^{Credit: Stitch Head (Briarcliff Entertainment)}

Going from watching Guillermo del Toro’s Frankenstein to Stitch Head is quite the tonal shift. At the same time, the two films have a fair deal in common. Beyond owing a debt to Mary Shelley, both explore nature vs. nurture, both feature female characters who recognize the humanity in a monster, and both center on more intelligent monsters than some other Frankenstein adaptations. Both also include scenes where a character’s limbs are torn off, even if Stitch Head naturally spares us the blood. While Stitch Head doesn’t have the grit or ambition of a del Toro project, it’ll appease the trick-or-treat crowd who aren’t quite ready for heads exploding and wolves mauling people to death.

Stitch Head is based on Guy Bass’ series of children’s books. Although Asa Butterfield hasn’t been a child star for at least ten years, he brings a warm, calm sentiment to little Stitch Head, who was the Professor’s first creation. The Professor couldn’t stop at just one creation, however. Every time he brings one monster to “almost-life,” the Professor immediately commences work on another. His latest is a one-eyed creature known as… Creature (Joel Fry). Stitch Head is left to care for the other monsters, who, despite having fun designs that make you want to collect them all, don’t possess the most memorable personalities.

While Stitch Head is mainly targeted at kids, it does touch upon some serious real-world issues. Stitch Head is essentially a firstborn who has to step up as a caregiver to his younger siblings in their parents’ absence. They live in solitude in a creepy manor on the hill with a sleepy town of fearful commoners below. It’s like Hotel Transylvania, but with fewer SNL alumni. Stitch Head considers a life beyond the castle when a freak show owner named Fulbert Freakfinder drops by. Just like in Pinocchio (sorry for all of the del Toro comparisons), Freakfinder promises to make Stitch Head a star, although he has little interest in the boy’s well-being.

Again, there is a timely message here that can resonate with a generation prone to seeking admiration through fame, not always realizing when they’re being exploited. The only human who sees Stitch Head as something more is a village girl named Arabella (Tia Bannon). Where the other villagers dress like they’re from the 18^th century, Arabella’s clothes are more contemporary, as is her personality. While the character designs are fun, they lack the Tim Burton vibes that Pete Williamson brought to his original illustrations. This is a more colorful take, but there’s still a twistedness to the film’s aesthetic. Director Steve Hudson’s script also had a bit of an edge to it, although it never quite goes far enough to truly earn that PG rating.

This is a family film that leans more towards younger kids, but there are enough solid jokes and inventive animation to entertain adults. The songs aren’t especially memorable, the standout musical moment being a surreal needle drop toward the end. The morals, while nothing revolutionary, can still connect with children of neglectful parents, as well as those who’ve felt compelled to hide their true selves from the world. Stitch Head is about acceptance and, just as important, self-acceptance, encouraging kids to embrace their inner monster. For kids who can’t handle Coraline or Monster House yet, Stitch Head is a nice getaway to the frights and delights that Halloween has to offer.

Nick Spake is the Author of Bright & Shiny: A History of Animation at Award Shows Volumes 1 and 2. Available Now!