Wildwood (2026) – Movie Review 🌲
From the Hands That Brought You Coraline Comes a Beautiful, Brutal Fantasy That Apparently Has No Problem Traumatizing Its Audience!
Let’s start by showing y’all the trailers, shall we?
Before we get into this review, I need to make something very clear.
PARENTS, THIS IS NOT YOUR TYPICAL DISNEY OR PIXAR MOVIE!
I don’t care how adorable the talking animals look. I don’t care how beautiful the animation is. And I certainly don’t care that this comes from the same studio that gave us Coraline.
This movie is DARK.
I’m talking about executions, warfare, disturbing deaths, child sacrifice, suicide-related material, and some surprisingly brutal violence.
I’m a 27-year-old man who regularly watches horror movies, and there were moments during this film where I was genuinely making noises of shock in my theater seat.
And you know what?
I ABSOLUTELY LOVED IT!
Wildwood is LAIKA’s sixth stop-motion animated feature, directed by Travis Knight and written by Chris Butler, based on the novel by Colin Meloy.
And after spending over two hours exploring this strange, magical, occasionally horrifying world, I can confidently say this is one of my favorite animated films of the year.
Does it have some questionable writing decisions? Absolutely.
Are some of its characters complete idiots? Oh, you have no idea.
But the animation, atmosphere, characters, humor, emotional storytelling, and sheer ambition of this production completely won me over.
10/10.
Now, let’s talk about why.
Non-Spoiler Plot Overview
The film follows Prue McKeel, a young girl living in Portland, Oregon, with her parents and baby brother, Mac.
Prue’s parents are extremely protective of Mac. And when I say protective, I mean they practically want this child to spend his entire life indoors.
They don’t want him going outside, and they have some rather ridiculous ideas about how he’s supposed to grow up without ever leaving the house.
Naturally, Prue finds this completely unreasonable.
One day, while her parents are away, Prue decides to take Mac to a nearby park.
Unfortunately, things go horribly wrong when a murder of crows suddenly swoops down and kidnaps her baby brother.
And yes, a group of crows is actually called a murder.
Which, considering what happens throughout this movie, is a rather appropriate name.
Prue chases after them, accidentally bringing along her socially awkward classmate Curtis Mehlberg, who had simply wanted to play a tabletop fantasy game with her.
The two eventually enter the mysterious Impassable Wilderness, an enormous enchanted forest that ordinary people aren’t supposed to be able to enter.
Inside, they discover an entire hidden civilization populated by talking animals, soldiers, bandits, mystical beings, and competing political factions.
At the center of everything is Alexandra, a powerful and deeply troubled woman whose plans for Mac threaten not only his life but potentially the entire forest.
Now Prue and Curtis must navigate this dangerous world, find allies, and rescue Mac before it’s too late.
And trust me, this adventure gets considerably darker than the premise might suggest.
The Animation – Absolutely Breathtaking
I genuinely cannot praise the animation enough.
THIS MOVIE IS GORGEOUS!
LAIKA has always been one of my favorite studios when it comes to the sheer craftsmanship of animation, and Wildwood might be one of their most technically impressive accomplishments.
What makes stop-motion so fascinating is knowing that these aren’t simply computer-generated characters moving around a digitally created environment.
These are physical puppets, miniature sets, handmade costumes, and meticulously constructed environments.
Every movement requires painstaking work.
And the scale of this particular production is ridiculous.
According to LAIKA’s behind-the-scenes information, the filmmakers created approximately 132 practical sets and more than 230 puppets.
The movie also contains thousands of individually animated shots and more than 140,000 facial expressions.
ONE HUNDRED AND FORTY THOUSAND!
Good Lord!
And remember the General, that enormous golden eagle voiced by Angela Bassett?
LAIKA revealed that approximately 9,000 individual feathers were installed across two specialized puppets to bring her to life.
One puppet was designed for flight, while another allowed for more detailed character performances.
That’s absolutely insane.
And it shows.
The forests feel alive. The animals have convincing movements. The lighting is gorgeous. The environments are packed with detail.
Even the smallest background elements feel like somebody put genuine thought into them.
And the final battle?
Holy hell.
The sheer number of moving characters, explosions, weapons, and environmental effects is staggering.
I can’t even begin to imagine how much patience went into animating that sequence.
One of the reasons I loved Guillermo del Toro’s Frankenstein was that it felt less like watching an ordinary movie and more like admiring an incredibly expensive piece of art.
I get a similar feeling watching Wildwood.
There’s something special about seeing artists put this much care into creating something by hand.
And in an industry increasingly obsessed with making everything faster and cheaper, I appreciate that LAIKA continues making films like this.
Characters and Voice Acting
Prue McKeel – Peyton Elizabeth Lee
Prue is our main protagonist, and I actually really enjoyed her.
