Metacritic reviews

Morgan’s feature debut is as stunning, diabolical and boundary-pushing an emergence as any filmmaker could hope to achieve.

The director and animator Robert Morgan has crafted a narratively slender, visually sophisticated first feature.

This is an atmospheric and beautifully crafted horror film, with its brains firmly on the inside.

Stopmotion feels born out of the sheer mental challenge of being trapped in a room with macabre creations that come to life over weeks of painstaking labour.

Stopmotion is a one-of-a-kind, hand-crafted horror film with a great performance from Aisling Franciosi.

It's chilling and tragic in equal measures.

The movie’s dark magic occurs when the stop-motion story and the narrative proper bleed into each other (often literally), with goopy puppets invading Ella’s space while she—perhaps psychologically, perhaps in reality—finds herself trapped in theirs.

The film falters when it attempts to mold its best instincts into a discernible narrative shape.

Masterful as he is at creating the stuff of nightmares, Morgan (as well as co-writer Robin King) is much less assured handling the character actions, psychology and dialogue outside his heroine’s fevered psyche.

In “Stopmotion,” the debut feature from Robert Morgan, the medium—the painstaking and time-consuming process of stop-motion animation—may be unusual but the resulting film, an undeniably grisly but ultimately tedious tiptoe through the genre tropes, certainly is. This is all the more frustrating because in the middle of it all is a performance by Aisling Fransciosi that is so strong and committed that viewers will wish that the rest of the film had made the same kind of effort that she clearly did.