15 Most Epic Stop-Motion Creature Movies That Still Feel Amazing - Explored

Added: 2026-05-12

[00:00:05]Believe it or not, if you are able to watch and enjoy the Monsterverse or any of the Godzilla movies, it all started because of stopotion animation. And I'll come to that later. But for now, let me just quickly tell you just how difficult the process of stopotion animation is to carry out. You see, stop motion animation is making tiny changes to a puppet or subject and photographing these changes so that when played in sequence, the subject seems alive on film. You [music] know, like it's moving. In fact, some stop motion can be as detailed as 24 frames per second.

[00:00:40]That is 24 different frames pictured in a single second. The Humpty Dumpty Circus from 1898 is credited as the first documented commercial stop-motion film. And since then, several artists like Willis O'Brien, Ray Harryhausen, and Tim Burton have kept the style alive. Today, studios like Leica, which make movies like Coraline, Kubo, and The Two Strings, and Missing Link are doing exceptionally well. So, if you thought stopmotion is only cute little puppets and children's films, there might be more to it. And that's why in this video, I'm going to explore the 15 most epic stop motion animated creature movies of all time. Starting at number one with the nine decades old [music] King Kong, 1933. So stop motion animation of course did not start with the 1933 King Kong movie, but he used the filming technique in such a way that proved cinema could also project all kinds of emotions using it instead of just action sequences. That's why King Kong is often noted as the real turning point of stopotion animation. It also became the first feature film to use stopotion animation as well as liveaction, which is why what Willis O'Brien did is still relevant some 93 years later. O'Brien's miniature creatures first drew attention at the 1915 San Francisco World's Fair, which led to the dinosaur and the missing link. That short impressed a man named Thomas Edison. Yep, the light bulb won.

[00:02:12]Edison was also the one who invented the motion picture camera, and he hired O'Brien for more animated work. So, when O'Brien became special effects supervisor on King Kong, he already had a pretty good resume. With Marcel Dato, he helped create Kong through a mix of full-size buss, an arm, a leg, and mostly an 18-inch puppet made from metal, rubber, and fur. The animation took over a year with 7 weeks spent on the Kong and T-Rex fight alone. But the miracle is how it all came together.

[00:02:42]O'Brien used miniatures, traveling mats, rear projection, miniature rear projection, matte paintings, animation, and the dunning process to place actors and monsters inside the same world. The result made Kong feel like a character in his own right without reducing him to a monster. You could see that Kong felt emotions such as rage, power, pain, and of course, the loss of losing a woman.

[00:03:07]The film earned over $4 million, became one of the decad's major hits, and later inspired legendary filmmakers like Ray Harryhausen, Tim Burton, as well as Peter Jackson. And that's the legacy that King Kong has left. It was not just a movie about a beast who was killed by a beauty. It was also a movie where the beast was more than beastial. The Valley of Guanji, 1969.

[00:03:31]The Valley of Guanji is basically King Kong, but with cowboys and a whole lot of that western swagger. The story takes place in early 20th century Mexico, where a young girl named TJ Breenidge, runs a rodeo that's not doing so well and is in need of a serious boost. Her former lover, Tuck Kirby, once a stunt man with Buffalo Bills Wild West Show, wants to buy her out, although his interest in her is still pretty much there and is super evident, too. Anyway, the rodeo's only remaining hope seems to be El Diablo, a strange little horse that TJ believes can pull crowds. Later, Tuck meets British paleontologist Horus Brmley in the nearby desert where Brmley has found fossilized horse tracks. Tuck notices that those tracks match El Diablo's feet. And after he sneaks Brmley into the circus, Brmley identifies the animal as an eohippus, an extinct creature that kind of looks like the product of a threesome between a horse and ass, and a deer. Anyway, this discovery leads to the story of the Forbidden Valley. And it's not before long that people realize that a lot of prehistoric creatures, including Guanji, the Allosaurus, are in their midst, and that safety is not a sure thing any longer. Now, the plot is not shy about its King Kong DNA. You have everything in this movie that you've had in Kong.