She’s intelligent, sarcastic, stubborn, outspoken, and occasionally rather insensitive.
And believe me, that last characteristic becomes important.
She’s not your typical endlessly polite animated heroine.
Prue has an attitude, and she isn’t afraid to tell people exactly what she thinks.
Sometimes that’s hilarious.
Other times, I wanted to reach through the screen and ask her what the hell she was thinking.
But I appreciate that she’s flawed.
Her determination to rescue Mac is admirable, and throughout the movie she gradually becomes more willing to trust others and recognize that she can’t accomplish everything alone.
Her relationship with Curtis is especially entertaining.
Although, Prue, sweetheart, we need to have a conversation about how you apologize to people.
Curtis Mehlberg – Jacob Tremblay
I really liked Curtis.
At the beginning, he’s this awkward kid who enjoys tabletop role-playing games and wants Prue to play with him.
Unfortunately, Prue initially considers him a loser.
Which is rather harsh, considering the poor kid hasn’t done anything wrong.
But Curtis ends up becoming one of the most important characters in the entire movie.
He has a strong moral compass, demonstrates considerable bravery, and repeatedly puts himself in danger to help others.
I particularly appreciate that his development doesn’t involve him suddenly becoming some completely different person.
He’s still awkward and occasionally nervous.
He’s just discovered that he’s capable of considerably more than he originally believed.
And his journey becomes surprisingly dark.
Alexandra – Carey Mulligan
OH, WE NEED TO TALK ABOUT THIS WOMAN!
Alexandra is easily one of the most interesting characters in the film.
She’s intimidating, manipulative, ruthless, and genuinely terrifying.
But unlike some villains who simply want power or world domination, Alexandra has a deeply personal motivation.
She’s a grieving mother who cannot accept losing her son.
And that grief has transformed her into a monster.
Carey Mulligan does a fantastic job conveying both her sorrow and her cruelty.
There are moments when you can understand why Alexandra is suffering.
But that doesn’t mean you should forgive what she’s doing.
In fact, her actions become so horrifying that I eventually stopped feeling particularly sorry for her.
And there’s a video game comparison I absolutely need to make.
ALEXANDRA IS BASICALLY MOTHER MIRANDA FROM RESIDENT EVIL VILLAGE!
Seriously!
If you’ve played Resident Evil Village, you know exactly what I’m talking about.
Both women lose their children.
Both become consumed by grief.
Both turn toward supernatural methods in the hope of bringing their children back.
And both are willing to sacrifice innocent people, including children, to accomplish their goals.
Mother Miranda wants to resurrect her daughter Eva.
Alexandra wants to resurrect her son Alexei.
Mother Miranda sees Rose as the key to her daughter’s resurrection.
Alexandra sees Mac as the key to bringing her son back.
THESE TWO WOMEN SHOULD NEVER BE ALLOWED TO ATTEND THE SAME PARENT-TEACHER CONFERENCE!
Imagine the conversation.
Miranda: “I lost my daughter, so I started experimenting on an entire village.”
Alexandra: “Oh, I lost my son, so I decided to sacrifice somebody else’s baby and potentially destroy an entire forest.”
Miranda: “We should exchange notes.”
ABSOLUTELY NOT!
But seriously, I love this type of villain.
They’re not evil simply because the screenplay needs somebody evil.
Their motivations are understandable, but their actions are completely unforgivable.
And that’s an important distinction.
Grief can explain someone’s behavior.
It does not automatically excuse it.
Brendan – Mahershala Ali
Brendan, the leader of the bandits, was another character I really enjoyed.
He’s intimidating, resourceful, and surprisingly funny.
I particularly love how his bandits are initially presented as dangerous criminals, only for us to discover that Alexandra has deliberately villainized them.
Although Brendan openly admits that they do rob people.
Just people who deserve it.
So basically Robin Hood.
Except Brendan has apparently never heard of Robin Hood.
That interaction with Curtis genuinely made me laugh.
Mahershala Ali gives Brendan a commanding presence, and I appreciated his role in bringing the different factions together.
The General – Angela Bassett
The General is an enormous golden eagle who becomes an important ally to Prue.
And visually?
WOW.
She’s magnificent.
Her movements, feathers, and overall design are absolutely incredible.
Angela Bassett gives her a commanding voice that perfectly matches her appearance.
I also love the interaction where she asks Prue whether she’s afraid of flying.
Prue responds that she’s usually not on the outside of the plane.
Fair enough!
And let’s just say the General is involved in one of the movie’s most shocking moments.
We’ll discuss that later.
Governor-Regent Lars Svik – Marc Evan Jackson
THIS MAN IS A COMPLETE MORON!
And I mean that affectionately.
