the products of someone else's fantasy." On mania.com Chris Beveridge called the film "a great anime classic". On Japanator, Hiroko Yamamura said the film "was a game changer in the world of anime feature films". In Otaku USA, Daryl Surat said the film "is commonly hailed as one of the single best anime films of all time". Mason Proulx gave the film 5 stars, stating that "like all Urusei Yatsura, this movie is bizarre and silly, but it somehow manages to give its audience food for the mind and the soul." THEM Anime Reviews gave the film 4 stars and called it "a skilled surrealist Oshii Mamoru piece with lots of mystery and just enough Urusei Yatsura wackiness to remain familiar." Olivier Bitoun on TVClassik gave the film 3 stars. Fred Patten of Animation World Network stated that the film was an excellent movie, but also stated that it was not a good representative sample of the series. In "The Anime Movie Guide", Helen McCarthy gave the film three stars out of five, writing "Oshii uses the story [of Urashima Tarō] as a basis of a comedy that plays with serious issues like time, space, reality and perception. Accolades Kinema Junpo ranked Beautiful Dreamer as the 17th best Japanese film of 1984. That same publication later ranked it as one of the best Japanese animated movies. The film was the runner-up for the "Best 10" films in the 6th Yokohama Film Festival. In the 1984 edition of the Anime Grand Prix, the film was ranked third place. The film was ranked number 38 on a list of the Top 100 anime by Animage magazine. It was also number 9 on a list by Wizard's Anime Magazine of the Top 50 anime released in North America. In February 2004, Cinefantastique listed the film as one of the "10 Essential Animations" of Japan. In 2017, Paste listed the film as number 28 on their "Top 100 Best Anime Movies of All Time" list. Legacy Vincent Ostria stated in Les Inrockuptibles that the film is "a series of dreams in abyss, foretelling...the virtual games of Avalon and Ghost in the Shell". John Hartl of The Seattle Times compared the film's use of a time loop plot device to the later 1993 film Groundhog Day. The scholar Benedict Marko compared it to the 1998 film Dark City, which he believes to have been influenced