[00:04:45]I'm talking about stuff like lost valleys and prehistoric beasts. Then, there are people and creatures getting captured and then making their escapes.

[00:04:52]And there's some public display as well.

[00:04:54]And yet, Ray Harryhausen's stop motion work is what gives the movie its individuality. And if you watch the film, you'll realize that the cowboys attempts to rope the tiny eiohippas have a comical element to it. Chris Ardan's fight with the pterodactyl gives the adventure a heightened danger quotient, and the Guanji sequences are where the film earns its keep. The roping of Guanji, his battle with the Stegosaurus, the town climax, the fight with the circus elephant. Well, all of these have that handcrafted feel to them. And the credit obviously goes to Harry Hson who did so well. Interestingly enough, the movie was actually an old Willis O'Brien idea from the 1940s. And after his death, Harry Hson decided to use the cowboys versus dinosaurs concept of his mentor and turned it into a movie. Sort of like a tribute. Clash of the Titans 1981. King Aryius of Argos starts this whole mess. And believe it or not, he starts getting jealous of his own daughter Da's beauty. So much so that upon failing to handle his jealousy, he imprisons her. Somehow Zeus takes an interest in the young girl and knocks her up, which results in Perseus. When King Acryus gets to know about it, like any self-respecting evil mythological king, he locks his daughter and her child in a wooden chest and sends it to the sea. Zeus obviously gets pissed off and as a response, he first kills Acryus and then tells Poseidon to release the Kraken on Argos. Meanwhile, Da and Perseus survive and reach Sarapos. Years later, the story moves to Jabba, where Calibos, [music] the cruel son of Thetus, has managed to get divine punishment. He was meant to marry Princess Andromeda, but after several atrocities, including the destruction of Zeus's sacred winged horses, with the sole exception of Pegasus. So, Zeus turns him into a monster to match his heart. But one thing leads to another.

[00:06:44]And although Perseus manages to win Andromeda's heart, Cassiopia demands that Andromeda be sacrificed to the Kraken. And it falls to Perseus to save Andromeda. But how could a human possibly defeat the Kraken? There's a lot going on in this classic movie, but its real magic actually is born from what Ray Harryhausson did. Apart from the grand design and idea, Mr. Harryhausson's stop motion creatures give the movie its identity. Say for instance Calabos and his vulture or the way Pegasus is portrayed on screen. Then there's of course Medusa and the legendary Kraken. All of these non-human elements were masterfully brought to life in the movie despite the restrictions that lack of technology posed during the early8s. Medusa especially is a killer piece of monstercraft with a snake-like lower body that differs from many older versions of the myth. I'd honestly call her one of the film's strongest creations because the film managed to make her feel scary without making anything feel cringe. Bubo also had two models. One was a remotec controlled version for actor interaction and another was a stopotion model for more precise movement. Harry Hson also served as co-producer, but he retired from film shortly after this release.

[00:08:01]Jason and the Argonauts 1963 directed by Don Chaffy. Jason and the Argonauts from 1963 does not stick to the mythology as such and has like several differences, but it has a fun story and of course it is only made better because of Ray Harryhausen's stopotion work. We meet the gods of Olympus once again and once again they see human lives as little more than expendable and almost like pieces in a board game. Pelus murders the royal family of Thessalone.

[00:08:35]On the other hand, Apelus is asked to be wary of a man with one sandal because this man would become the cause of Pelus's death. 20 years later, Jason wants his throne back and Hara and Zeus send him back to Kolkissis to find the golden fleece. Hera helps him, but Zeus tells her she could only do that five times as that was the number of times Jason's sister asked for help in Hera's temple. Anyway, in order to find the golden fleece, Jason then has Argos build the Argo. That is the ship that would carry his men on the adventure.

