100% WOLF

Voice cast: Ilai Swindells, Jai Courtenay, Samara Weaving, Magda Szubanski, Rhys Darby, Akmal Saleh and Jane Lynch.
Writer: Fin Edquist; based upon the novel by Jayne Lyons.
Director: Alexs Stadermann

Available to rent in Australia from 29 May on Foxtel, Fetch, Apple, Google Play, Sony PlayStation and Microsoft Xbox.

Rating: ★ ★ ★ ★

The frantic, funny, family-friendly animated energy that powered the likes of Cloudy With a Chance of Meatballs and Hotel Transylvania to global box office heights ought to earn 100% Wolf a similar number of eyeballs when word spreads what a cracking piece of all-age entertainment it is.

Adapted from the bestselling 2009 YA-fantasy novel by expat British author Jayne Lyons, director Alexs Stadermann and scripter Fin Edquist (reteaming after the success of 2014’s Maya the Bee Movie) pitch the excitement level high from the first frames. A pack of werewolves bound over moonlit rooftops (recalling the artful imagery of Bibo Bergeron’s A Monster in Paris), before rescuing humans from a burning house. Along for the adventure in preparation for his transformation from human boy to teen wolf is Freddy Lupin (Ilai Swindells), son of the clan’s ruling high-howler Flasheart (Jai Courtney), a position that Freddy is predestined to fulfil.

Six years later, the night of his first ‘transwolftation’ is an embarrassing disaster; in a whirl of supernatural mist, Freddy transforms not into a snarling lycanthrope but instead a fluffy white poodle. Banished from werewolf society, he befriends street-tough mutt Batty (Samara Weaving) and becomes entwined in a good-vs-evil battle, pitting him and his unlikely dog-friends against villainess The Commander (US import Jane Lynch) and his own family black sheep, Uncle Hotspur (Rupert Degas, putting his spin on Jeremy Iron's intonations in The Lion King, which this film occasionally recalls). Also in the narrative mix are book favourites Harriet and Chariot, aka Freddy’s terrible cousins (Adriane Daff and Liam Graham, respectively) and wolf hunter Foxwell Cripp (Rhys Darby, lightening up the central bad guy of Lyon’s book).

The clear subtext in both the book and film is one of accepting that which makes us unique, of celebrating the individual. Metaphorically, Freddy is faced with a struggle against both his family’s expectations and his changing body, a universal conundrum for pre-teens. Double-down on the symbolism of his appearance (that shock of very pink hair) and overt non-alignment with gender stereotypes and our hero, and his movie, prove far more fearless than they might first appear. Parents, older siblings and enlightened tots will appreciate the character depth in the midst of all the frenetic slapstick, staged with giddy efficiency by Stadermann and his top-tier contributors.

Backed by the Oz sector’s governing body Screen Australia, with state-based financiers Screenwest and Create NSW on board, and produced by leading animation outfit Flying Bark Productions with the help of post-production house Siamese, 100% Wolf has a pedigree that demands international exposure. Already a hot literary property, the feature will go into German-speaking territories via distribution giant Constantin Film, while 26 short-form Freddy Lupin adventures are being co-produced by Australian Broadcasting Corporation and Germany’s Super RTL; in January, a vast merchandising line was introduced at the International Toy Fair.

That is a lot of responsibility being placed upon the fluffy poodle-shoulders of our protagonist. But, as 100% Wolf teaches us in the midst of a lot of giggly fun and colourful adventure, when given the opportunity to defy expectations and choose your own path in life, anything is possible.