STOPMOTION -- Hybrid Horror Film Is Too Slow To Make an Impact

Review by Sean Boelman

Robert Morgan's STOPMOTION. Courtesy of Samuel Dole. An IFC Films and Shudder release.

You do not often see animation in the horror genre, which is surprising considering how the medium allows imagination to flow freely. Despite an interesting concept and some very spooky imagery, Stopmotion is underwhelming because it struggles to find its narrative rhythm and hold the audience’s interest.

Stopmotion follows a stop-motion animator who finds the line between reality and her imagination blurred after the death of her overbearing mother. For the most part, it’s a very standard psychological horror flick, but what makes the film stand out is its incorporation of stop-motion animated sequences as the protagonist’s work comes to life.

Considering that director Robert Morgan’s background is in stop-motion shorts, it’s no wonder that the animated sequences are the strongest part of the movie. With horror animation, Morgan’s creations are crude and grotesque, but they have an incredible level of detail nevertheless. Although the images and symbols aren’t particularly novel, Morgan uses them effectively to create a lingering, unsettling effect.

However, Stopmotion is dragged down by its dreadfully slow pacing. It’s clear from the moment the movie starts that this is designed as a slow burn building up to an explosive climax. While the conclusion is satisfyingly gory and weird, the hour and 15 minutes that precede it feel like Morgan and co-writer Robin King were more interested in creating eerie imagery than telling a cohesive, compelling story.

Aisling Franciosi in Robert Morgan’s STOPMOTION. Courtesy of Samuel Dole. An IFC Films and Shudder release.

The themes that Morgan and King explore are nothing new to the genre: grief, obsession, legacy. A few moments show the potential to be something unique — like a storyline involving the protagonist’s toxic relationship with her mother — but these are generally brushed aside because of the emphasis on horror rather than drama. 

This emphasis also wreaks havoc on the character development. Although the protagonist has her arc (albeit a conventional one), none of the supporting characters are remotely interesting. We meet the protagonist’s boyfriend (Tom York) and a mysterious, nameless girl (Caolinn Springall) whose role in the story is needlessly confusing. 

Frankly, it would have been more interesting to see this story told from a wholly isolated perspective, with Aisling Franciosi as the only performer in the movie. Franciosi is an incredible actress, and she made a lot out of this role despite how little it gives her to work with. The character has few defining personality traits, yet Franciosi makes the role feel entirely authentic — even during the far-fetched final act.

Stopmotion is the type of directorial debut that is more effective as a demo reel than a satisfying film in its own right. Robert Morgan is clearly very talented, with a knack for creating genuinely unsettling imagery, but this movie lacks the focus on storytelling and character development that is necessary for effective horror.

Stopmotion hits theaters on February 23.

Rating: 3/5