Review: Laika’s ‘Wildwood’ Stands as Studio’s Most Ambitious Fairytale Epic

Travis Knight’s latest feature, “Wildwood,” marks Laika’s most ambitious project to date, transforming Colin Meloy’s 2011 children’s novel into a richly textured, transportive fairytale epic. While the narrative draws on familiar story elements, the studio’s lavish stop-motion spectacle breathes new life into the material, creating an experience that feels both fresh and vividly alive.

Early in the film, a fleeting line of dialogue on a sign urges viewers to “enjoy handmade art before it’s gone forever.” This sentiment serves as both a gentle jab at Portland’s quirky culture and a sincere manifesto for the predominantly handcrafted nature of the production. Director Knight and his team have ample reason to be proud; the sixth feature from the independent animation studio is a tactile, thumbprinted achievement of stop-motion artistry on a scale rarely seen, standing in stark contrast to the slick, often uncanny digital graphics dominating the current cartoon marketplace.

Laika has built a reputation for its organic, idiosyncratic style since its 2009 debut, “Coraline,” directed by Henry Selick. While earlier films like the comedic “Missing Link” favored cozy oddball storytelling, 2016’s “Kubo and the Two Strings” saw Knight push the miniature medium into epic territory. “Wildwood” pursues that grandeur even further in its sprawling 130-minute runtime, traversing genres from gothic fairytale to visceral fantasy warfare. Though some longtime fans may prefer the studio’s smaller, quirkier outings, the film is a spectacular success as both a formal achievement and a crowdpleaser spanning generations.

The source material, a 500-plus-page novel by indie musician Colin Meloy, blends influences from C.S. Lewis, J.R.R. Tolkien, Enid Blyton, Kenneth Grahame, and Jim Henson’s “Labyrinth.” While the prose may not break new ground, the film elevates the story through sparky dialogue and genuinely felt relationships, with screenwriter Chris Butler perhaps improving upon the book.

The film opens with a startling sequence that clarifies its PG-13 rating: a young boy in a woodland castle deliberately jumps to his death, only for his chest to shatter and reveal metal cogs beneath. The narrative then shifts to Prue, a precocious 12-year-old voiced by Peyton Elizabeth Lee, who lives with her overprotective bohemian parents, played by Jake Johnson and Maya Erskine. Prue yearns for adventure beyond her tranquil Portland suburb and the looming threat of the Impassable Wilderness.

When Prue’s infant brother, Mac, is swept away by a flock of crows while she watches helplessly from a playground, she chases them into the forbidden woods. There, she is joined by her nerdy classmate Curtis, voiced by Jacob Tremblay, and together they navigate a surreal ecosystem ruled by Redcoat-styled military coyotes, giant birds of prey, and various human factions. At the center of the conflict is the Dowager Governess, voiced by Carey Mulligan, whose broken heart and villainous ambitions threaten to ignite a war.

The film features an all-star voice cast, including Mahershala Ali as a warrior with a gold heart and Awkwafina as a snide rat. While the runtime occasionally feels unnecessary, the animation remains entrancing, showcasing exquisite details from feathered eagles voiced by Angela Bassett to glistening tears on character cheeks. Veteran cinematographer Caleb Deschanel provides masterful lighting, while Dario Marianelli’s score blends Celtic strings, military percussion, and acoustic instruments.

“Wildwood” may verge on visual and sonic overkill, but the abundance aligns with its theme of exploring the world’s hidden corners. Knight’s film borrows from fantasy folklore yet brings enough original exuberance to feel like a new standard, proving that handmade artistry is far from extinct.