Wildwood (2026) Review!!

Synopsis – A headstrong teenager sets off to a forest outside Portland to find her kidnapped brother and navigates a world of talking animals, bandits, and powerful figures driven by grief and ambition.

My Take – Despite the dominance of Disney, Pixar, Illumination, Sony Pictures Animation, and DreamWorks Animation, LAIKA has carved out a singular place in the animation landscape by steadfastly refusing to follow the industry’s conventional playbook. Through painstaking stop-motion craftsmanship, hand-built puppets, intricate production design, and groundbreaking use of 3D printing, the studio has developed a visual identity that feels unmistakably its own.

More importantly, LAIKA has never shied away from darker, stranger, and more emotionally sophisticated storytelling, as seen in Coraline (2009), ParaNorman (2012), The Boxtrolls (2014), Kubo and the Two Strings (2016), and Missing Link (2019). At a time when animation is increasingly defined by digital spectacle, LAIKA continues to champion a medium where every frame bears the imprint of human artistry.

Their latest film, an ambitious adaptation of Colin Meloy‘s beloved 2011 middle-grade fantasy novel, feels in many ways like the culmination of everything the studio has been striving toward. Directed by Travis Knight (Kubo and the Two Strings, Masters of the Universe) and written by Chris Butler (Kubo and the Two Strings, Masters of the Universe), the project has spent sixteen years making its way to the screen. Drawing inspiration from the rich traditions of fantasy literature, from The Chronicles of Narnia franchise and Tolkien to classic fairy tales, it follows a familiar yet timeless path: a young girl crossing the threshold between reality and magic, a fractured kingdom, unlikely companions, and a ruler whose cruelty is rooted in tragedy.

Yet what elevates the material beyond its influences is the confidence of its execution. Bolstered by deeply affecting voice performances, breathtaking action set pieces, and an infectious sense of adventure, the film emerges as an uplifting and deeply rewarding experience.

Sure, the narrative occasionally strains under the weight of its ambitions, with moments that feel rushed, exposition-heavy, or unevenly paced. Nor does it quite achieve the eerie precision and narrative tightness of LAIKA‘s finest work. Yet these shortcomings pale beside the sheer scale of the achievement. As the longest stop-motion animated feature ever produced, it stands as a remarkable testament to the possibilities of the medium.

In an era where the pursuit of digital perfection can leave animated films looking increasingly uniform, LAIKA remains committed to the beauty of handcrafted imperfection. Every movement, expression, and environment possesses a tangible texture and physical presence that computer-generated imagery struggles to replicate. The result is not merely an impressive film, but a staggering technical accomplishment whose artistry must be seen to be fully appreciated.

The story follows Prue (voiced by Peyton Elizabeth Lee), a teenage girl living in Portland, Oregon, whose parents (voiced by Maya Erskine and Jake Johnson) have always warned her never to enter the mysterious Impassable Wilderness. Raised on tales of the dangers lurking within the vast forest bordering their home, Prue knows better than to cross its boundaries. But when her infant brother Mac is abducted by a murder of crows while under her watch, she is forced to do exactly that.

Joined by her socially awkward but resourceful classmate Curtis (voiced by Jacob Tremblay), Prue embarks on a perilous journey into the woods to bring him home. Beyond the forest lies a hidden world of magic, intrigue, and conflict. There, Prue and Curtis encounter an extraordinary realm where animals walk upright, wear uniforms, and serve competing factions locked in a bitter struggle for power.

Among them is Alexandra (voiced by Carey Mulligan), a former governess turned ruthless ruler who dominates one side of the enchanted kingdom. As the pair venture deeper into this fantastical landscape, they find themselves caught in a conflict far greater than they ever imagined, one that may hold the key to her Mac’s rescue and the fate of the wilderness itself.

Where the film truly shines is in LAIKA‘s extraordinary craftsmanship. Massive battles, chases, and towering creatures move with remarkable fluidity, yet the tactile charm of stop-motion never disappears. More than a hundred sets and hundreds of puppets were painstakingly animated frame by frame, resulting in a world that feels alive in every detail.

Every frame rewards scrutiny, whether it’s the intricate costume design, expressive character models, or subtle touches like the visible eye bags beneath Prue, her mother, and Alexandra. LAIKA‘s artists create an immersive fantasy realm of enchanted forests, imposing castles, and large-scale battlefields, all realized with extraordinary care. In an era increasingly dominated by digital uniformity and AI-generated imagery, the film serves as a powerful reminder of the beauty of handcrafted animation.

The world itself feels fully lived-in, populated by coyote soldiers, eccentric leaders, mystical elders, bandits, and talking animals with societies of their own. At the center of this conflict is Alexandra, a grief-stricken governess whose ambitions threaten to engulf the wilderness. The scale of the world-building is impressive, even if not every corner receives the attention it deserves. Despite its young protagonist and talking-animal fantasy framework, the film tackles surprisingly mature themes. Grief, loss, obsession, and the desire to protect loved ones drive much of the narrative.

Alexandra emerges as a particularly compelling antagonist, her tragic motivations lending genuine emotional weight to the story. Her parallels with Prue, both fiercely devoted to family but choosing vastly different paths, form one of the film’s strongest ideas. Through them, the film explores how love, when consumed by grief and desperation, can become something destructive. Narratively, the film is engaging and accessible, though its ambition occasionally works against it.

Director Travis Knight spends considerable time introducing the film’s many factions, creatures, and political dynamics, leaving some character arcs and conflicts feeling underdeveloped. The mythology is rich and intriguing, but the story sometimes becomes more invested in expanding its world than deepening its emotional stakes.

The film’s biggest weakness is its tendency to overextend itself. Prue’s quest remains compelling, but the accumulation of mythology, political intrigue, and supporting characters occasionally slows the narrative momentum. Some themes and character journeys are effective but familiar, and a tighter focus might have given several emotional beats greater impact.

Still, director Knight proves an ideal steward for the material. His passion for stop-motion is evident in every frame, and the film’s darker PG-13 tone recalls the fantasy adventures of the 1980s that trusted younger audiences with complex emotions and genuine peril. At 131 minutes, the film is the longest stop-motion feature ever made, and while that length exposes pacing issues, it also allows viewers to fully immerse themselves in its meticulously crafted world.

It also boasts a terrific voice cast. Peyton Elizabeth Lee and Jacob Tremblay bring plenty of heart and charm to Prue and Curtis, while Carey Mulligan is the standout as Alexandra, balancing grief, vulnerability, and menace with remarkable skill. The supporting ensemble, including Mahershala Ali, Awkwafina, Amandla Stenberg, Charlie Day, Angela Bassett, Jake Johnson, Jemaine Clement, Richard E. Grant, Tantoo Cardinal, Tom Waits, Maya Erskine, Kellan Tetlow, and Arthur Knight, adds personality and warmth throughout, helping bring the film’s expansive world to life. On the whole, ‘Wildwood‘ is an ambitious and spellbinding fantasy epic elevated by stunning stop-motion artistry and genuine emotional depth.