[00:09:05]Once the voyage starts, the movie turns into a chain of hairy house and set pieces, which is the reason why we are still talking about it. The bronze giant Talos comes to life after Hercules steals from the aisle of bronze. And it was only because of the stop motion that even though Talis seems mechanical, he looks massive and intimidating. Jason defeats him by opening the hatch near his ankle, which drains the giant's life force. After that, the crew helps blind King Phineas trap the harpies, which is how they get his amulet, which was an extremely important article in their quest. Then comes Media of Kolkis, daughter of King Aatus. She falls for Jason and helps him reach the golden fleece, which is guarded by the many headed Hydra. Jason kills the creature by striking its heart before using the fleece to heal Media. But even that wasn't the end of the adventure because Hydra's teeth became the army of the dragon's teeth. And I believe most would agree when I say that the skeleton battle is the film's crown jewel with live actors and stopotion warriors all coming together in one crazy sequence.

[00:10:06]And yes, Don Chaffy's direction and Bernard Herman's score are only elevated through Harry House's talent, which makes Jason and the Argonauts feel like it was handmade.

[00:10:21]20 million miles to Earth, 1957. [music] A very 1950s rocket falls into the sea off the coast of Sicily. Because, of course, this is how these stories begin.

[00:10:31]In the aftermath, two fishermen row out and rescue the injured astronauts before the rocket sinks. But this wasn't even an issue before the mega problem that they were going to face. You see, on the beach, a boy named Pepe finds a strange tube among the wreckage. Inside the tube was a gelatinous pod, which he sells to a zoologologist named Leonardo from Rome. Coincidentally enough, the zoologologist's granddaughter, Marissa, was a medical student, and she gets called to help the astronauts. It turns out that the gelatinous pod was actually an egg and it hatches. And soon Marissa was looking at a foot tall semihumanoid reptile on the table. Leonardo cages the creature in his truck, but by the next day it doubles in size. He and Marica try to leave for Rome, but Pepe had already told the authorities about the egg, so they begin to look for the egg.

[00:11:19]However, the creature escapes into the woods and local officials want it killed. It turns out that the Americans managed to capture it with an electrified net and take it to the Rome Zoo for study. But by now, the thing was measuring a whopping 30 ft, and the only thing that would keep it down was a steady 1,800 volt charge. But then an equipment accident cuts the power, and well, all hell breaks loose. You get bazookas, bullets, even elephant battles for heaven's sake. Anyway, the most fun part of 20 million miles to Earth is Ray Harryhausen. The whole film seems to have been built around the singular idea of letting a beautifully animated monster tear through a famous city. But here the location is Rome, which gives the film a rare non-American invasion angle for 1950s sci-fi. Unlike many creature features, 20 mil does not see its monster as completely evil. Marica first calls it ugly, but then she herself realizes that it looks frightened. Colonel Calder says, "Creatures from Venus are not ferocious unless provoked, and the film proves that again and again. It fights only after others attack it first, so it basically fights in self-defense or in retaliation." Harry Hson even made the design more humanoid because a purely beastial creature would be harder to pity. And it seems like Harry Hson is more of an artist than simply an effects man. Yeah. Coraline, 2009. Coraline is a story of a young 11-year-old girl who feels neglected and unhappy because of how busy her parents are. But one day, she finds a mysterious door with a tunnel behind it. And the tunnel opens for Coraline. It was warm and bright.

[00:12:53]And as a boy of 15, I was hooked at once. The tunnel led to the other world, a place where everything was sugar, spice, and everything nice. It was like a parallel world complete with people like Coraline's other mother, other father, other wybe, and other neighbors who smile, pamper her, and offer answers to every small misery. The catch, of course, is the buttons. The other mother tells her that she can stay as long as she allows buttons to be sewn on her eyes. A scared Coraline tries to escape, but the attempt goes in vain until she gets help from young children there.

[00:13:27]children who were prayed upon by the other mother who was actually an evil soul-ing creature named Beldum.

