishing shot, director Tatia Rosenthal immerses us in a stop-motion world that’s so simple yet so layered. A couple of bucks can only take you so far in this world. At the same time, opening your wallet can make all the difference. For less than ten bucks, you may even learn the meaning of life. At least that’s what an ad reads. “$9.99” doesn’t spell out the meaning of life or even the movie’s meaning. Through a series of interlocking stories, however, we experience life at its most mundane and its most surreal. In short, the film is about life itself and the best things in life are free. Of course, a ticket is worth the price of admission.

Ralph Bakshi is synonymous with adult animation, and “American Pop” is among his most mature films. When we say, “mature,” we’re not talking about sex, drugs, and violence, although all three are present here. “American Pop” may be Bakshi’s most thematically mature film, chronicling the lives of a Russian-Jewish immigrant family across four generations. Accompanied by a banger soundtrack, we not only experience the evolution of music throughout the decades, but also this family’s pursuit of the American dream. In addition to the past and present, you can argue that “American Pop” looks to the future. Six months after its debut, MTV launched, giving birth to the music video generation. “American Pop” has the essence of an epic music video backed by a timeless story.

Primarily known for live-action, Richard Linklater has helmed several rotoscoped films aimed at older audiences. “A Scanner Darkly” gained a passionate cult following, but many consider “Waking Life” to be his masterpiece. In animation circles, rotoscoping is divisive with some writing it off as glorified tracing. While live-action footage was shot first, the visuals were still digitally drawn frame by frame with the artists adding a surreal touch. However you categorize it, we can’t think of a better method to tell a story that blends reality, dreams, and everything in between. The film transports you to another plane of consciousness where even if you don’t understand every image or conversation, the experience is as engrossing as a dream you don’t want to wake up from.

Director Adam Elliot’s work is perhaps best summed up as “whimsically bleak.” This unusual marriage of tones is on full display in Elliot’s “Mary and Max.” The film’s limited color palette reflects the themes of depression, isolation, and other facets of mental health. While few would describe it as a feel-good movie, there’s an abundance of charm to be unearthed, from the offbeat character designs to Elliot’s quirky screenplay. We’d say that it’s bittersweet, but the film is never 100% bitter or sweet. It is ultimately life-affirming, though, demonstrating the importance of friendship, no matter how unlikely. Although the relationship between the titular pen pals can seem inappropriate (one being much older than the other), it stems from a place of sincerity.

Ari Folman’s film is unlike any war documentary we’ve ever seen before. We aren’t merely saying that because it’s animated, although this does help to distinguish it. What stands out about “Waltz with Bashir” is its subject matter. The film revolves around the 1982 Lebanon War, as well as the Sabra and Shatila massacre. Yet, it’s more about memories. When you think about it, that’s what every documentary essentially is - a reflection on past events. Some people have photographic memories. In Folman’s case, some memories are clear, others are distorted, and a select few might be forever erased by trauma. While the animators hauntingly recreate Folman’s living nightmares, this is one of the most psychological war documentaries, presenting PTSD through a whole new lens.

“I Lost My Body” is about separation in more ways than one. After interacting with a woman over an intercom, Naoufel becomes determined to meet her properly, although his methods are questionable. Naoufel grows more detached after losing his hand in a freak accident. If you think that sounds morbid, the hand develops a mind of its own, determined to find its way back to Naoufel. What ensues is right out of a survival movie with an urban playground proving every bit as deadly as the wild. While some may cringe and faint at the sight of the hand, we surprisingly come to care for the severed body part as an individual. What’s lost can’t always be found, but it can forge a new path.

A strange film by a strange person, and we mean that as the highest of compliments to director Bill Plympton. This indie animated film was only produced for $250,000, but it overflows with Plympton’s signature twisted humor and style. We use the word “twisted” for a variety of reasons, namely because Plympton has a knack for animating transformations. His skills are perfectly suited for a story about a man who can change people and objects with the power of his mind, although he can’t always control what pops into his head. This puts a strain on his marriage with reality itself also potentially in jeopardy. For those unfamiliar with Plympton’s work, “I Married a Strange Person!” is a gateway down his demented rabbit hole.