At first, you might assume he’s another corrupt politician.
But no.
He’s just an astonishingly incompetent authority figure who barely understands what’s happening around him.
He has the title of governor, but his assistant is clearly the one making the decisions.
And some of his dialogue is absolutely hilarious.
Marc Evan Jackson’s naturally serious delivery makes the character even funnier.
Roger Swindon – Jemaine Clement
Roger is the governor’s sleazy right-hand man.
He’s manipulative, dishonest, and considerably more intelligent than his boss.
Which, admittedly, isn’t a particularly high bar.
Their interactions were some of my favorite comedic moments in the movie.
Roger is constantly trying to communicate his schemes while the governor struggles to understand even the most obvious signals.
And their final interaction is priceless.
Iphigenia – Tantoo Cardinal
Iphigenia is one of Wildwood’s mystical spiritual leaders.
She’s deeply connected to the forest and believes in seeking guidance from a sacred tree.
Now, I understand that magic is real in this universe.
But there were moments when I wanted to scream at this woman.
LADY! THERE IS AN ARMY COMING! MAYBE WE SHOULD DO SOMETHING BEFORE CONSULTING THE TREE FOR THE FOURTEENTH TIME!
Nevertheless, she plays an important role in helping Prue understand her connection to the forest.
Other Supporting Characters
The supporting cast is enormous, including Richard E. Grant as Owl Rex, Awkwafina as Septima, Charlie Day as a coyote soldier, Amandla Stenberg as Niamh, Tom Waits as Maksim, and Rob Delaney as Samuel.
I particularly enjoyed Samuel, the rabbit farmer who ends up getting dragged into a conflict considerably larger than anything he signed up for.
The movie has so many characters that not everybody gets equal development, but I appreciated how populated and alive this world feels.
Pacing and Storytelling
At approximately two hours and twelve minutes, Wildwood is a lengthy animated movie.
And honestly?
I didn’t mind.
The story moves between Prue and Curtis as they encounter different factions of Wildwood.
Prue spends much of her journey trying to find someone willing to help her.
Curtis, meanwhile, becomes involved with Alexandra’s military and eventually the bandits.
I liked how their separate experiences gradually connected.
The world-building is extensive, and I appreciated that the movie takes time to establish the different communities, their political conflicts, and their relationships with Alexandra.
That said, I can understand why some viewers might find the movie overcrowded.
There are a LOT of characters, locations, and subplots.
And occasionally the screenplay makes some questionable decisions to keep everything moving.
But personally, I was entertained throughout.
And when the third act arrives?
HOLY SHIT.
The movie goes from a dark fantasy adventure to something resembling an animated war epic.
We’ll get into that in the spoiler section.
What I Loved
The animation is unquestionably the movie’s greatest achievement.
I cannot overstate how beautiful this film looks.
Every forest, character, building, and environment feels meticulously constructed.
The voice acting is excellent, particularly Carey Mulligan, Angela Bassett, Mahershala Ali, and Jacob Tremblay.
I also loved the humor.
And I’m not talking about the usual barrage of modern animated movie jokes where every emotional moment needs to be interrupted by somebody making a sarcastic comment.
Wildwood has some genuinely funny character interactions.
The governor and Roger are hilarious together.
Brendan has some wonderfully dry dialogue.
Prue’s father has some fantastic horror-movie survival instincts.
And even Curtis gets several entertaining moments.
I also appreciate that the movie isn’t afraid to be dark.
This is a story about grief, mortality, sacrifice, parental love, and the consequences of refusing to accept loss.
And the filmmakers actually allow those themes to become uncomfortable.
Characters die.
People make terrible decisions.
And the consequences aren’t always magically reversed.
That’s something I respect.
The movie also has a strong emotional center.
For all the enormous battles and supernatural spectacle, the story ultimately revolves around a sister trying to save her baby brother.
And I thought the ending was beautiful.
What I Didn’t Love
Now, just because I’m giving this movie a 10/10 doesn’t mean I think every writing decision is perfect.
There are definitely moments that bothered me.
My biggest issue involves Prue’s judgment during a particular encounter with Alexandra.
Without spoiling anything here, Prue initially demonstrates that she’s perfectly capable of recognizing when somebody is manipulating her.
But then, almost immediately afterward, she accepts an extremely questionable explanation from that same person.
GIRL! YOU LITERALLY JUST CALLED OUT HER BULLSHIT!
It’s one of those moments where a character suddenly seems less intelligent because the screenplay needs the plot to move in a particular direction.
I also found some of the decisions made by Wildwood’s leaders rather frustrating.
The mystical council, in particular, spends so much time seeking guidance that I started wondering whether anybody was actually capable of making a decision independently.
Now, some of this is clearly intentional comedy and characterization.
