RANKED: All 17 Pixar movies from 'Toy Story' to 'Finding Dory'

In the second movie ever released by Pixar, an ant named Flik (voiced by Dave Foley) sets out to find others to help save his colony against grasshoppers and ends up recruiting a unique group of allies.

Though the movie was successful at the box office, with the release of DreamWorks' "Antz" a month earlier, you're more likely to remember the Lasseter-Katzenberg feud than the films.

Perhaps one of the more serious stories in the Pixar inventory, this coming-of-age tale about an Apatosaurus and his human friend Spot trying to return home didn't catch on nearly as much as Pixar's other release in 2015, "Inside Out."

Burnout may have been at play here, but mostly Pixar challenged its core audience with a darker story than they were used to.

With perhaps a little too much old-school Disney gloss, the movie nevertheless featured a princess who's one of the most strong-willed we've seen in an animated feature. But it just didn't work as well as Pixar titles before or since.

The final Pixar movie that the company produced independently before being bought by Disney, "Cars" — a look at a hotshot racing car that finds humility and true friends in a dusty country town — was one of those for-the-whole-family, feel-good stories that was light on the clichés.

In the prequel to the popular "Monsters, Inc.," Pixar does impressive work to make the backstory of how Mike (Billy Crystal) and Sully (John Goodman) met as fun and original as the classic first film.

Setting the story in the college life of monsters opens the door to easy traps, but the movie mostly steers clear and has a strong ending.

The second "Toy Story" puts Woody (Tom Hanks) in the clutches of a toy seller who's ready to ship the antique cowboy off for big bucks. Buzz (Tim Allen) and the rest of the toys have to figure out how to save him. Like the first time, the movie has some great drama and thrills that proved a lot more could be told about these plastic toys.

The first directing effort by Pete Doctor ("Up," "Inside Out"), "Monsters, Inc.," the story of how monsters use the screams of children to power their world, was a genius idea that was elevated by the performances of Crystal and Goodman as the leads. With laughs and a heartwarming story, the movie showed that Pixar had more up its sleeve than the "Toy Story" movies.

Hailed by critics when it came out, and nominated for a best picture Oscar, the third "Toy Story" is the franchise's most emotionally charged to date. Woody, Buzz, and the gang find themselves mistakenly delivered to a day-care center, where they encounter some interesting new toys.

Though it doesn't have the same special qualities that "Finding Nemo" has, "Dory" is still a fun tale in the established Pixar mold. We travel back under the sea to follow Dory as she beings to have memories of the parents she left behind. The return of favorite characters and memorable new ones give this sequel a leg up.

Playing on the big Hollywood secret agent/superhero movies, Pixar's curveball turned off some who didn't want it meddling in the genre. But the story of a superhero past his prime and realizing he's even more powerful when his family is by his side indicated the emotional depths Pixar wanted to explore.

"Up" is a perfect example of the adult topics Pixar began to take on once it was on steady ground in Hollywood. Focusing on love and the inability to let go, the story of an elderly man's journey to a far-off land on his floating house after his wife dies is equally heartbreaking and life-affirming — a triumph that led to it getting a best-picture Oscar nomination.

Pixar's latest Oscar-winner for best animated feature touches on all the things that have made its movies so beloved. The original story of a young girl growing up told through personified emotions, and the journey to finding one's true self, could've been corny. But Pixar's execution was flawless.

The movie that started it all. Lasseter directed it and pretty much put all the company's chips into one basket. "Toy Story" elevated what kinds of stories animated movies could tell. And its computer-generated animation was the nail in the coffin for Disney's traditional hand-drawn work.

From the sarcastic comedy of Albert Brooks opposite the sweetly naive tone of Ellen DeGeneres, to the attention to detail in the gorgeous CGI-rendered underwater world, "Finding Nemo" provided a lot for everyone to love. And the giant box-office numbers speak for themselves.

This touching examination of the sanctity of art and how it can be commercialized into watered-down muck — cleverly using the setting of a restaurant kitchen — is one of the most emotionally fulfilling movies ever made, Pixar or otherwise.

Director Andrew Stanton ("Finding Nemo," "WALL-E") gives us a remarkable story that celebrates old cinema (the silent movie, the musical) while delivering a message about the need to protect the planet (and our health) as flashy technology takes over.

Pixar is known for making us care about fictional creatures and objects, but with "WALL-E," that connection to the characters — the sense that they're living beings — is so intertwined with our experience of watching that you have to remind yourself it's just a story.

And that's the best kind of storytelling.