The movie market is crowded with superb animation studios like Disney, Pixar, Laika, Aardman and (on their good days) DreamWorks, but Warner/WAG is carving out a comfy little niche for themselves with these first two films. Most of their slate looks to be be made up of LEGO movies, including next year’s Batman and Ninjago spin-offs, but Storks lives up to 2014’s The LEGO Movie as a fast, funny and hyperactive comedy. Up until now, Stoller’s other written and directed comedies have been grown-up/raunchy affairs like the Bad Neighbours movies, but he was also a co-writer on both The Muppets and Muppets Most Wanted, so he’s got very good form for writing family films in our book. Some filmmakers talk about making these sorts of films for their kids, but there’s no doubt that Stoller has made this one for parents too. This might have been explored in more depth in the sub-plot and it’s easy to imagine a Pixar version of the same story that would go down that road, but Storks keeps it simple by centring a child (Anton Starkman) who is desperate to be a big brother so that he’ll be less lonely when his workaholic parents (Ty Burrell and Jennifer Aniston) leave him to his own devices. Like The LEGO Movie, it’s not the most original film in the world – throughout the film, we’re variously reminded of either Monsters Inc, Arthur Christmas or both at the same time. Unlike The LEGO Movie, it’s not as self-referential about its derivation, because we’re all having far too much fun to go into it. The wolves typify what we really like about this one. Like Lord and Miller, who are credited as producers, Stoller and co-director Doug Sweetland use the medium to do at least one setpiece or sight gag that wouldn’t be possible in live action, every five minutes. That said, one of the funniest setpieces in the film hinges on an action scene that has to take place in absolute silence because none of the combatants wants to wake the baby. Coupled with the relentless pace of the thing, the hilarity of it makes this the fastest 90 minutes you’ll spend in the cinema all year. For kids, Storks is a wildly imaginative cartoon caper, but for adults who were let down a little by Sausage Party, it might also be what you were actually looking for from an animated feature by a Judd Apatow alum. You barely notice how derivative the story is because it’s so imaginative in all other regards, and while it doesn’t have the thematic heft of some of the year’s very best animations, a comedy as funny as this one is not to be ignored.