some good fun but I feel like it had some pacing issues and could've been massively improved with an extra hour added to the runtime
Creepy, angsty stop-motion animation from the director of Coraline and the writer of Get Out. Wendell & Wild tells the story of Kat, a gloomy orphaned adolescent still coming to terms with the sudden loss of her parents. Prickly and angry, she’s burnt bridges at a long string of foster homes and now lands in a failing religious school on the outskirts of her once-happy hometown. It’s her last chance to get right, but the opportunity is immediately complicated by a preppy gang of well-intentioned girls, a murderous private prison conglomerate and a pair of pushy, rebellious demons with plans to turn the fading village into an undead amusement park.
Kat’s world is overly busy, a million unrelated threads tangled in the dark, and only half-resolved when the credits roll. Its characters are fresh and diverse, vibrant in spirit as well as appearance, and the soundtrack (a distinct mix of killer afro-punk jams) is outta sight. Everything looks great, the humor mostly works, there’s plenty of heart... but something’s missing. With so many competing subplots and narrative wrinkles, we rarely get a chance to dwell on a single subject for more than a few beats, making even the primary threads seem superficial and unimportant. There’s an awkward lack of polish, which makes it feel swollen and unfinished. And the twin title characters, a happy reunion of the Key & Peele comedy team, never evolve beyond simple, irritating sideshows. In scattered isolation, there’s a lot to like. As a collective whole, nothing really fits together. It tries to do too much, without understanding what to do with the pile of mismatched pieces it’s already got.
The characters designs are fire wtf!!!!!
An overstuffed but fun, sweet and imaginative PG animated horror. There's A LOT going on in this film, perhaps too much for a film running under 2 hours. Netflix could've easily turn this into a tv show but thank God they didn't. The production design and animation in this are incredible as expected, with characters that have certain elements that make them truly unique. The amount of creativity that fills each frame is truly admirable, although it ends up making the film feel overpacked. It does feel like it doesn’t really give you enough time to breathe or soak everything in. That said, I find the jumps between scenes to be delightfully odd, and they definitely pair so well with the unique characters and visuals. Worth a watch.
Worth your time. In time, it might be a classic like the other great stop motion animated films that have come before.
Absolutely bizarre, outlandish, and humorous! I love Henry Selick's work. so this is right up my alley! Freakishly macabre and fascinating character designs!
Despite its distinct and fascinating animation style, "Wendell & Wild" somehow left me a bit bored. This is primarily due to the story and characters, which never really captivated me. To some extent, the development of the main character, Kat (Lyric Ross), worked for me. On the other hand, the titular demons were a letdown. Despite the fact that they are voiced by Keegan-Michael Key and Jordan Peele, the humor never clicked with me. On the plus side, "Wendell & Wild" takes on some difficult subjects, such as the prison industry in the United States. However, it is all very superficial. Overall, it's a beautiful film, but it's let down by a dull plot and a lackluster soundtrack.
Was hoping this was going to be like a new Coraline but it was closer to Nightmare Before Xmas, which is not my fave. Amazing stop motion, great diversity in characters, voice acting was spot-on, but had pacing issues and an overall theme that was just meh.
Definitely not the best in the genre. Still a good movie. Solid 5/7
Not exactly sure what gave it the pg-13, but it's good.
My sister and I enjoyed it a lot.
Review by Andrew BloomVIP 9BlockedParentSpoilers2023-10-17T04:35:17Z
[7.1/10] Wendell & Wild’s heart is in the right place. It has multiple good messages, about your demons making you stronger once you own and accept your past, about fostering and restoring a community, and even about the excesses of private prisons. It has a diverse cast full of characters given life and purpose in the narrative. It has an array of well-pedigreed talent both “in front of” and behind the camera. And it doesn’t talk down to the younger audience it’s aimed at, hitting some big and challenging ideas with the confidence that kids are ready for them.
And yet, somehow, the whole is not quite greater than the sum of its parts. The film is not bad by any stretch of the imagination. There’s enough vivid imagery, wholesome moments, and endearingly off-beat choices to sustain the movie through its runtime. But with a cast like this, a horror-master with the credibility of Jordan Peele as co-writer and co-star, and the legendary director Henry Selick helming the project, there’s reason to expect greatness. Instead, Wendell & Wild levels out somewhere around “pretty good”. That’s a bit of a disappointment, even if the results are still solid and enjoyable.