But there were still moments when I wanted these people to use a little common sense.
And while I enjoyed the enormous supporting cast, some characters could have benefited from additional development.
Nevertheless, these issues didn’t significantly diminish my enjoyment.
Final Thoughts
Wildwood is an absolutely gorgeous, ambitious, emotionally engaging, and surprisingly brutal animated fantasy.
LAIKA has created a world that feels alive in ways few animated movies manage.
The stop-motion craftsmanship is extraordinary.
The characters are memorable.
The humor is genuinely funny.
And the story isn’t afraid to explore disturbing subject matter.
But I cannot stress this enough.
PARENTS, PAY ATTENTION TO THAT PG-13 RATING!
I agree with Korey from Double Toasted when he warned parents not to walk into this movie expecting some cute Disney or Pixar adventure.
If you’re expecting Toy Story, you might be in for a very unpleasant surprise.
This movie contains some genuinely upsetting material.
And I’m saying that as somebody who regularly watches horror movies.
But for audiences who appreciate darker fantasy storytelling?
I think there’s something really special here.
The film also reinforces why I love stop-motion animation so much.
There’s a tangible quality to these worlds that makes them feel like actual places rather than images generated inside a computer.
And the amount of work involved is astonishing.
I genuinely hope LAIKA continues making ambitious projects like this.
Because Wildwood reminded me why animation can be such an extraordinary storytelling medium.
It’s not simply entertainment for children.
It’s an art form capable of telling complex, emotional, frightening, and beautiful stories.
And this movie is a perfect example of that.
My Rating: 10/10
An absolutely stunning dark fantasy adventure that combines breathtaking stop-motion animation with memorable characters, genuinely shocking violence, and an emotionally satisfying story.
⚠️ SPOILER WARNING ⚠️
EVERYTHING BEYOND THIS POINT CONTAINS MAJOR SPOILERS FOR WILDWOOD (2026), INCLUDING CHARACTER DEATHS, PLOT TWISTS, AND THE ENDING.
And trust me, there’s a LOT to discuss.
Spoilers – Alexandra’s Horrifying Backstory
Let’s start with Alexandra, because her backstory is one of the darkest elements of the entire movie.
We eventually learn that Alexandra once had a son named Alexei, whom she loved dearly.
Unfortunately, Alexei died following a tragic accident involving a cliff.
His death completely devastated her.
And things only got worse when her husband eventually died as well.
Unable to accept losing her son, Alexandra turned toward dark magic.
She enlisted witches to construct an artificial replacement child using a tooth belonging to Alexei.
This automaton looked and behaved like a real boy.
But Alexandra kept his true nature hidden from him.
And the movie actually opens with one of the most disturbing sequences I’ve seen in an animated film.
The artificial child discovers that something is terribly wrong with him.
Eventually, he removes a mechanical component from his chest and jumps from a balcony, killing himself.
JESUS CHRIST!
THAT’S HOW WE’RE STARTING THIS MOVIE?!
And the horror doesn’t simply come from the death itself.
It comes from the implications.
Alexandra was so desperate to recreate her son that she manufactured another being and concealed the truth about his existence.
And when that artificial child discovered what he really was, the consequences were devastating.
It’s an incredibly disturbing introduction to Alexandra’s obsession.
And this is where my Resident Evil Village comparison becomes especially appropriate.
Mother Miranda spent years experimenting on people in an attempt to resurrect her daughter Eva.
Alexandra similarly becomes obsessed with recovering Alexei.
Both women are grieving mothers whose inability to accept loss turns them into monsters.
And both eventually decide that sacrificing somebody else’s child is an acceptable solution.
LADIES, HAVE YOU CONSIDERED THERAPY?!
I’m not trying to make light of losing a child.
That’s an unimaginable tragedy.
But there’s a rather significant difference between grieving your child and deciding to murder somebody else’s baby to get yours back.
And Alexandra crosses that line repeatedly.
Prue’s Parents Made a Deal With a Witch
This was one of my favorite revelations.
Throughout the movie, Prue’s parents seem absurdly overprotective of Mac.
They won’t let him outside.
They practically want him to spend his entire childhood trapped indoors.
At first, it seems like a ridiculous parenting decision.
But then we discover why.
Years earlier, Prue’s parents were unable to conceive a child.
Desperate to start a family, they visited a mysterious elderly woman at a festival.
And I absolutely love Prue’s father’s reactions throughout this flashback.
They enter the woman’s tent, and he notices animal skulls.
His immediate response is essentially:
“Oh, yep. Those are satanic symbols.”
🤣
I LOVE THIS MAN!
He has better horror-movie survival instincts than half the characters in actual horror movies.
The woman instructs the couple to visit a bridge at night and ring a bell.
They do so.