With films like “Millennium Actress” and “Paprika,” the late Satoshi Kon left the audience constantly wondering what’s real and what’s a dream. This theme traces back to his feature-length debut, “Perfect Blue,” one of the most disturbing animated films we’ve ever watched. As shocking as the imagery is, that’s only part of what makes this thriller so unsettling. Centered on a young celebrity being stalked, the terror stems just as much from what we don’t see. As the protagonist begins to question her sanity, we’re left with a query sure to make anyone’s skin crawl: would you rather be the target of a malevolent outsider or a victim of an inescapable enemy within? It’s a question most are afraid to even ask.

We like to think that at least one absent-minded parent put on “Sauage Party” for their kid, assuming it was a Pixar movie, and left the room. Then later over a hotdog dinner, the kid said, “Mommy and/or Daddy, I’m not sure I’m comfortable putting my frank inside a bun anymore.” If you think that sounds explicit, then you aren’t prepared for this film’s unfiltered glory. Seth Rogen and company set out to make a CG-animated film that appeared family-oriented on the surface, but in reality, was strictly for the adult crowd. As unapologetically lowbrow as “Sausage Party” is, it’s also a clever satire - not just of other CG animated films - but religion as well. We guess you call this the anti-VeggieTales.

For a film with full-frontal puppets, “Anomalisa” is much deeper than you may expect. Sex, nudity, and profanity might’ve earned it an R-rating, but that’s not purely why “Anomalisa” isn’t aimed at kids. Charlie Kaufman and Duke Johnson’s film depicts a midlife crisis in a way that only stop-motion can convey. Protagonist Michael Stone works as a motivational speaker, despite being overcome with loneliness and self-loathing. As everyone else in Michael’s orbit blends in with one another, the ordinary Lisa stands out. Lisa seems like an anomaly, although at the end of the day, this chance encounter is an anomaly that can’t be sustained. This portrait of middle-aged life is grim, but being a Charlie Kaufman production, it’s awe-inspiring even at its most depressing.

Studio Ghibli makes movies for everyone, but some lean more adult than others. Any older Ghibli fan will tell you “Grave of the Fireflies” makes “Princess Mononoke” look like “My Neighbor Totoro.” Ironically, “Totoro” and “Fireflies” were released in Japan as a double feature. Although both center on young siblings, one awakens your inner child while the other forces the viewer to grow up. Sadly, Seita and Setsuko can’t grow up. We’re not giving too much away, as the film is upfront about where the story will end. That doesn’t make the experience any less devastating. While there is a light at the end of the tunnel, you can only rewatch Isao Takahata’s film so many times. Yet, it sticks with you forever.

To give you an idea of where animation was in the 70s, the decade kicked off with Disney’s “The Aristocats.” Two years later, Ralph Bakshi gave us a very different film about another cat. Friz the Cat, based on cartoonist R. Crumb’s creation. While the definition of “adult animation” has evolved over time, “Fritz” was a turning point, being the first American animated feature to be rated X. So, even with a parent, no kid was getting in the theater. Although the film is best remembered for an infamous bathtub scene, “Fritz” was perhaps even more influential with its topical commentary and how its dialogue captured youth culture at the time. It set a tone for everything that followed, including Bakshi’s next feature, “Heavy Traffic.”

Parents have been against “South Park” since its earliest episodes, which honestly feel tame compared to later ones. Art imitated life with this feature, which sees parents literally go to war over profanity while turning a blind eye to the bloodshed they’re exposing their children to. Even more than 20 years after its release, “Bigger, Longer & Uncut” still holds multiple milestones, including the Guinness World Record for “Most Swearing in an Animated Movie.” Like the show that inspired it, there’s much more to the film than foul language. Trey Parker and Matt Stone take on censorship with their signature wit, infectious songs, and an attitude that doesn’t care who gets offended. It’s not suitable for children… but maybe they should sneak into the theater anyway.

“Akira” wasn’t the first adult animated feature. In North America, though, animation’s perception can essentially be divided into two eras: before and after “Akira.” For many, Katsuhiro Otomo’s magnum opus was an eye-opener, revealing just how gritty yet profound the medium can be. The imagery ranges from gorgeous to grotesque, and you’d be surprised by how often the two cross over. For years, when someone said, “adult animation,” “Akira” was the film that immediately came to mind. The market is more saturated now, but no film has managed to top its cultural impact. “Akira” showed Westerners a whole realm of animation waiting to be discovered and expanded upon. Just as Tetsuo transcends humanity, “Akira” took animation to the next step in evolution.

What’s the most adult animated film you watched as a youngster? Tell us in the comments.