The Boxtrolls and Mr. Peabody & Sherman (both 2014)

What an odd time for animation. Even if we watch a film where the plot only ever hums and characters never pop, we can still marvel at the onscreen techno wonder. Everything looks amazing! “The Boxtrolls” and “Mr. Peabody & Sherman” – the former stop motion mixed with CGI, the latter all CGI – are prime examples. Hum. No pop. “Boxtrolls” comes from studio Laika, who made “Coraline,” an edgy horror tale for cool kids. But “Trolls” misfires with title characters -- tiny ogres live under a Victorian-era city and dress in discarded cardboard -- that fail to spark or overcome their human counterparts, including a status-hungry villain (Ben Kingsley) with a penchant for cabaret. Bummer. Only a fourth-wall-crashing Monty Pythonesque riff on “free will” fired my brain, during the end credits. A remake of the old cartoon shorts about a time-traveling dog and his not-so-bright human boy, “Peabody” is full of a breezy slapstick, bad puns, and warped histories of the Trojan War, Mona Lisa, and more. It relies on poop jokes and greatly underserves a female companion, but it gets in a Mel Brooks cameo as Einstein, and I love Mel Brooks. Boxtrolls: C+ Peabody: B

ParaNorman (2012)

First off: An admission. I held the real ParaNorman the day after watching Laika Animation kid comedy/ horror “ParaNorman,” the studio’s stop-motion follow up to 2009’s “Coraline.” I was and remain in awe. This tale of a loner boy (voiced by Kodi Smit-McPhee of “The Road”) who can see and talk to the spirits of the dead –- including his own late grandma -- is not as grand, terrifying, or eyeballs-out amazing as the earlier film, but directors Sam Bell and Chris Butler had no room to go up. Oh, well. Naturally, Norman’s powers do not sit well with family or teachers, and when the boy starts seeing tell-tale signs of doom for his witch-obsessed town, every small trace of luck he has vanishes. Next up: Hero time. This creepy cool film bucks rules and isn’t afraid to go edgy as Norman once refers to the “F” bomb without saying it. The attention to detail astounds: Bony fingers peel wood, and the boy’s zombie slippers are a sight to behold. Only the ending sinks with too many story pauses and a complete lack of the grandmom who previously said she’d always protect Norman. Story hiccup? No idea. A marvelous watch. A-

Frankenweenie (2012)

I welcomed the Tim Burton-directed stop-motion “Frankenweenie” with a wide smile of spooked childlike wonder. For years now, Burton has been missing as a filmmaker. He has made many movies -– “Planet of the Apes” and “Dark Shadows” -- but none steeped in the dark satire and deep loneliness he displayed in “Edward Scissorhands.” This harkens back to early Burton, and is a remake of his infamous 1984 live-action short, ingenuously reimagined. Young Victor Frankenstein is a loner whose best friend is Sparky, his pet dog. Victor pops a homerun during a parent-forced youth baseball outing. Sparky runs for the ball, and is fatally hit by a car. Victor is devastated, and soon goes the way of his namesake by bringing Sparky back to life via an electric storm and a lab that is every bit a grade-school salute to James Whale. What comes next is where Burton flies high: Victor’s spooky classmates each has a dead pet they want to see given new life, and this freak show takes off as hilarious and sly introduction of monster mash-ups for the quirky young. Shot in black-and-white, this is the Burton I love. A

James and the Giant Peach (1996)

Stop-motion animation maestro Henry Selick gave us “The Nightmare Before Christmas” in 1993 and “Coraline” in 2009. Both are dark classics, more for child-like adults than children. Yet, his 1996 effort “James and the Giant Peach,” based on Roald Dahl’s book, has remained – sorry – a fuzzy memory. So, I gave it another watch. The set-up: Young orphan James (Paul Terry) escapes his cruel aunts via the giant fruit of the title, a massive, magical orb that houses friendly insects and spiders, and promises safe travel to New York City via land, sea and air. Selick surrounds this tale with a live-action opening and closing, both oddly foggy and painfully over-acted. But the animation is starkly beautiful – Selick takes us inside, around and over the peach, as puppet James and his friends cross the Atlantic. It’s the classic child-logic story every youngster, and some adults, wishes for. But “Peach” still is fuzzy, and never digs into the pit – sorry, again – of my brain. Jack Skellington appears in a good, scary bit. B

The Fantastic Mr. Fox (2009)

With “The Fantastic Mr. Fox,” Wes Anderson has made not only a jewel that pays homage to 1960s stop-motion classics such as “Rudolph the Red-Nosed Reindeer,” it looks as if it were made 40 years ago and stored in a wine cellar until now. As the characters move and speak, you can see odd ticks that seem old-fashioned but flourish with personality. Anderson, director of the infinitely smart and cool “Rushmore,” has turned Roald Dahl’s classic story into a clever heist comedy, a coming of age tail (bad pun intended), and a satire on – get this – real estate markets and capitalism run amok. Anderson’s “Fox” is played as a live-action film, envisioned by the smartest, coolest kids in art class. How many other animated films’ have scenes involving lawyer consultations and the woes of new home repair? The voice cast -- George Clooney, Meryl Streep, Bill Murray, Owen Wilson and Jason Schwartzman – are a delight. Another high mark in a year of stellar animated films (“Up,” “Coraline” and “Ponyo”). A

Coraline (2009)

The dark and beautifully weird stop-motion animation "Coraline" is surely due some year-end Oscar love. It's neck and neck with "Up," maybe surpassing it, as my favorite animated film of the year. How much do I love this film? It struck me the same way David Lynch's surreal trips down warped minds get to me, and that is huge.

Based on a story by Neil Gaiman and directed by Henry Selick ("The Nightmare Before Christmas" - an absolute favorite), it follows lonely Coraline (voiced by Dakota Fanning) as she moves into an apartment of a strangely pink pink house with her busy garden magazine writer parents (voiced by Teri Hatcher and John Hodgman). She soon meets a geeky boy next door, an acrobat and two former actresses as her neighbors, but nonetheless feels neglected. Stranger still is the tiny door in her parents' living room that leads to a new world, perfect in every detail, form and action except that everyone has buttons for eyes. (Take that as no soul. Or just buttons for eyes.)

I won't spoil anything more because this is a brilliant film not so much for young children, but the child buried in all adults. It may actually be too scary for young children. The stop-motion animation and visual effects improve upon anything I've seen before, including the classic "Nightmare." The film isn't as much a take off of "Alice in Wonderland" as it is a prelude to "Pan's Labyrinth," where the magical world a child escapes to is far, far worse than the life they want to leave behind. (I say prelude as the book "Coraline" came out in 2002, and "Pan's" original-screenplay film was released in 2006.)

Hatcher is a marvel as the Mother, Other Mother (with the button eyes) and so much more, and who knew Hodgman (he of those IBM/Mac commercials) had such a stellar singing voice? Selick is an ace director, a creator of worlds more frightening, magical and deep than Burton has realized in a long, long time. Or Lynch. This will be on my year end best list. Gaiman is a god of writing. A