Suddenly, a murder of crows appears, and Alexandra emerges from the fog.
And Prue’s father immediately wants to leave.
Because, as he points out, this looks like the part where both of them get murdered.
FINALLY! SOMEBODY UNDERSTANDS HOW HORROR MOVIES WORK!
Unfortunately, they stay.
Alexandra offers to help them conceive a child.
But there’s a catch.
They can keep their first child.
Their second child belongs to her.
Prue’s father immediately recognizes that this is an absolutely insane bargain.
But his wife argues that they’ll probably only have one child anyway.
And eventually they agree.
WHAT THE HELL WERE YOU TWO THINKING?!
You are literally gambling with the life of a child who hasn’t even been born yet!
Alexandra touches the mother’s stomach, and the bargain is sealed.
This means Prue and Mac’s births were made possible through supernatural intervention.
And suddenly, the parents’ behavior makes complete sense.
They knew Alexandra would eventually come to collect Mac.
That’s why they were so terrified of letting him outside.
But here’s my problem.
WHY DIDN’T YOU TELL PRUE ANYTHING?!
You expected your daughter to protect her brother without explaining the actual danger.
And then you’re surprised when she thinks your rules are ridiculous?
Come on!
I understand why they were frightened.
But keeping such an enormous secret from Prue was a terrible decision.
Alexandra’s Manipulation and Prue’s Questionable Judgment
This brings me to my biggest writing complaint.
When Prue finally encounters Alexandra, she initially demonstrates that she knows exactly what kind of villain she’s dealing with.
Alexandra begins trying to manipulate her.
But Prue interrupts.
She essentially tells Alexandra that she already knows how this conversation is going to go.
Alexandra will justify her actions, offer promises, and try to convince Prue that everything she’s doing is right.
And Prue isn’t buying it.
YES! THANK YOU! FINALLY, A CHARACTER WHO RECOGNIZES THE VILLAIN SPEECH!
Unfortunately, Alexandra then shows Prue Mac’s clothes and claims that her soldiers found them.
She tells Prue that her brother is dead.
And Prue…
BELIEVES HER?!
EXCUSE ME?!
YOU JUST CALLED THIS WOMAN OUT FOR MANIPULATING YOU!
And now you’re accepting her explanation without asking any meaningful follow-up questions?
Where’s Mac’s body?
How did he supposedly die?
Why are you holding his clothes?
How do your soldiers know he’s dead?
And why does Alexandra seem to have a suspiciously convenient answer for everything?
I understand that Prue is frightened and emotionally exhausted.
But the movie establishes her skepticism so strongly that this sudden acceptance feels rather forced.
And it becomes even more frustrating when Curtis is desperately trying to warn her from another room.
Alexandra orders the prisoners silenced, and her guards respond by shooting several captive bandits.
GOOD LORD!
This woman is absolutely ruthless.
And Prue still leaves believing her story.
I’m sorry, but this is one of those moments where the screenplay needed Prue to go home, so her critical thinking temporarily went on vacation.
Prue’s Return Home and That Devastating Line
Prue returns home believing Mac is dead.
Her parents rush outside to embrace her, and the family collapses together in grief.
It’s genuinely heartbreaking.
But then comes the revelation about Alexandra’s bargain.
Once Prue discovers the truth, she realizes Mac is probably still alive.
She decides to return to Wildwood.
Her parents desperately try to stop her.
And Prue understandably refuses.
She tells them they don’t get to control her after keeping such an enormous secret.
But then her parents say something that really stuck with me.
They just want their little girl back.
And Prue quietly responds:
“I think that little girl is dead.”
DAMN.
That is an incredibly powerful line.
Because Prue has changed.
She’s witnessed death, betrayal, violence, and unimaginable cruelty.
She can’t simply return to being the innocent girl she was at the beginning.
And I love how the movie communicates that without some enormous dramatic speech.
It’s a quiet acknowledgment that her experiences have fundamentally changed her.
Of course, Prue then agrees to stay home, offers to make tea, and secretly drugs her parents using the sleeping substance that was previously intended for her.
PRUE! WHAT THE HELL?!
I appreciate the setup and payoff, but drugging your parents is certainly one way to resolve a family disagreement!
The Governor and Roger Are Absolutely Hilarious
I need to discuss these two because they were some of the funniest characters in the movie.
The governor is not some calculating political genius.
He’s a complete idiot who depends on Roger to make practically every decision.
At one point, Roger suggests locking Prue in a tower under the excuse of allowing her to rest.
Roger gives the governor a knowing wink.
And the governor looks at him and asks whether something is wrong with his face.
He even wonders whether Roger is sick because there’s apparently an illness going around.
🤣🤣🤣
SIR! HE’S WINKING AT YOU! HE’S NOT HAVING A MEDICAL EMERGENCY!