[00:13:33]Eventually, Coraline crawls back toward her world while the Beldum whales behind the locked door. Each blow sends sick green light through the cracks and the tunnel itself shrinks around her. The horror of Coraline is not loud. It is silent and creeping like it engulfs a child's mind from all sides. And that's what makes the film so memorable even some 17 years later. The real world looks grimy and odd. And it is evident from things like bad food, Wybee's skull mask, Mr. Boinsk's blue skin, and and Forcable's wall of taxiderermy dogs.

[00:14:08]And yet Coraline's real world is mostly safe. On the other hand, the other world looks perfect, but its beauty hides a predator of lured, unhappy children.

[00:14:16]Henry Celich used stop motion perfectly here, which is how real the other world comes off to us as viewers. as a place that's too controlled, too arranged, too polished, all thanks to Beldum's evil.

[00:14:28]In fact, Coraline also pushed the craft of stop motion animation beyond a few boundaries. For instance, it was the first stopotion film to combine visual effects and 3D print rapid prototype technology with traditional stop motion and the first stop motion animated feature conceived and photographed in stereoscopic 3D with left eye and right eye frames shot by the same camera.

[00:14:50]Furthermore, each second of footage in Coraline has 24 films, and each of these frames has some action in them. Can you even imagine the number of photographs they had to click? Mad God 2021. You have to realize that every era has had its own master of stopotion animation.

[00:15:07]What started with Willis O'Brien was followed and improved by Ray Harryhausson and then the torch was passed to men like Phil Tippet and studios like Leica. Phil Tippet, who has won several Academy Awards for his special effects, wanted to make Mad God for quite a few decades. His big break came on a little sci-fi film called Star Wars, which funnily enough, many people did not expect much from. We know how that went. While Tippet worked on Robocop 2, he shot about 6 minutes of footage for what would later become Mad God. After crowdfunding the initial money, Mad God turned out to be an 84minute notrated animated fantasy horror film released on June 16th, 2022.

[00:15:47]Tippet directed and wrote it. Mad God starts with a tall figure named Assassin who descends into a hellish world along with a map and a suitcase. This place feels half wasteland and half factory where small creatures exist to be eaten, crushed, or fed into machines built for all kinds of pain and suffering. The assassin reaches a city ruled by some unseen force shown only through eyes and a dirty mouth that speaks in baby like babble. Beneath the city, he finds a mountain of suitcases like his own. His contains a time bomb. But before it can finish its countdown, something drags him away. Then things become stranger than they already were when a surgeon and nurse cut him open, pull out organs, papers, books, jewelry, and finally a whailing infant creature. The child ends up with an alchemist who grinds it into liquid, turns that into gold, and uses the gold to birth a new cosmos. Needless to say, the story is super heavy. And that's more so because Mr. Tippet took inspiration from people like Dante, John Milton, and Carl Jung, as well as the book of Leviticus. So yeah, Phil Tippet took more than three decades to finish his personal project, but if you ask me, he did a great job at it. The Nightmare Before Christmas, 1993.

[00:17:00]This movie is about Halloween Town, a fantasy Halloween themed world full of monsters, ghosts, ghouls, and every other creature or thing that you can connect with the spooky holiday. And the town is led by Jack Skellington, the respected pumpkin king. Every year, Jack leads the town through its Halloween celebrations, and everyone clearly loves him for it. The problem is, Jack himself has started to feel tired of the same old routine. It's always the same scares, the same applause, the same annual performances. [music] Our boy wants something new this time.

[00:17:31]He wants a change. Then he finds a group of trees with doors to other holiday worlds, and one of them takes him to Christmas Town. This place completely throws him off. It is bright, warm, festive, and built around a kind of joy that Halloween Town does not really understand. Jack returns home like he is all fired up and tries to explain Christmas to the others, but they mostly process it through their own spooky logic. See, Jack's world is so weird that even Santa Claus becomes Sandy Claus here. After several failed attempts to explain Christmas in any sensible way, Jack decides the best solution is to [music] improve it. So, Halloween Town takes over the holiday.

