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‘Stopmotion’ Review – An Artist’s Descent Through Visceral Horror and Immersive Stop-Motion

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Stopmotion Review

Horror often presents a literal interpretation of artists giving themselves over to their art, whether through supernatural suffering or psychological unraveling. Stopmotion, the feature directorial debut by BAFTA-nominated filmmaker/animator Robert Morgan, chooses the latter. While it may adhere to a familiar path of an artist’s unraveling, Morgan finds inventive and creative ways to mine visceral horror through the uncanny, unsettling nature of stop-motion animation and its painstaking process.

Ella Blake (The Nightingale‘s Aisling Franciosi) is a talented stop-motion animator who longs to escape the shadow of her mother, Suzanne (Stella Gonet), a reputable legend in the world of stop-motion animation. With Suzanne’s health deteriorating and her hands no longer functional, Ella’s artistic aspirations are put on the backburner as she’s forced to tend to her ailing but overbearing mom and act as her hands through the meticulous work of stop-motion. It seems everything in the timid Ella’s life works against her artistic dreams beyond an oppressive home life. Yet, when Suzanne’s health takes a sharp turn for the worse, Ella’s chance to create her own vision instead sends her spiraling when reality blurs in increasingly disquieting ways.

Aisling Franciosi in Stopmotion

Photo Credit: Courtesy of Samuel Dole. An IFC Films and Shudder release.

What sets Stopmotion apart from horror films of this ilk and makes it special is its reflection on the art form and filmmaking process. Robert Morgan, best known for stop-motion shorts “Bobby Yeah” and “D is for Deloused” in ABCs of Death 2, captures the demanding nature of stop-motion animation through exquisitely haunting clay creations and miniature sets. With the help of plucky young Little Girl (Caoilinn Springall), Ella’s stop-motion figures, made of fleshy hues, textures, and organic matter, poignantly shift the relationship between an artist and her increasingly ominous art.

Ella’s descent grows more macabre, mirrored by escalating encounters with her puppets in sinister ways. Morgan’s deft blending of mediums is utterly captivating, including the way the filmmaker imbues his stop-motion creations with a tactile quality. It’s not just the animation that stuns while simultaneously inducing revulsion but the unnerving sound design. Open wounds and puppets alike often come with discomforting, squelching sounds and wet noises that ensure an immersive experience.

Aisling Franciosi also transcends the familiar artist’s descent arc with a quiet, compelling performance that crescendos into steadfast self-destruction for her grand masterpiece. While some story beats may play out exactly as expected, Franciosi’s nuanced performance and restrained ferocity bridge the art to the artist. Sometimes, the dramatic stakes are too restrained, occasionally serving as a supporting part of the stop-motion animation.

Stopmotion horror

It’s fitting, though, as Stopmotion feels more of a personal piece from a stop-motion artist examining their own relationship with their art and the painstaking process of bringing it to life. Morgan brings intelligence and resonance to it while never afraid to get grotesque or repulsive. The final act may read familiar on paper, but the inventive approach packs a visceral punch.

When so many filmmakers opt for style over substance, the style is substance here. Morgan surprises with an immersive sensory assault. Art and storytelling collide in breathtaking yet revolting fashion. Morgan’s knockout debut opens up the veins of a turbulent artist, delivering one creepy melding of mediums to an unsettling, powerful degree.

Stopmotion releases in theaters on February 23 before heading to Shudder on May 31, 2024.

4 out of 5 skulls

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

Reviews

‘The Strangers: Chapter 1’ Review – New Trilogy Kicks Off with a Familiar Start

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The Strangers Chapter 1 review

Rebooting and expanding upon Bryan Bertino’s chilling 2008 horror film in a brand new trilogy, all installments already shot as part of one continuous, overarching story, makes for one of the more ambitious horror endeavors as of late. It also means that The Strangers: Chapter 1 is only the opening act of a three-part saga. Considering it’s the entry most committed to recreating the familiar beats of Bertino’s film, Chapter 1 makes for a tricky-to-gauge, overly familiar introduction to this new expansion.  

The Strangers: Chapter 1 introduces happy couple Maya (Madelaine Petsch) and Ryan (Froy Gutierrez) on their way to starting a new life together in the Pacific Northwest. Car troubles leave them stranded in the quirky small town of Venus, Oregon, where they’re forced to stay the night in a cozy but remote cabin in the woods.

Naturally, the deeply in love couple soon find themselves in a desperate bid to survive the night when three masked strangers come knocking.

The Strangers Clip Madelaine Petsch

Madelaine Petsch as Maya in The Strangers. Photo Credit: John Armour

Director Renny Harlin, working from a 289-page screenplay by Alan R. Cohen & Alan Freedland that was broken into three movies, keeps Chapter 1 mostly self-contained to recapture the spirit of the original film. The core remains the same in that it’s reliant on the eerie stalking and escalating violence that builds toward a familiar conclusion, but Harlin mixes it up a bit through details and set pieces that hint toward the larger story around Venus itself. The early introductory scenes establishing both the protagonists and their setting offer the biggest clues toward the subsequent chapters, with the bustling diner giving glimpses of potential allies or foes yet to come- like the silent, lurking Sheriff Rotter (Richard Brake). 

One downside to announcing this as a trilogy is that we already know that the successive chapters will continue Maya’s story, robbing more suspense from a film that liberally leans into its predecessor for scares. The good news is that Madelaine Petsch brings enough layers to Maya to pique curiosity and instill rooting interest to carry into Chapter 2. Maya begins as the gentler, more polite half of the young couple in love, but there’s a defiance that creeps through the more she’s terrorized. On that front, Petsch makes Maya’s visceral fear tangible, visibly quaking and quivering through her abject terror as she attempts to evade her relentless attackers.

The Strangers – Chapter 1. Photo Credit: John Armour

It’s her subtle emotional arc and quiet visual hints toward the bigger picture that tantalize most in an introductory chapter meant to entice younger audiences unfamiliar with the 2008 originator. The jolts will have a harder time landing for fans of Bertino’s film, however, even when Harlin stretches beyond the cabin for stunt-heavy chase sequences or gory bursts of violence. It’s worth noting that Harlin’s tenured experience and cinematographer José David Montero ensure we can grasp every intricate stunt or chase sequence with clarity; there’s no worry of squinting through the dark, hazy woods to make out what’s happening on screen. A more vibrant color palette also lends personality to Venus and its residents.

The Strangers: Chapter 1 exists in a unique place in that it’s the first 90 minutes of what will amount to a roughly 4.5-hour movie yet doesn’t give much away at all about what’s ahead, presenting only part of the whole picture. Chapter 1 does a sufficient job laying the groundwork and delivering horror thrills but with a caveat: the less familiar you are with The Strangers, the better. Harlin and crew get a bit too faithful in their bid to recreate Bertino’s effective scares, even when remixing them, and it dampens what works. The more significant departures from the source material won’t come until later, but look to a mid-credit tease that sets this up.

The Strangers: Chapter 1 doesn’t establish enough of its own identity to make it memorable or set it apart, but it’s just functional enough to raise curiosity for where we’re headed next.

The Strangers: Chapter 1 releases in theaters on May 17, 2024.

2.5 out of 5 skulls

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