And then there’s another fantastic exchange.
Prue protests that they can’t imprison her.
The governor confidently declares that he’s the mayor and can do whatever he wants.
Then he sits down, looks at Roger, and asks:
“Can I?”
HAHAHAHA!
THIS MAN DOESN’T EVEN KNOW WHETHER HE HAS AUTHORITY!
And the funniest part is that Roger is clearly the one actually running things.
The governor is basically a figurehead with absolutely no understanding of his responsibilities.
Which makes their final scene even better.
But we’ll get to that.
Curtis, the Bandits, and the Little Rat
Curtis’s storyline becomes surprisingly dark.
Alexandra initially recruits him into her military.
At one point, she orders him to execute a captured bandit.
Curtis refuses.
And Alexandra responds by killing the prisoner herself.
She then lectures Curtis about being willing to use a weapon if he’s going to carry one.
That moment is important because it establishes Curtis’s moral principles.
He doesn’t want to kill someone simply because an authority figure tells him to.
Eventually, Curtis is imprisoned alongside Brendan and several bandits.
And their escape sequence is hilarious.
The prisoners are suspended above a floor covered in spikes, and Curtis nearly falls to his death.
At one point, Brendan demands that Curtis give him one good reason why he shouldn’t drop him.
Curtis nervously explains that he’s going to rescue them.
Brendan immediately responds:
“That’s a good reason.”
🤣
I LOVE THAT LINE!
No dramatic debate.
No lengthy argument.
Just a perfectly reasonable answer.
Curtis and a dissenting coyote soldier eventually become honorary bandits.
And I loved the conversation where Curtis asks Brendan why they’re called bandits.
Brendan explains that Alexandra has deliberately portrayed them as criminals.
Curtis asks whether they actually rob people.
Brendan admits that they do, but only when necessary and only from people who deserve it.
Curtis compares them to Robin Hood and his Merry Men.
Brendan has absolutely no idea who Robin Hood is.
YOU’RE LITERALLY DESCRIBING ROBIN HOOD, BRENDAN!
But what I particularly enjoyed was Curtis’s friendship with Septima, the little rat.
She’s funny, loyal, and genuinely helpful throughout his adventure.
Unfortunately, the movie has something absolutely horrible planned for her.
The General’s Death – WHAT THE HELL?!
I need to discuss this because it was one of the moments that genuinely shocked me.
The General rescues Prue and helps her escape from Alexandra’s forces.
There’s a fantastic aerial sequence involving enemy soldiers and pursuing crows.
The General seems like she’s going to be an important ally throughout the rest of the movie.
And then…
SHE GETS SHOT THROUGH THE CHEST WITH AN ARROW!
She falls out of the sky, crashes, and dies.
WHAT?!
I genuinely made involuntary noises of shock in the theater.
I’m talking:
“UH—UH—UH?! WHAT?!”
Because I wasn’t expecting the movie to kill her like that!
And the fact that she’s voiced by Angela Bassett makes the loss even more disappointing.
She’s such a magnificent character, and her death is so sudden.
But that’s exactly why it works.
The movie establishes that even powerful, seemingly important allies aren’t guaranteed to survive.
And it makes the danger feel considerably more real.
The Sacred Tree and the World’s Most Frustrating Council
Prue eventually seeks help from Iphigenia and the inhabitants of a village populated largely by farmers.
She warns them that Alexandra is preparing for war.
And what does their spiritual leader suggest?
LET’S ASK THE TREE!
I’m sorry, WHAT?!
Prue is warning these people that they’re about to be attacked, and their response is to organize a prayer session around a magical tree.
Now, to be fair, magic is real in this universe.
So consulting a mystical tree isn’t inherently ridiculous.
But the problem is how completely dependent these people are on it.
They spend hours praying.
And when Iphigenia returns, she announces that the tree isn’t speaking.
WELL, OF COURSE IT ISN’T! IT’S A GODDAMN TREE!
🤣
Then Prue approaches it herself, begs for help, and suddenly receives visions of the approaching war.
She tells the council what happened.
And the elderly lady is confused because the tree didn’t speak to them.
The leaves even change color.
And their response is essentially:
“I suppose we’ll ask it again?”
LADY!
THE TREE HAS ALREADY GIVEN YOU AN ANSWER!
But I did appreciate that the scene eventually establishes Prue’s unusual connection to the plants.
And when the villagers prepare for war, Prue expresses concern about sending ordinary farmers into battle.
That’s a good character moment.
She doesn’t want innocent people dying simply because she’s trying to save her brother.
The Final Battle – JESUS CHRIST, LAIKA!
Okay.
THIS IS WHERE THE MOVIE COMPLETELY LOSES ITS MIND!
