The Boxtrolls

If you haven't yet seen 'Coraline' or 'ParaNorman', it may take you a while to get used to the world of 'The Boxtrolls'. The third feature from Oregon-based studio Laika Animation, it is told using the same stop-motion technique (with some CG and hand-drawn work) as their earlier films, but the similarity doesn't quite stop there. Yes, once again, the animators have eschewed the cuteness of Disney or Dreamworks for something much darker than your normal kiddie fare at the Cineplex, and therein, we would argue, is the reason why it proves so uniquely charming.

Adapted from British children's author Alan Snow's fantasy adventure 'Here Be Monsters!', it retains the Steampunk setting of the novel but takes quite a few creative liberties. Instead of an over- industrialised Ratbridge, the city in question is Cheesebridge, so termed because the dairy product is what separates the rich in "White Hats" from the poor in red ones. What unites the humans across their class distinctions is the subterranean Boxtrolls, little blue- skinned fluorescent-eyed creatures who emerge from the sewers at night to swipe anything and everything they can get their hands on.

So named on account of the cupboard boxes they wear their bodies, the Boxtrolls are feared by the humans as much they fear the humans. The fear of the former is stoked by none other than Archibald Snatcher (voiced by Ben Kingsley), a truly detestable rascal who is responsible for spreading nasty rumours about the Boxtrolls in order to justify his eradication for a coveted place with the "White Hats" and a seat with them at the cheese tasting table. As you can probably guess, their leader is no saint either, but rather a self- absorbed aristocrat by the name of Lord Portley-Rind who cares more about his Gouda and Brie than the welfare of his citizenry.

It's a lot of setup, but co-directors Anthony Stacchi and Graham Annable deftly lay out the intricacies of their make-believe world while setting the narrative in motion. For reasons only revealed in a crucial flashback sequence later, a boy is taken as a toddler under the care of the Boxtrolls and is named Eggs after the carton he wears over himself. While on the prowl one night, Eggs runs into Lord Portley's precocious daughter Winnifred (Elle Fanning) who is shocked that a human would be associating himself with the dreaded Boxtrolls; but before she can make his acquaintance, Eggs is forced to flee from Archibald and his henchmen.

As such stories go, Eggs sets off on a quest with Winnifred in tow to convince the humans that the Boxtrolls aren't sinister beings who kidnap children. To top it off, Archibald turns out to have a nefarious scheme after all, building a contraption to assert his authority over Lord Portley and demanding that he be given the latter's white hat. But parents need not worry - writers Irena Brignull and Adam Pava don't deny the kids of a happy ending, though not before subjecting them to some grotesque images that may just make them swear off cheese for some time.

Consider this as fair warning - visually, this isn't cast in the same mould as the usual CG animation, and one might even go as far as to say that 'The Boxtrolls' operates in a realm of ugliness. But once you look past the cruder-than-usual designs, you're likely to find the cardboard-wearing critters surprisingly endearing by their guile and naivety. We urge you too to pay attention to the dazzling production design that makes up the world of Cheesebridge and the underground lair in which the boxtrolls call home; there is a whole cornucopia of details that will leave you wowed if you pay attention to them.

Still, compared to their earlier features, this latest lacks the heart and poignancy that made its predecessors memorable. Eggs never comes across as someone whose plight we would sympathise with, nor for that matter is Winnifred a likable enough character. The way the boxtrolls communicate in an Ewok-like language is amusing all right, but they are lacking individually in any defining personality. Because we never quite understand the reason why the humans so fear the boxtrolls, their eventual reconciliation doesn't quite resonate as it should.

It isn't that 'The Boxtrolls' is underwhelming though; against a surfeit of clean-cut CG animation, its stop-motion aesthetics make it a refreshing change of look. Rather, because its earlier two adventures were such singular accomplishments, Laika's latest seems more like a walk in the park. Yet its refusal to be boxed in (pun intended) by conventional animation features is still evident in its design as well as its choice of themes, and if there ever were need to prove that it is possible to be both grotesque and charming at the same time, then 'The Boxtrolls' would be it.

Wonderful stop-motion animation, great story, and acted very well. I don't understand the negative reviews, if you want Disney, go watch Disney. Darker stuff like this is amazing and we definitely don't get enough of it.

A good metaphor for the movie itself: if you can stomach it, it's a real delicacy, with plenty of interesting themes. The steam-punk early-modern Dutch city inhabited by well-meaning but persecuted trolls was a disquieting environment with multiple filthy (physically and morally) areas that Laika's unique animation explored in various engaging and surprising ways.

My 6-year-old son Sebastian loved it, mostly, I think, because it was disgusting and had plenty of gross jokes and scenes (like the naked trolls who take city hall at the end), but he also got a little tired of it, declaring : "I thought it's never going to end."

Sienna's Rating: 7 Stars Sebastian's Rating: 10 Stars!

Paul's Rating: 7 Stars.

We took our 3 year old son to this film, and was not expecting much entertainment for us adults. However, both my wife and I really enjoyed it and my son has been walking around in a bottomless box with holes cut in it,(for his head and arms),for two days.

It has a lot of charm and a slight edge of darkness. I am surprised that it has received such poor reviews from the critics. I have noticed they tend to rate realistic, depressing films; whereas we like happy escapist fun and this film delivers that.

We are from the UK and the voices are perhaps better known here, which may have contributed, a little, to our perception of this film's charm.

There are cute children's films - like "Frozen, the first movie to which I ever took my granddaughter (then just under three) - and then there is the more challenging kind - like "The Boxtrolls" to which I took her nine months later. We haven't read the source material, the novel "Here Be Monsters!" by Alan Snow, but she knows all about trolls from "Frozen" and other stories and these are very cleverly represented through stop- motion capture by the specialist production company Laika. But it's a little bit scary for young ones, so my granddaughter held on to my hand most of the film and sat on my lap for the final third.

For British adults of a certain age, the characters of the town of Cheesebridge look like people from a Gerald Scarfe cartoon and the subterranean habitat of the boxtrolls themselves is like a cross between the worlds of Heath Robinson and Hieronymus Bosch. The voices are very well-done and for me the best of comes from Ben Kingsley as a hard bad guy and Richard Ayoade as a soft bad guy. Stay for the credits when early on there is a little bit of existential angst on display from two of the stop motion characters.