[00:18:10]Clearly, The Nightmare Before Christmas's strength does not lie in its plot. You will agree that the story is thin and many of the songs do not do as well as This is Halloween. But visually, this thing is a feast. Henry Celich's stop motion direction gives the film a handmade stranges that feels very alive, as if the characters have a real soul behind them. The movie is totally creepy, but it is also funny and romantic in small doses. Totally worthy of being on your Christmas watch list this year. Kubo and the Two Strings 2016. Kubo and the Two Strings begins in early feudal Japan with Kubo, a 12-year-old boy with one eye who lives with his ill mother named Saratu in a mountain cave near a village. He earns money through music and magic as his shamisen brings origyami to life where he tells people the tale of his missing father, Hanzo, a samurai warrior. The only problem here is that Kubo can never finish the story. He does not know what happened to Hanzo and Seratu's mind has weakened so much that she cannot help him with the ending either. But she does ensure that Kubo abides with her only rule, never to step out after dark.

[00:19:19]Because if he does, her sisters Karasu and Washi and his grandfather, the Moon King, will find him. In fact, the Moon King already took Kubo's left eye when he was a baby, and now he wants the other one, too. One day, Kubo hears about the village's bond festival where people can speak to lost loved ones. He attends, hoping Hanzo will answer through his lantern. But when nothing happens, anger takes over, and he forgets the time. After sunset, the sisters find him and attack. Seria uses her magic to send Kubo far away and tells him to find his father's armor.

[00:19:51]Behind all this was the same studio as Coraline. Yeah. So, Leica really did something astoundingly beautiful with Kubo, and you can see the effort they put in almost each frame of the movie.

[00:20:02]Announced in December 2014, the film became Travis Knight's directorial debut after Shannon Tindle pitched it as a stop-motion samurai epic. Travis Knight is the same man who would go on to make several awesome movies, including Bumblebee, and is now ready with his upcoming Masters of the Universe movie.

[00:20:19]Even the giant skeleton was a monster-sized effort in the sense that it was a 16 ft 400-lb puppet built in two magnetic parts and moved with a robot. For stop motion, that is pure madness cuz usually the most ideal puppets are around 12 to 14 in tall. If you go below or beyond that, the filming process takes a major hit. The Seventh Voyage of Sinbad, 1958. The Seventh Voyage of Sinbad was the first Sinbad film made by Ray Harryhausen [music] and producer Charles H. near long before the golden voyage of Sinbad and Sinbad in the eye of the tiger. Anyway, in the movie, Sinbad, played by Kerwin Matthews, arrives with his crew on the island of Colossa and rescues the magician Sukura from a giant cyclops.

[00:21:03]Sora loses his magic lamp during the escape. But Sinbad refuses to return because he has bigger concerns like his marriage to Princess Parisa of Shandra, a union meant to secure peace with Baghdad. Sura later shrinks Parisa and tells Sinbad that only the egg of the giant rock bird from Colossa can restore her. So Sinbad gathers a convict crew, survives mutiny, returns to the island, and ends up face to face with a cyclops, rocks, a dragon, a genie named Barin, and one very famous skeleton. The characters in the movie could come off as one-dimensional at times, and it may seem that the only purpose [music] of the story is to push the film forward to its next monster encounter with Sinbad.

[00:21:43]But the thing with Seventh Voyage is that it feels less like the director's film and more like Harry House's film.

[00:21:49]What I mean is that the monsters and creatures are the real stars of the show and they were brought to life using stuff from earlier movies in which Harry House worked. The Cyclops, for instance, was built from the reused armature of the Emir from 20 million miles to Earth, while the dragon uses a reworked [music] model from the beast from 20,000 Fathoms. If you do decide to watch the movie, keep an eye out for the snakewoman dance and the final sword duel with the skeleton. These two sequences are the real treasures. In fact, this fight with the skeleton also inspired the bigger skeletal [music] warrior series in Jason and the Argonauts some 5 years later.

