‘Wendell & Wild’ Is Henry Selick’s Inventive And Dizzying Triumph – Review
30.10.2022 - 20:17
/ deadline.com
In 2009, it was considered almost shocking when Pixar’s Up addressed the subject of death in its now-classic opening sequence, a bittersweet mini-movie of love and loss.
Nowadays, after 2017’s Coco and 2020’s Soul, and with Guillermo Del Toro’s Pinocchio on the horizon, it’s hard to believe it was ever thought that a commercial animated movie couldn’t — or, more pertinently, shouldn’t — tackle such dark themes. But while that door is now open, Henry Selick’s Wendell & Wild finds inventive ways to blow the hinges off, going even further into cult territory than he has ever been before.
In retrospect, who would have thought that The Nightmare Before Christmas, Selick’s cheerily gothic 1993 collaboration with Tim Burton, would turn out to be merely a curtain-raiser to the director’s own bizarre sensibilities, which led to the misunderstood 2001 flop Monkeybone and 2009’s rather better-received Coraline? Like both those films, Wendell & Wild is macabre in thought and dizzy in detail, taking even further the director’s obsession with other worlds and resulting in a relatively gritty, young adult-skewed, stop-motion Halloween opus that will confound Fox News with its steady emphasis on inclusivity and won’t easily translate into sales of Funko Pop dolls.
Cowritten with Jordan Peele, whose Monkeypaw company produced, this is quite the morality tale — and one that arguably stands above Peele’s last two movies, Us and Nope, in terms of clarity. The latter’s sensibility sits well with Selick’s — both seem to share a fascination with fairgrounds and circuses — which means there’s plenty going on under the surface, too. A recent reference point here is sleeper-hit horror Barbarian; although Wendell & Wild isn’t at all from the
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