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The Gruffalo's Child

The Gruffalo's Child

Adventure · Animation · Family · 2011

A follow up to the 2009 animated feature and adapted from the childrens' book by Julia Donaldson and Alex Scheffler. The Gruffalo's child explores the deep dark wood in search of the big bad mouse and meets the Snake, Owl and Fox in the process. She eventually finds the mouse, who manages to outwit her like the Gruffalo before!

Movie details

The Gruffalo's Child

2011 Adventure · Animation · Family 26m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

A follow up to the 2009 animated feature and adapted from the childrens' book by Julia Donaldson and Alex Scheffler. The Gruffalo's child explores the deep dark wood in search of the big bad mouse and meets the Snake, Owl and Fox in the process. She eventually finds the mouse, who manages to outwit her like the Gruffalo before!

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Gruffalo's Child?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Uwe Heidschötter · Johannes Weiland

Written by

Johanna Stuttmann · Julia Donaldson

Helena Bonham Carter

Helena Bonham Carter

Mother Squirrel (voice)

Shirley Henderson

Shirley Henderson

The Gruffalo's Child (voice)

Robbie Coltrane

Robbie Coltrane

The Gruffalo (voice)

Rob Brydon

Rob Brydon

The Snake (voice)

John Hurt

John Hurt

The Owl (voice)

Tom Wilkinson

Tom Wilkinson

The Fox (voice)

James Corden

James Corden

The Mouse (voice)

Court is in session

Put The Gruffalo's Child on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.