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“Powered by WordPress.com VIP London Film Festival ‘Wildwood’ Review: Laika’s Epic Stop-Motion Wonder Lacks the Magic of the Studio’s Best Movies "Wildwood" is the antidote to all of the worst trends in mainstream animation, but it gets lost somewhere in the wilderness between reality and imagination.”
“By David Ehrlich Plus icon David Ehrlich davidehrlich More stories by David ‘Wildwood’ Review: Laika’s Epic Stop-Motion Wonder Lacks the Magic of the Studio’s Best Movies Read more ‘Matchbox: The Movie’ Review: If Skydance’s Theatrical Releases Are as Blandly Algorithmic as Its Streaming Ones, Hollywood Is Already Dead Read more ‘Artificial’ Review: Luca Guadagnino’s Dark and Campy Tech Comedy Shows Just How Stupid the Road to Smarter AI Has Already Been Read more October 11, 2026 9:15 am Add us as a Google Preferred Source ‘Wildwood’ Courtesy of Laika Share Share on Facebook Post Share on LinkedIn Show more sharing options Submit to Reddit Pin it Post to Tumblr Email Print This Page Share on WhatsApp On the one hand, Travis Knight’s “ Wildwood ” is an epic, eye-popping, and almost unfathomably well-crafted celebration of everything that makes Laika special — of everything that makes the Oregon-based stop-motion studio a singular force for good in a film industry where most companies are less interested in savoring the magic of animation than they are in seeing how many shortcuts they can take without breaking its spell.”
“Things like her underdeveloped friendship with the nerdy Curtis Mehlberg (Jacob Tremblay), a lovably round-faced dork who’s still obsessed with playing tabletop fantasy games where he pretends to be a hero.”
“It’s a story that Knight and Laika’s go-to screenwriter Chris Butler have adapted from the 2011 novel of the same name by Decemberists frontman Colin Meloy, and from the Carson Ellis illustrations that brought that book to life.”
“Teenage Prue McKeel (Peyton Elizabeth Lee), however, seems kind of over the hippie Never-never Land of it all.”
““Wildwood” is a mind-boggling visual smorgasbord on a scale that Laika has never attempted before, but the brilliance and density of its design can’t help but call attention to the ordinariness of its storytelling.”
“All the 3D-printed faces in the world can’t stop these characters from feeling two-dimensional, and the film’s strained efforts to fit Meloy’s novel into the stuff of an 131-minute story force Knight and co.”