Netflix brings Roald Dahl’s 1980 children’s literature classic The Twits to the screen with a fresh animated adaptation. But don’t expect a charming kids’ film—this is an unsettling yet captivatingly bizarre black comedy.
A Gritty 3D Twist on Dahl’s Classic Universe
Directed by Phil Johnston, the creator of Wreck-It Ralph, the film trades Disney’s polished aesthetic for a deliberately “grubby” 3D style. Johnston breathes life into Dahl’s cartoonish world with a dusty, textured, and intentionally ugly atmosphere.
At the heart of the film is the infamous couple from the original book:
Mr. and Mrs. Twit (voiced by Margo Martindale and Johnny Vegas).
Hating each other and tormenting everyone around them—including animals—with their vile behavior, this duo paints a portrait that’s both hilarious and repulsive.
True to Dahl’s book, the film revels in the theme of “finding fun in filth.” The story kicks off with the “Beard Faces” segment, opening with a humorous disdain for bearded men—whose beards, in the Twits’ universe, are mere traps for crumbs and grime.
Director’s Take: Turning Cruelty into a Universe
In an interview with Cartoon Brew, Phil Johnston explains that the film is less a direct adaptation and more an “inspired” version:
“Dahl’s book is a series of sketches about two horrible characters being cruel to each other and animals. My fun was taking these two hateful characters and building a world around them.”
Unlike the book, the film introduces a central plot: the Twits establish an amusement park called Twitlandia. Enter Beesha (voiced by Maitreyi Ramakrishnan), a young orphan who stands against them. The story unfolds in a tone that blends grotesque humor with warm sentiment—sometimes successfully, sometimes teetering on the overly bizarre.
The Soundtrack Stealers: David Byrne and Hayley Williams
The film’s standout feature is undoubtedly its soundtrack.
Talking Heads legend David Byrne penned original songs, with the Twits’ duet “We’re Not Like Ev’ryone Else” marking one of the film’s most entertaining moments.
The end credits feature “Open the Door,” a collaboration between Byrne and Paramore’s Hayley Williams. Sung by Williams, this track softly encapsulates the film’s themes of “family” and “belonging”:
“Family is not only who you’re related to, it’s who you care for and who cares for you.”
Byrne and Williams previously collaborated on Stop Making Sense (Talking Heads Tribute, 2024) and Byrne’s album Who Is The Sky?. “Open the Door” stands out as the cinematic pinnacle of their creative partnership.
Critics Divided
The film has sparked mixed reviews, praised for its bold visuals but criticized for an inconsistent tone. Some argue it softens Dahl’s ruthless humor, leaning too heavily into sentimental “heart-winning” territory. Others champion the unexpected artistic depth brought by the Byrne-Williams collaboration.
Regardless, The Twits occupies an unconventional spot in Netflix’s animation lineup: neither a pure children’s film nor a dark satire for adults, but a delightfully unsettling line between the two.
Apartment No:26 Note
Ugliness Never Looked So Good
While it softens Roald Dahl’s dark humor for a modern audience, Phil Johnston’s The Twits delivers an experience that taps into both childhood nostalgia and grotesque comedy.
Is it perfect? No.
But with David Byrne’s music, Hayley Williams’s voice, and Roald Dahl’s rotten sense of humor combined, the result is an animation that’s hard to shake off after watching.
The Twits is now streaming on Netflix.
