WALLACE & GROMIT: VENGEANCE MOST FOWL (2024)

The world of modern animation’s become synonymous with titans of the industry such as Walt Disney, DreamWorks, Illumination, and Studio Ghibli. Whether through the timeless artistry of hand-drawn animation or the sleek sophistication of CGI, these studios have crafted narratives that transcend generational divides and stirred profound emotions in audiences of all ages. Meanwhile, smaller outfits such as LAIKA and Aardman Animations elevated the medium of stop-motion to a celebrated cultural form. Each studio created characters that felt whimsically inventive and deeply relatable while bridging the world of imagination and the authenticity of the real world.

Longtime aficionados will instantly recognise the idiosyncratic charm and splendiferously droll humour of Wallace (Ben Whitehead) and his trustworthy dog, Gromit. Ever since they appeared in Nick Park’s charmingly slapdash debut A Grand Day Out (1989), the endearing duo transcended the boundaries of animation to become the unofficial ambassadors of British wit and whimsy. Their gentle demeanour and quiet heroism resonated with audiences worldwide, evoking a yearning for a nostalgic past that never existed.

It’s been almost two decades since audiences last embarked on an adventure with Britain’s beloved claymation duo in the delightful Curse of the Were-Rabbit (2005). Unfortunately, the long hiatus wasn’t without reason. The original voice actor for Wallace, Peter Sallis, retired in 2010 before sadly passing away in 2017. Simultaneously, Aardman broadened its creative horizons by focusing on diversifying its cinematic catalogue with The Pirates! Band of Misfits (2012) and Early Man (2018). The studio also expanded its other successful properties by producing Shaun the Sheep: The Movie (2015) alongside the eagerly awaited sequel, Chicken Run: Dawn of the Nugget (2023).

However, co-directors Nick Park and Merlin Crossingham (Chicken Run) welcome returning audiences to the delightfully eccentric world of the cheese-loving inventor and his resourceful canine companion. Wallace and Gromit: Vengeance Most Fowl is another adventure of comedic delights involving plenty of inspired physical comedy and a surprising undercurrent of thought-provoking social commentary.

After thwarting the infamous Feathers McGraw’s daring attempt to steal the priceless Blue Diamond, Wallace (Ben Whitehead) and Gromit have spent years celebrated as local heroes. Unfortunately, time hasn’t been kind to the inventive duo. Their acclaim has faded and their financial situation has become dire. To alleviate their monetary woes, Wallace successfully creates a helpful robotic gnome called Norbot (Reece Shearsmith). His latest invention is a marvel of engineering, effortlessly trimming hedges and maintaining gardens with unparalleled efficiency. To resolve his financial issues, Wallace ambitiously launches a handyman business featuring his “smart gnome” as the centrepiece. Although Gromit remains sceptical of the venture, Norbot is quickly embraced by the local community. However, Wallace’s latest endeavour also catches the attention of Feathers, who’s spent years plotting revenge while imprisoned inside the local Zoo. With a devious invention of his own, Feathers reprograms Norbot into a sinister agent of chaos. While under Feathers’ control, the helpful automaton creates an army of malicious robotic clones. As the local Chief Inspector Albert Mackintosh (Peter Kay) and police recruit PC Mukherjee (Lauren Patel) suspect Wallace of plunging the peaceful community into turmoil, Gromit is begrudgingly forced to foil Feathers’ plans.

After the disappointing Chicken Run: Dawn of the Nugget, longtime admirers of Aardman’s oeuvre may find themselves approaching the second Wallace and Gromit feature-length with a mixture of hopeful anticipation and guarded scepticism. Fortunately, the opening moments of Vengeance Most Fowl will immediately dispel any doubts. Everything feels both exciting and like a warm embrace from an old friend as audiences are thrown back into the claymation world of the inventor and his infinitely patient companion. The morning rituals are elevated to new heights as Park orchestrates a hilarious sequence that sees a freshly bathed Wallace propelled down an outdoor water slide into his waiting clothes. Whereas the classic odd-couple dynamic between the duo has remained steadfastly untouched since their initial debut. Wallace’s scatterbrained optimism and eccentric ideas are offset by Gromit’s silent exasperation, expressed entirely through subtle but evocative gestures. Yet, the true brilliance lies in Aardman’s unwavering dedication to the art of traditional stop-motion animation.

