Laika’s new animated film “Wildwood” will be released in theaters this Friday, marking a rare entry in the genre as a stop-motion feature carrying a PG-13 rating. As the studio’s first film rated above PG, “Wildwood” represents an effort to broaden the scope of animated storytelling beyond the traditional family-friendly fare that dominates the market.

The Oregon-based studio, known for acclaimed films like “Coraline” and “ParaNorman,” developed “Wildwood” over more than a decade. Directed by Laika CEO Travis Knight, the movie is adapted from the novel by Colin Meloy and Carson Ellis. It follows the story of Prue, a young girl who ventures into an enchanted forest to rescue her younger brother. The film includes strong fantasy violence, thematic elements related to suicide, bloodied imagery, some partial nudity, and language, all of which contributed to its PG-13 rating.

Laika’s executive producer David Burke emphasized that the studio did not adjust the film to fit a lower rating, viewing animation as a medium rather than an age category. “It’s an epic fantasy. It has real danger. It’s got like real emotional stakes and consequences,” Burke said. He noted that the studio intends “Wildwood” to reach a wide audience, including teenagers, adults who grew up watching Laika’s prior work, and families willing to engage with more complex storytelling.

Industry analysts have expressed cautious optimism about the film’s commercial prospects. Paul Dergarabedian, senior media analyst at Rentrak, estimated the opening weekend box office could range between $6 million and $10 million. The positive reception to a recent 15th-anniversary theatrical re-release of “Coraline,” which grossed over $52 million globally, suggests that Laika’s audience remains engaged beyond initial releases. Laika’s previous five films have earned more than $444 million worldwide.

“Wildwood” is unique not only for its rating but also in its distribution. The film is being released by Fathom Entertainment, a joint venture among major theater chains AMC, Regal, and Cinemark. Typically known for event cinema and re-releases, Fathom is undertaking its widest and highest-profile theatrical release with “Wildwood.”

Experts say that while major studios have explored PG-13 animated projects in development, greenlighting such films has been challenging due to the genre’s high production costs and the dependence on ancillary revenue like merchandise, which often requires a broader family appeal. Strawn Dixon, an animation agent at United Talent Agency, noted that Laika’s independent status allows it to take greater creative risks.

“If [‘Wildwood’] succeeds, it will open the door for what’s possible at other animation studios,” Dixon said, emphasizing that audiences desire both franchise content and edgier, original titles.

This year has seen mixed results for original animated movies, with blockbusters like “Toy Story 5” and “The Super Mario Galaxy Movie” performing strongly, while others like DreamWorks Animation’s “Forgotten Island” posted less robust returns despite favorable reviews. Dergarabedian highlighted that audiences have shown a willingness to embrace unconventional films like “Obsession” and “Backrooms,” suggesting there is appetite for risk-taking in theaters.

With a runtime of just over two hours and a crew of more than 1,000 people, “Wildwood” represents a significant investment for Laika, whose production budgets typically range from $60 million to $100 million. Should the film find critical and audience support, it may also position itself as a contender in upcoming awards seasons.

The broader challenge, according to Animation Is Film festival director Matt Kaszanek, lies in overcoming entrenched perceptions that animation is primarily for children. He argued that adult audiences do indeed appreciate animated films that explore mature themes.

Laika’s gamble with “Wildwood” is that audiences seeking distinctive theatrical experiences will respond positively to a film that blends stop-motion artistry with a darker, more emotionally complex narrative. As Burke put it, “Audiences aren’t rejecting theatrical — they’re becoming more selective about what earns the trip.”