Film reviews: Wildwood’s animated epic meets DC’s gruesome Clayface

WILDWOOD (12A, 131 mins) *****

From ‘the hands that made Coraline’ comes Laika studio’s most ambitious film yet – one that might be called ‘the Avatar of animation’.

Based on a novel by Colin Meloy, who even has a song over the end credits, which also partly detail how this incredible film was made, the story is about a baby boy being abducted and the adventurous lengths that his big sister Prue (Peyton Elizabeth Lee) and her friend Curtis (Jacob Tremblay) go to in an attempt to save him.

Along the way, they meet the mysterious Alexandra (Carey Mulligan), who lost her son Alexei but still can’t let him go, and warns of a coming war.

Directed by American filmmaker Travis Knight (son of Nike co-founder Phil Knight), Wildwood is certainly wild and definitely not wooden.

Its blend of CGI and stop motion is as breathtaking as the landscapes. Even in 2D, the on-screen depth of field looks like 3D, with no glasses required.

The richly colourful content is very violent, even for a groundbreaking 12A – themes of suicide alone should have merited a 15 certificate, never mind the scenes involving bladed weapons and an infant.

Though arguably 20 minutes too long, Wildwood delivers on most levels. The action scenes have pace, energy and genuine jeopardy, and would not be out of place in The Lord of the Rings (LOTR). The story has classic depths, and some of the character designs are more expressive than those in standard marble-eyed animations.

Overall, Laika achieves more in one movie than James Cameron has with 20 years of Avatar. If only the music had been as experimental as the visuals – or at least a match for the warmth of LOTR or the drive of Pirates of the Caribbean – then Wildwood really would have hit the highest of high notes.

For added fun, following his memorably quick recent rejection from BBC One’s hit series The Traitors, Richard E Grant has a minor role as Owl Rex before he briefly returns to cinemas again in next week’s Wicker.

The all-star cast here includes Mahershala Ali as Brendan the Bandit King, Awkwafina as the rat Septima, Angela Bassett as a giant golden eagle, Tom Waits as coyote Maxim and Blythe Danner as fortune teller Seer.

CLAYFACE (18, 108 mins) ***

Just as Wildwood is a rare 12A animation (and Laika’s first), so Clayface is a genuine movie for adults, fully warranting DC’s first 18 certificate.

Directed by James Watkins (The Woman in Black, 2012), it is a gift of a major breakout role for Welsh actor Tom Rhys Harries.

Matt Hagen is a good-looking actor drawn to the wrong woman. His career-threatening injuries will require major surgery (which is definitely not for the squeamish) and pioneering treatment.

By the time Matt has regained his wondrous good looks, he has already been replaced in his next production. But that is only the start of his major problems.

With his face prone to literally melting, can new technology that initially restores his skin continue to help, or will he be disfigured for life?

In an age when beauty is sometimes seen as being only skin deep, how will such challenges affect his mentality?

Based on a 1940s Batman villain updated with AI, Clayface is DC’s best film for years, relying on story rather than green-screen superhero shenanigans.

British star Eddie Marsan, as Matt’s dodgy manager Frank Fitzpatrick, is a particularly good choice for authenticity.

Part of a new ‘DC extended universe’ called Gods and Monsters, Clayface is confident enough to throw in some old-school nudity, too.

From the modern era, the film has echoes of Liam Neeson’s ‘Justice has a new face’ Darkman (1990) and Joaquin Phoenix’s ‘Put on a happy face’ Joker (2019).

But although director Watkins introduced my own Clayface screening with the notion that this is ‘DC’s first horror film’, the lack of genuine suspense means it is unlikely to raise the hairs on the back of your neck.

For all the psychology, personal tragedy and necessary gore, it’s never as shocking as Demi Moore’s The Substance (2024), nor as spine-tingling as Elisabeth Moss’s The Invisible Man (2020) – but you can readily imagine the late, pioneering horror star Boris Karloff enjoying this updated genre revival all the same.

Reviewing films in Birmingham since 1989, Graham Young is a former UK Regional Film Journalist of the Year and three-time runner-up.