Much like the beloved Curse of the Were-Rabbit, the rich and tactile textures of handcrafted claymation practically warm the heart. Each meticulously crafted frame reflects the unyielding dedication and palpable love invested in the production. The subtle imperfections such as visible fingerprints and indentations imbue the characters with an organic liveliness, serving as a poignant reminder that human hands have shaped this cinematic world. Special credit belongs to the team of animators responsible for bringing Feathers to life. Arguably the best character Park has ever created, the inscrutable penguin is a figure of pure malevolence.

Channelling the quiet menace of Robert De Niro in Cape Fear (1991), he becomes fixated on revenge as he languishes in a maximum security Zoo. Simple adjustments to the character’s posture paired with expertly framed compositions and dramatic musical cues render his beady black eyes with a magnetic villainy that rivals cinema’s most iconic villains. Admittedly, several sequences have benefited from a noticeable amount of digital effects. Yet, these enhancements subtly broaden the scope of the narrative and complement rather than overshadow the handcrafted artistry. Whether it’s enhancing a splash of water during a comically mundane boat chase, or heightening the spectacle of a climactic explosion that momentarily transforms Gromit into Ethan Hunt from Mission: Impossible (1996), these flourishes are applied with restraint. Ultimately, it’s the painstaking and beautiful tangible quality of incrementally manipulated stop-motion animation that remains its crowning achievement.

While demonstrating the beauty of handcrafted filmmaking, Mark Burton’s (Madagascar) screenplay embodies the quintessential Aardman humour that has long been synonymous with the studio. Once the nefarious Feathers unleashes the unsuspecting garden gnomes to execute his diabolical plan, a relentless onslaught of clever puns, winking homages, and sight gags stack atop Vengeance Most Fowl’s simple foundation. The younger audiences may fail to notice the subtle references to the suave espionage of James Bond and the literary gravitas of Virginia Woolf. However, the flurry of gags centred around online CAPTCHA verification tests and ‘Gardens of the Galaxy’ will elicit laughs from everybody. A particular standout moment occurs when the earnest Mukherjee notices Feathers masquerading as a nun while commandeering a canal boat. “That’s just an innocent nun out for a pleasure cruise” the relentlessly bumbling Mackintosh exclaims. It’s a moment that encapsulates the dry absurdity of classic British humour. It’s unashamedly ridiculous and visually silly, containing the groan factor usually associated with Christmas crackers. Yet, its inimitable charm will delight both lifelong fans of Wallace and Gromit and a new generation of viewers.

Beyond all of the perfectly timed comedic beats and clattering contraptions, Vengeance Most Fowl offers a surprisingly poignant commentary on society’s over-reliance on Artificial Intelligence and its corrosive effects on the human heart’s most fundamental needs. Wallace is hopelessly addicted to convenience and perpetually seeks mechanical shortcuts for life’s simplest joys. His latest invention works like a sentient Alexa, replacing the modest pleasures of personal connection.

Meanwhile his ‘Pat-o-matic’ spares him the apparent burden of petting his own pooch, reducing the intimate bond of companionship. Once Feathers unleashes chaos, Wallace begins to understand the profound irreplaceability of human connection. No sophisticated machine can replicate the richness of a true friendship. Admittedly, this tale of humanity and machine won’t pull the audience’s heartstrings like DreamWorks’ The Wild Robot (2024). However, there’s something profound in seeing this premise explored through the handcrafted whimsy of a Wallace & Gromit adventure. In an era dominated by A.I. and digital perfection, it feels appropriate that Aardman would deliver such a message about authenticity. Within this lovingly handmade world, where every detail reflects the creators’ admiration for their craft, the reminder that human connection trumps technological ease lands with undeniable sincerity and emotional weight.

With a combination of heart, humour, and a delightful carnivalesque madness, Vengeance Most Fowl cements itself among the finest entries in the series. Park and his Aardman Animation team deliver a briskly paced escapade that reminds audiences why these beloved claymation icons have become such comforting characters over the years. While this latest chapter may lack the unpredictability of earlier instalments, it deftly sidesteps the need to surprise by revelling in the magnificence of its craftsmanship. The animation ensures that even when the narrative’s momentum occasionally falters, the meticulously realised world brims with details to captivate the discerning eye. It’s a cracking treat that offers laughter, clever satire, and the same timeless charm that’s defined Wallace and Gromit for generations.

UK • FRANCE | 2024 | 79 MINUTES | 2:00:1 | COLOUR | ENGLISH

Crew & Voices

directors: Nick Park & Merlin Crossingham.
writers: Mark Burton (story by Mark Burton & Nick Park).
voices: Ben Whitehead, Peter Kay, Lauren Patel, Reece Shearsmith & Diane Morgan.