Prepare to be shocked, because Netflix’s The Twits is not your typical family-friendly animation—it’s a boldly bizarre, beautifully grotesque ride into the twisted world of Roald Dahl’s most peculiar characters. But here’s where it gets controversial: Is this the kind of 'ugly-beautiful' storytelling families are ready for, or has Netflix gone too far? Let’s dive in.
When The Twits lands on Netflix, audiences won’t find the polished, feel-good vibes of mainstream animation. Instead, they’ll be thrust into Twitlandia—a decaying, revolting amusement park dripping with grime, rigged with death-trap rides, and operating under conditions that would make OSHA shudder. Directed by Phil Johnston (known for Wreck-It Ralph and Zootopia) and co-directed by Katie Shanahan and Todd Kunjan Demong, this film reimagines one of Dahl’s shortest and strangest books as a full-blown animated adventure. But don’t expect a faithful adaptation—Johnston calls it more of an 'inspired-by' project, a playground for two of literature’s most hateful yet fascinating characters.
And this is the part most people miss: Dahl’s stories aren’t just quirky—they’re moral tales with bite. In The Twits, Mr. and Mrs. Twit (voiced by Margo Martindale and Johnny Vegas) are the epitome of nastiness, running the world’s most absurd amusement park. When they seize power in their city, two brave orphans and a family of magical animals must outsmart them to save their home. It’s classic Dahl chaos, but Johnston adds a modern twist: ‘It’s a story for our times, about cruelty and empathy—and how we can fight one with the other.’
After years at Disney, Johnston was ready to push boundaries. ‘I could not have made this movie in a million years at Disney,’ he admits. Netflix gave him the freedom to explore darker themes, blending highbrow ideas with lowbrow humor. ‘It’s a strange baby,’ he says, ‘but it’s ours.’ Bold claim, right? But is this the future of family animation, or a risky experiment?
Visually, the film is a masterpiece of the grotesque. Production designer Rémi Savva and the team created a world that’s ‘ugly, but cinematically attractive,’ leaning into chaos. The Twits’ house, for example, is built from stolen televisions, refrigerators, and even entire trucks of junk. ‘It’s disgusting, but also kind of beautiful,’ Johnston notes. ‘I wanted it to feel alive, like a living, moaning creature.’ The sound design, inspired by David Lynch’s Eraserhead, adds to the eerie atmosphere.
The characters themselves are a study in contrasts. Mrs. Twit isn’t just a hag—she’s a frustrated performer, a failed diva. Mr. Twit, on the other hand, is all sprawl and indifference. Their designs, shaped like an upright triangle and its inverse, tell their stories without a word. ‘The animators nailed that balance between grotesque and gorgeous,’ Johnston says. But does this visual daring enhance the story, or distract from it? What do you think?
Amid the filth, there’s warmth—especially in the orphanage scenes, painted in gentle pastels. ‘Dahl’s world is mean, and kids are small in it,’ Johnston says, ‘but they find family, people who choose to love them.’ It’s a sanctuary in a cruel world, a reminder that warmth matters.
Behind the scenes, the film’s three directors—Johnston, Shanahan, and Demong—worked seamlessly, each bringing their strengths. Originally developed as a limited series, the project survived multiple Netflix restructures. ‘We had a headline pinned to our wall that said ‘Twits Not Dead Yet,’ Johnston recalls. ‘That became our rally cry.’
While made for streaming, The Twits is no small-screen film. ‘I wish everyone could see it on a huge screen,’ Johnston says. ‘It’s packed with detail.’ With its mix of slapstick, social satire, and emotional depth, it might be Netflix’s strangest animated gamble yet. Is it a masterpiece or a misstep? Will it redefine family animation, or is it too weird for the mainstream?
One thing’s for sure: The Twits is unapologetically itself. As Johnston puts it, ‘It’s a strange baby. But it’s ours.’ Now, we want to hear from you—does this film sound like a must-watch, or a hard pass? Let the debate begin!