And I mean that in the best possible way.
Brendan and his bandits join forces with Prue, Curtis, and the villagers to confront Alexandra’s army.
And the resulting battle is absolutely enormous.
Soldiers charge across the battlefield.
Cannons fire.
Explosions erupt.
People are screaming, fighting, and dying.
The farmers eventually arrive from behind Alexandra’s forces and shove the cannons off the hillside, destroying them.
THE FARMERS ACTUALLY CAME THROUGH!
But Alexandra is still determined to reach the ancient Ivy and sacrifice Mac.
And she personally enters the battlefield.
Now, here’s where things get particularly disturbing.
At one point, Alexandra decapitates someone.
I AM NOT JOKING.
The movie shows the act in silhouette, with the severed head flying through the air against a backdrop of flames.
WHAT THE ACTUAL FUCK?!
THIS IS AN ANIMATED MOVIE FROM LAIKA!
And somehow that’s not even the only disturbing act of violence during the battle.
At another point, one of Brendan’s female fighters attacks a wolf guard by shoving her thumbs into his eye sockets.
We don’t see the eyeballs being removed.
But we absolutely understand what’s happening.
GOOD LORD!
And then there’s Septima.
Oh, poor Septima.
Curtis is about to be attacked by a wolf guard when his little rat friend rushes in to protect him.
The wolf grabs her in its jaws, bites down, violently shakes her around, and throws her to the ground.
Curtis picks her up as she’s dying.
He apologizes.
But Septima tells him not to apologize, explaining that she already had a short lifespan anyway.
She tells him not to waste his own life.
And then she dies in his hands.
OH, COME ON!
THAT’S HEARTBREAKING!
And it’s such a cruel contrast with the humor we’ve come to expect from her character.
She’s this little animal who risks everything to protect Curtis.
And she pays for it with her life.
Meanwhile, Brendan gets shot and injured, although thankfully he survives.
Prue desperately tries to reach Alexandra before she can sacrifice Mac.
And then the leader of the wolf guards attacks her.
He’s about to bite her when Curtis suddenly appears from behind and drives a sword through him.
Killing him.
CURTIS JUST TOOK HIS FIRST LIFE!
And here’s why I appreciate that moment.
Earlier, Alexandra tried to force Curtis to execute a helpless prisoner.
He refused.
Now Curtis kills someone to protect Prue from an immediate threat.
Those are completely different situations.
Curtis hasn’t abandoned his morality.
He’s learned that protecting someone may sometimes require force, but that doesn’t mean every act of violence is justified.
It’s a strong payoff to his earlier storyline.
And remember, this is the same kid Prue originally dismissed as a loser because he liked tabletop games.
THE NERD JUST SAVED HER LIFE WITH A SWORD!
But seriously, this final battle is brutal.
And I appreciate that the movie doesn’t pretend war is some harmless adventure.
Characters die.
People suffer.
And the protagonists are permanently affected by what they experience.
Alexandra’s Final Confrontation
Eventually, Alexandra reaches the ancient Ivy with Mac.
She’s preparing to sacrifice him in the hope of resurrecting Alexei.
Iphigenia confronts her and questions whether everything she’s done has been motivated by revenge.
Alexandra responds that she doesn’t care about revenge.
The others can keep the forest.
She just wants her son back.
And honestly?
I believe her.
That’s what makes her such an effective villain.
She isn’t trying to conquer the world.
She doesn’t particularly care about ruling the forest.
She simply cannot accept that her child is gone.
But her obsession has become so destructive that she’s willing to murder countless innocent people.
Prue tries to stop her.
Unfortunately, Alexandra is considerably more powerful.
Prue eventually calls upon the plants for help.
And suddenly, the forest begins responding.
A giant stalk rises to rescue Mac.
Sharp branches erupt from the ground.
And the entire environment becomes increasingly dangerous.
Prue tries to convince Alexandra to stop.
She tells her that Alexei is dead and that she needs to move on.
Alexandra responds:
“I can’t.”
And that’s genuinely sad.
For one brief moment, you can see the grieving mother underneath the monster.
But then she continues trying to sacrifice an innocent child.
And when her original plan fails, she even attempts to use Prue instead.
OH, FOR FUCK’S SAKE, LADY!
YOU’VE LEARNED ABSOLUTELY NOTHING!
At that point, my sympathy was completely exhausted.
And then Prue summons sharp branches that impale Alexandra.
She collapses to the ground.
And the plants consume her body.
GOOD RIDDANCE!
It’s a brutal death, but thematically appropriate.
Alexandra spent the entire movie trying to manipulate the forest’s magic to reverse death.
And ultimately, that same natural world becomes responsible for her own demise.
There’s a certain poetic justice to that.