[00:22:30]The Beast from 20,000 Fathoms, 1953. The story begins deep in the Arctic Circle where an American team led by Professor Tom Nesbbit [music] takes part in a nuclear weapons test called Operation Experiment. After the bomb goes off, Nesbbit and the team head into a snowstorm and come face to face with a 200 ft lizard that have him been trapped in the ice. Nesbbit survives, but nobody believes his [music] story. His claims are instead seen as stress induced hallucinations, but then boats start getting attacked and coastlines start having a very bad week. [music] The creature is later identified as the fictional Ratossaurus, and Nesbbit works to prove that the monster is real as it moves down from the Arctic and reres havoc along the Canadian and [music] American coasts. In fact, even the idea of a monster crossing oceans and bringing fear from coast to city became a part of Kaiju cinema and you can still see traces of that structure in later [music] films like Godzilla minus one.

[00:23:26]This was another film Ray Harry Howen worked on. The Ratosaurus was his idea, and he wanted it to be different from the dinosaurs made famous by his mentor, Willis H. O'Brien, whose work on the Lost World and King Kong had already transformed monster cinema. [music] Here, Harry Hson was the effects artist, and his stop-motion work gave the creature its own unique personality.

[00:23:47]Once again, without turning it into a simple prop or a man in a suit kind of thing. The New York climax with people fleeing and the military trying to stop the beast clearly left a mark on monster movies that came after Corpse Bride 2005. In Corpse Bride, Victor Van Dort, son of a wealthy fishmonger family, is set to marry Victoria Everglot, whose family pretends to be rich while actually having no real [music] wealth. But the thing is, Victor and Victoria have never met before the arrangement thanks to all that stiff upper class decorum. Yet, when they finally meet in the Everglot foyer, there is real warmth between them. But at the wedding rehearsal, Victor forgets his lines and pretty much fumbles the ritual. So, he heads into the woods to practice and without realizing what he has done, he places the wedding ring on what he thinks is a branch.

[00:24:40]Unfortunately, or weirdly [music] enough, it is the finger of a corpse.

[00:24:44]What was worse was that she woke up and accepted the proposal. That's when we meet Emily, the [music] corpse bride, who takes Victor down to the afterlife and now believes he is her husband.

[00:24:54]Meanwhile, everyone above ground thinks Victor ran off with another woman, which he kind of did if I'm being honest. Back in the real world, the Everglots plan to marry Victoria to [music] Lord Barkcus Bitturned, who is as trustworthy as a man as his name sounds. [music] Co-writer and co-director Tim Burton has a profound love for the Beautifully Weird. He directed the movie with Mike Johnson who had worked on The Nightmare Before Christmas. And it was because of this collaboration that Corpse Bride feels like the love child of The Nightmare Before Christmas and Beetlejuice. Johnny Depp voiced Victor, Emily Watson voiced Victoria, and Helen Bonham Carter lent her voice to Emily, thereby elevating her sadness and charm.

[00:25:34]Despite all this greatness, I think the special effects and design were the real plus [music] factor here. The characters have those stretched Edward Gorylike shape as in they have like thin legs, huge chins, round bodies, and faces from which melancholy drips like summer melting [music] the winter snow. Above ground, the world is gray and airless, and the underworld, oddly enough, has all the color and life. Even a piano in the film was named Harry as a tribute to Ray Harryhausson, which only goes on to show the film's affection and respect for [music] stop motion history.

[00:26:10]The Wolf House, 2018. The Wolf House begins with Maria Wer, an idol and irresponsible girl who lives inside an isolated colony. After she receives punishment for her lack of contribution, she runs into the woods and barely escapes a wolf by taking shelter in an abandoned house. Inside the house, Maria meets two pigs, and they are the only residents there. But shockingly enough, the whole place starts to respond to her emotions. You see, it was almost as if the walls, furniture, and bodies shared one nervous system. For a while, the house reshapes itself into her idea of home, [music] and the pigs become human children, who she names Anna and Pedro.