The film tells the story of Kat, a young woman who loses her parents in a tragic accident, followed by her bouncing around group homes and the juvenile justice system, before she ultimately finds her way back to catholic girl’s school back in the town where her trauma began. There, she meets Raul, her intrigued-but-struggling classmate; Sister Helley, a teacher with a secret connection to her; and the eponymous demonic duo whose double act, theme park dreams, and chance to seek their fortunes in the human realm depends on Kat as their “hell maiden”.
Even that undersells the amount of narrative plumbing that’s built into the premise of Wendell & Wild. If there’s a major flaw in the film’s story, it’s that it tries to do too much.
In the span of an hour and forty-five minutes, the movie attempts to cover: Kat reckoning with her grief and the person it’s turned her into, Raul being dead-named and misunderstood but proving his worth, Sister Helley mentoring another young hellmaiden through her trauma and the immediate crisis; Wendell and Wild breaking free of their devilish dad in a scheme to earn enough money raising the dead to fund their theme park, the greedy Klaxon family trying to takeover the town council to approve their plan to turn Rust Bank into one big private prison, Raul’s mom doing an investigation to prove they’re behind the fire that destroyed Kat’s parents’ brewery, Kat’s parents coming back from the dead and reuniting with their child, the father and principal of the school being murdered and then scheming to stay alive once the demons revive him, the Klaxons' daughter seeing through her parents lies and awakening to their sins, Manberg (Sister Helley’s watcher equivalent) freeing the demons he’s captured over the years, Wendell and Wild’s giant dad (named Buffalo Belzer) invading the realm of the living and realizing how he pushed his children away, and honestly, even that is leaving a fair bit out!
There’s just too many story threads, in a way that makes you wish Peele and Sellick had collaborated on a television show, with enough time to dig into each of them and let these events breathe, rather than rushing through a lot of well-conceived but undercooked ideas. None of these elements are bad. With time to flesh them out, the ones that seem glancing could be impactful, and the ones that are already impactful could feel part of a broader whole rather than a rolling clump. The lack of direction leaves the film feeling aimless and logy in several places. But at best, “Wendell & Wild” feels like three good movies’ crammed into a single runtime, leaving everything and everyone feeling the squeeze.
The same goes for its themes. Trying to bundle together “My difficult past made me stronger”, the prisons industrial complex, understanding that it’s okay to let people in, urban renewal, reuniting families, and scads of other mini-themes means the film lacks focus. Even if you could streamline the plot a bit here, which wouldn’t be that challenging, the film tries to say too much at once and ends up jumbling and short-changing its otherwise touching and incisive points. And even then, there’s a lot of handholding for the audience that detracts from, rather than enhances, the messages.
The benefit of any Selick movie is supposed to be that even if you’re not a fan of the story, the artistry is supposed to keep you engaged on vibes alone. And there’s some cool visual elements of this one, including ones I wish we got to spend more time with. The paper-thin souls on a beelzebub-inspired belly-bound theme part is a hell of a striking image. The grim look of a revivified Father Bests catches the eye. And the zombified movements of “The Old Guard” walk that wonderfully line between cool and creepy.
But the character designs here aren’t as neat or memorable as in past Selick projects. Exaggeration has long been the name of the game, but something feels off in the design principles that makes them less distinctive. Maybe it’s just the animation. Selick’s team is full of pros, and there’s some good cartoon movements to enjoy. (I particularly enjoy the way Wendell and Wild’s steed, sparkplug, moves about.) But the stop motion team has gotten so good that sometimes the characters’ movements start to sink into the uncanny valley. And outside of some neat mixed media interludes, the settings and designs don’t wow the way they did in Nightmare Before Christmas and Coraline.
Sometimes the film is just gross, and not in a terribly entertaining way. I don’t mind the grody or grotesque, but I don’t know, something about the title characters playing around with boogers and bug guts quickly stopped being fun. Some of that’s unavoidable, with the pair living in their father’s nostrils. But even then, the prospect of a Key and Peele reunion in animation wasn’t as amusing as that billing promises.
Despite all my gripes, Wendell & Wild is still a solid outing. Kat has a cool arc and makes for the kind of protagonist you don’t always get to see in a kids movie. The premise is good enough that I’m asking for more of it, not less. The needle drops are particularly well-placed, and the points about self-forgiveness and communities banding together are strong. You could do much worse than this movie.
But you could also do better. Peele and Selick are damned by their own impossibly high standards, let alone the expected synergy of the pair working together. The weird and whimsical is still there. The resonant story is still there. The inventive horror is still there. The duo just can’t find a way to tie it all together into a greater whole, resulting in something admittedly wild, but also something of a letdown.