And once again, the Mother Miranda comparison is practically unavoidable.
Both women allow their grief to consume them.
Both sacrifice innocent lives in pursuit of an impossible reunion.
And both ultimately meet violent ends because they refuse to let go.
But I also appreciate the contrast between Alexandra and Prue.
Alexandra uses magic in an attempt to take life and reverse death.
Prue uses her connection to the forest to save someone she loves.
And when the plants begin overwhelming everything, Prue tells them to stop.
They listen.
Which means Iphigenia was actually right earlier when she suggested Prue should try asking the plants for help.
WELL, I’LL BE DAMNED! THE TREE LADY WAS RIGHT ABOUT SOMETHING!
🤣
And finally, Prue gets Mac back.
YAAAAAY!
After everything this poor girl has endured, she finally saves her baby brother.
The Governor Gets Fired… Sort Of
With Alexandra defeated, the surviving characters return to the governor’s office.
Prue demands that he step down, release Owl Rex, and grant fair treatment to the animals and bandits.
Naturally, the governor objects.
He starts demanding to know who Prue thinks she’s talking to.
Then Brendan steps forward.
And Roger immediately changes his tune.
Suddenly, he’s agreeing that the governor should resign.
HAHAHAHA!
THIS MAN HAS ABSOLUTELY NO LOYALTY!
The second he sees Brendan, he’s apparently decided that supporting political reform is in his best interest.
The governor becomes furious and tells Roger he’s fired.
But Roger responds that it’s too late.
The governor has already stepped down.
HE CAN’T FIRE HIM ANYMORE!
🤣🤣🤣
I absolutely loved that exchange.
It’s such a funny way to wrap up the political storyline after the incredibly violent final battle.
And I appreciate that the movie doesn’t simply defeat Alexandra and ignore the other problems within Wildwood.
The different factions are finally given an opportunity to coexist.
The Ending – A Beautiful Conclusion
Prue eventually returns home with Mac.
And after everything that happened, her parents finally seem willing to let him experience the outside world.
The movie ends with Prue taking Mac outdoors and watching him enjoy himself.
The camera gradually pulls away toward the bridge before fading to black.
And I thought that was a beautiful ending.
Because think about how the story began.
Prue’s parents were so terrified of losing Mac that they refused to let him experience ordinary childhood activities.
Their fear controlled their entire family.
Alexandra, meanwhile, allowed her grief to consume her until she became a monster.
Both families were shaped by the fear of losing a child.
But they responded to that fear in completely different ways.
Alexandra tried to reverse death through violence and sacrifice.
Prue’s parents eventually learned that protecting their children couldn’t mean keeping them imprisoned forever.
And Prue learned that loving someone sometimes means taking enormous risks to protect them.
That’s why I appreciate the final scene.
After all the magic, warfare, explosions, and horrifying deaths, the movie ends with something incredibly simple.
A little boy finally getting to enjoy the outdoors.
And his sister watching over him.
No enormous speech.
No unnecessary cliffhanger.
Just a quiet moment of happiness.
And after everything these characters experienced, I think they earned it.
Final Spoiler Thoughts
I absolutely loved Wildwood.
Yes, there are some questionable writing decisions.
Yes, Prue occasionally makes choices that drove me insane.
And yes, some of the adults in this movie have the collective decision-making abilities of a bag of potatoes.
But the overall experience was extraordinary.
The animation is breathtaking.
The world-building is fascinating.
The characters are memorable.
The humor is excellent.
And the emotional storytelling genuinely worked for me.
But what really impressed me was how far LAIKA was willing to push the darker elements.
The General’s death genuinely shocked me.
Septima’s death was heartbreaking.
The final battle was far more violent than I expected.
And Alexandra is one of the most disturbing animated villains I’ve encountered in quite some time.
She’s essentially Mother Miranda from Resident Evil Village transported into a stop-motion fantasy.
And I mean that as a compliment to how effectively terrifying she is.
I also appreciate that the film doesn’t undermine its darker moments by magically reversing every consequence.
People die.
Their deaths matter.
And the survivors have to continue living.
That’s an important part of the story’s message about accepting loss.
For all its fantasy elements, Wildwood ultimately tells a very human story about grief, love, responsibility, and learning when to let go.
And it tells that story through some of the most beautiful handcrafted animation I’ve seen in years.
Just please, for the love of God, don’t walk into this movie expecting some adorable little Pixar adventure.
Because if you do?
As Korey from Double Toasted warned:
Y’ALL ARE ABOUT TO GET ROCKED!
Final Rating: 10/10
A visually magnificent, emotionally powerful, unexpectedly brutal stop-motion fantasy that proves animation can be every bit as mature, frightening, and ambitious as live-action filmmaking.
Bravo, LAIKA. Absolutely bravo.
