‘Wildwood’ review: Laika's new fantasy epic is the best animated movie of the year
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At a time when human-created art seems to be under constant attack, I find it extremely heartening that 2026 has been a great year for stop-motion animation, an art form that involves an extraordinary amount of human labor and creativity. As much as I enjoyed Aardman’s “Shaun the Sheep: The Beast of Mossy Bottom” last month, Laika’s new stop-motion epic “Wildwood” is easily the best animated movie of the year, and one of my favorite 2026 movies of any type. It’s a towering achievement of craft and artistry, and it’s also a deeply moving story with memorable characters and intricate world-building.
Rating: 4/5 Stars Verdict: Fantasy epic “Wildwood” is the best movie yet from stop-motion animation studio Laika. Its story of a teenage girl venturing into a magical land to retrieve her kidnapped brother is exciting, intense and rousing, with gorgeously detailed animation and a grand scope. Where to watch: Now playing in theaters
Adapted from the 2011 novel written by Colin Meloy of the Decemberists and illustrated by Carson Ellis, “Wildwood” is set in a fantastical world that exists right alongside Portland, Oregon, where seemingly ordinary teen Prue McKeel (Peyton Elizabeth Lee) travels to rescue her toddler brother Mac (Arthur Knight) from the clutches of an evil ruler.
The story provides the perfect showcase for Laika’s handiwork, allowing director Travis Knight and his team to create a range of amazingly detailed characters and settings, adding up to a breathtaking cinematic experience.
As adapted by screenwriter Chris Butler, the story of “Wildwood” draws on decades of fantasy tradition, with clear influences from the “The Lord of the Rings” and “The Chronicles of Narnia.” Prue and her family live a seemingly simple life in bohemian Portland, but there’s something ominous about the fables that Prue’s father (Jake Johnson) reads to her about the Impassable Wilderness just outside the city. It’s even more ominous when he and Prue’s mother (Maya Erskine) insist that Mac can never leave their house, for any reason.
With her parents away at a craft fair, Prue does what any rebellious teen would do, disobeying orders and taking Mac on an outing to the city, ending up at a local playground. Laika’s vision of urban Portland is just as meticulous as the later depiction of the Impassable Wilderness, bringing careful attention to every sign, sidewalk and passerby. The movie doesn’t linger in the city, though, because soon Mac is snatched up by a menacing murder of crows and taken into the Impassable Wilderness.
Prue follows, along with her nerdy classmate Curtis (Jacob Tremblay), who’s been randomly tagging along. Once inside the Impassable Wilderness, they encounter all manner of strange creatures, from an army of coyotes dressed like British redcoats to a majestic eagle known as the General (Angela Bassett).
While Prue searches for Mac, Curtis is taken by Alexandra, the Dowager Governess (Carey Mulligan), the former ruler of the realm who has gone mad with grief over losing her son and now threatens to destroy the entire Impassable Wilderness and everyone who lives there.
Knight draws on classic 1980s kids’ fantasy adventure movies like “Labyrinth,” “The NeverEnding Story” and “Return to Oz,” embracing the story’s darkness and earning both the PG-13 rating and the lengthy runtime (the longest of any stop-motion movie). “Wildwood” opens with the death of Alexandra’s son, and there are shots of battlefields strewn with bodies and even a beheading. This is the kind of movie that will give some kids nightmares — in a good way.
“Wildwood” is intense and scary because life can be intense and scary, and that’s something that Prue and Curtis learn as they try to find Mac and make their way home. This isn’t a goofy, upbeat story about traveling to a magical land, although there are moments of humor and some cute characters, including a snarky rat voiced by Awkwafina. The emotional beats feel genuine, not only for Prue and Curtis but also for Alexandra, who is clearly evil but also clearly hurting, unable to process the loss of her son.
The voice performances are excellent, especially from Lee and Mulligan, and they complement the often astonishingly expressive stop-motion figures. Prue registers all of her emotions on her face in ways that are both subtle and affecting, and even the supporting characters, who are more broadly defined, have richly layered facial expressions.
The sweeping vistas of the Impassable Wilderness are dazzling, but Knight and his collaborators understand that the tiniest gestures are equally important.
Like Knight’s previous directorial effort for Laika, 2016’s “Kubo and the Two Strings,” “Wildwood” draws on time-honored folklore and fantasy traditions to build something new yet familiar, adding a personal story that makes it feel immediate and meaningful.
Production on these films may take years, but every bit of effort shows up onscreen. Just a single shot of two characters holding hands has more power than entire soulless CGI animated mainstream productions. Yes, Laika uses CGI enhancements, but those effects always function as augmentation rather than shortcuts.
Even without any knowledge of the production process, “Wildwood” is a captivating, beautiful and often heartbreaking film to watch. As much as I can feel despair over the future of handmade art in a culture that seems to increasingly devalue it, a movie like “Wildwood” gives me hope, and that’s a wonderful gift to receive.
“Wildwood” is now playing in theaters