[00:26:48]Since [music] the wolf waits outside, the three cannot leave, and Maria starts this house as her home. The wolf keeps asking her to return to the colony and warns that the house is another cage, but Maria refuses to believe him. But soon enough, the facade comes breaking [music] down, especially as food starts to finish. Anna and Pedra become hostile and secretive, and they even hide food from her. Maria wants to leave and collect apples, but they stop her and scare her about the wolf lurking outside. But things become only stranger from this moment onwards, and her fear starts to turn into [music] longing for her colony. So much so that she even speaks of the wolf as someone who knows the way home and might care for her. But Anna and Pedro eventually tie Maria to a bed. And once she hears them talk about their hunger, she understands that they plan to [music] eat her. In despair, she prays to the wolf. He enters, kills Anna and Pedro, and Maria turns into a bird before she flies back to [music] the colony. The special effects are wonderfully done in the movie. The stop motion does not hide its artificial quality. Instead, it's [music] used as a strength. You can see bodies stretching and walls mutating. Even the paint in the house seems [music] to come alive, and the whole house feels like a live art installation. Although one that's been trapped inside a nightmare for a long, very [music] long while. Totally worth a watch.

[00:28:12]The Primevals 2023. [music] Writer and director David Allen began his effects career in his mid20s on Equinox, and I mean the 1920s. It was the ambitious fan film project by young Dennis Mirren, [music] which Jack H.

[00:28:26]Paris later expanded for its 1970 release. Allan then built a long career in stopmotion across low-budget exploitation [music] films and bigger studio work. But through it all, his pet project was The Primes, his love letter to the fantasy [music] adventures he adored as a child.

[00:28:43]The film had been talked about as far back as the late 1970s, but it was in the '90s that Charles Band finally gave Allen funds, and he shot most of the liveaction material and completed much of the animation. But the money stopped coming and Allen died in 1999 at only 54, following which the film remained unfinished. Decades later, his friends crowdfunded and completed the animation from Allen's [music] storyboards. And in a way, the film took 30 years to be produced when it was finally released in 2023. The movie opens in the Himalayas where a Yeti is captured and brought to Dr. Clare Collier for study. Its existence proves Matt Connor's rejected PhD theory correct. Although Kier had dismissed his theories before, still he asks him to join an expedition along with a professional hunter and a Sherpa guide who has his own anger toward the yeti. Once they head into the mountains, the team finds far more than one creature. They discover a hidden valley full of prehistoric animals, protohumans, and reptilian aliens who force creatures to fight in an arena.

[00:29:47]Frankenween 2012. In this one, Victor Frankenstein is a young boy with a love for science, film making, and his dog Sparky. He spends most of his time alone with Sparky, [music] which worries his father, who wants him to go outside and mix with other kids. Victor eventually plays baseball with them, and during that game, Sparky dies in an accident.

[00:30:08]Then, Victor's odd new science teacher gives him the spark of an idea, and [music] our boy decides to bring his dog back from the dead. Basically Frankenstein, but with a pooch. As a film, Franken Weenie has a solid mix of horror and comedy, the kind Burton handled so well in Beetlejuice. It should work well for [music] kids, though I do not think it misses a chance to say more about grief and science.

[00:30:30]Having said that, the stop motion work is lovely, and the black and white look gives it that old horror film mood. The supporting characters have great designs, the classic horror references are everywhere, and while it may not jolt you back to life, it is a neat little Burton comeback with heart. So yeah, that was all in this one, guys. If you liked the video, please consider hitting the like and subscribe [music] buttons. Those two small clicks from you will help us tremendously in bringing you more of these amazing videos. Stay safe and have a good