Liverpool Sound and Vision Rating * * * * *

Cast: Ben Whitehead, Peter Kay, Lauren Patel, Reece Shearsmith, Diane Morgan, Adjoa Andoh, Muzz Khan, Lenny Henry, Victoria Elliott, John Sparkes, Jon Glover, Bethan Mary-James, Maya Sondhi, Tom Doggart, Richard Beek, Merlin Crossingham, David Holt, Lizzie Waterworth, Adrian Rhodes, Roman Kemp.

There are few moments of television that compare with the vision, painstakingly driven, of Aardman Animation when they are given time to deliver a classic piece of art; for in their pursuit of quality production they showcase all that is amazing about the industry, the doggedness of the approach, the relentless tiring thousands of hours of stop-motion capture put in place to lighten the screen with a film so good that it becomes the assured highlight of the winter period, it can only mean that the return of Wallace and Gromit are back and with absolute style.

Wallace And Gromit: Vengeance Most Fowl is without doubt a delight, the true meaning of something for all the family is in effect a gift to those who see the joy in immense deep thinking, the slow and the methodical approach that frames every detail possible, and one that sees the dark shadow of one of the most unspeakably complex villains of all time, the dastardly Feathers McGraw.

It is not meant to be flippant when stating that such a mysterious character can be drawn from the art of modelling, but just as the individuality of the inventor and his heroically abled dog have been able to enter the viewer’s conscious, so the sight of a reprehensible penguin aiming to retake what he once stole will leave fans smiling, grinning at the effortless dialogue and silent homage to movies of old can say more than a thousand Christmas speeches by a worn out and discredited leadership about just how far we long to reminisce about just how good cinema, and television once was.

Wallace And Gromit: Vengeance Most Fowl is class, and partly it must be acknowledged that after the passing of the exceptional Peter Salis, if Aardman had stated there would not be another adventure for the cheese loving pair out of due respect to the much-loved actor, then arguably no one would have complained; and yet in Ben Whitehead, an actor not unknown to the greater fandom of the studio, the gestures and mannerisms of the voice of Wallace are perfectly honoured.

The attention to every detail, from observed joke to the nods to the past events of the company are to be held with pleasure, and in the end gives the hour on screen worth every moment invested by the viewer, emotionally, fervently, mentally…every emotion catered for, every delight seized. This is Aardman at its finest, and the reward of patience paid in full.

Ian D. Hall