Critical response In a positive review, Meagan Navarro of
Bloody Disgusting wrote, "When so many filmmakers opt for style over substance, the style
is substance here. Morgan surprises with an immersive sensory assault. Art and storytelling collide in breathtaking yet revolting fashion. Morgan's knockout debut opens up the veins of a turbulent artist, delivering one creepy melding of mediums to an unsettling, powerful degree."
Variety's Dennis Harvey wrote, "Robert Morgan unquestionably has a knack for the extraordinary; it is both a measure of his talent and of its limits that this debut feature stumbles only when it tries to do something on the ordinary side."
The New York Times Jeannette Catsoulis said, "Like the art form it celebrates,
Stopmotion is careful, patient and almost punishingly focused, with Franciosi bringing the same intensity that made her role in
The Nightingale (2018) so devastating." In a more negative review, Peter Sobczynski of
RogerEbert.com wrote, "Although it clearly wants to be seen as some kind of wild hallucinatory exploration into the heart of madness,
Stopmotion eventually reveals itself to be little more than a collection of barf-bag visuals and tired conventions that are occasionally enlivened by some nifty animation and the strong performance from Franciosi." Steven Scaife of
Slant Magazine wrote, "beyond the methodical scenes of Ella at work, the live-action sequences that dominate the film add little to the lengthy history of horror stories about someone slowly unraveling in isolation... It's as if the film's plot is puppeteered by earlier horror films, and in a similar fashion to the initial scene of Ella dutifully following her mother's instructions."
Accolades In the main competition at the 2023
Fantastic Fest, Morgan won Best Director for his work on
Stopmotion. It was also awarded the Special Jury Award in the Official Fantàstic Selection at the
56th Sitges Film Festival in
Catalonia,
Spain. == References ==