The once-peaceful kingdom of Malaria, driven into poverty by a never-ending storm, has saved itself through evil inventions: King Malbert encouraged the best and most wicked scientists to create doomsday devices and blackmail the rest of the world.

Sneaking into Glickenstein's castle, Schadenfreude discovers his rival is dead, and steals Igor's plans for a living monster, which he believes will be his key to taking the throne.

Discovering the truth, a furious Malbert sends Igor to the recycling plant to be destroyed, while Schadenfreude arrives at the Evil Science Fair with Eva.

As Schadenfreude seizes the royal throne from Malbert, Eva defeats the Evil Science Fair's other creations in the Killiseum with a violent rendition of "Tomorrow".

"[9] The Exodus project was first announced on September 7, 2004, with the involvements of McKenna, executive producer Max Howard, and 50 to 75 animators from the studio ElectroAge revealed.

[13] In a November 2005 interview, Howard announced that the rigging and voice recording for the short was completed and that storyboards were nearly finished for the animation to start soon; he also shared about the film's content, "This is a slightly edgier picture we're dealing with.

[19] On January 10, 2007 Jennifer Coolidge joined the cast to play Jaclyn and Heidi, and Leno switched from voicing Brain to King Malbert.

[20] On March 28, 2007, John Cusack replaced Slater in the role of Igor, and Hayes joined to voice Brain; the release date was also set for October 24, 2008.

"[30] In order to achieve both a film noir and an accessible-while-creepy aesthetic, Leondis and the art director he worked with, Olivier Besson, incorporated a fair amount of mist and smoke.

[17] Leondis also went for an art style inspired by the fashion works of Vivienne Westwood, where it takes elements from a variety of time periods;[7] he summarized the setting's look as a mixture of the Middle Ages, the Industrial Revolution, and "Pop sixties.

"[29] In Howard's words, the animators went for a "puppet sensibility" in the characters' movements and designs,[17] a decision inspired by the 1967 stop motion film Mad Monster Party?

[33] Leondis instructed Doyle to give the score a "slightly eastern feel," offering him the works of composers such as Bela Bartok to reference from.

[35] The Weinstein Company ran an Igor panel at the 2008 New York Comic Con, where, in addition to being an exclusive premiere of the first trailer, McKenna and Leondis presented details about the film.

[47] In the UK, McDonald's ran a Happy Meal promotion for the movie including 7 toys and a commercial made using stop motion animation.

"[85] However, he projected an opening weekend gross of $8 million due to no competition with other family films and "a marketing push highlighting how Halloween comes early this year thanks to this monster mash."

[86] In its opening weekend the film grossed $7,803,347, ranking #4 at the box office alongside Lakeview Terrace, Burn After Reading and My Best Friend's Girl.

Noel Murray opined that Igor had a difficult time selling tickets due to being "too macabre for young children and too cutesy for hip adult moviegoers,"[90] and Adam Quigley reported it was "instantly forgotten following its release.

"[91] Alex Billington, also covering the trailer, predicted Igor might be good thanks to its cast, but may do mediocrely at the box office, citing the performance of Arthur and the Invisibles, a previous English-language animated film released in 2006 and made in France.

[41] I Watch Stuff was turned off by the "archetypical Disney-esque jokes and characters" presented in the trailer, also mocking Igor's design as "a hunchbacked David Gest.

"[92] Peter Sciretta also had little faith in the film's quality due to Weinstein's poor reputation with animated films,[39] but Kryten Syxx wrote that "there's enough [in the trailer] to please horror fans" as well as children,[93] Ryan Parsons suggested that Igor "looks charming enough" to compete with bigger productions from Pixar and DreamWorks,[94] and Cartoon Brew thought it looked "intriguing" judging by the trailer.

"[103] Slant Magazine writer Nick Schager concluded that it "feels chintzy and imitative, with kids unlikely to be seriously captivated by its bland hero and viewers over the age of five ultimately apt to relate only to Scamper (Steve Buscemi), an immortal rabbit desperate to commit suicide.

[107] The San Francisco Chronicle writer Peter Hartlaub opined "the filmmakers waste some clever and subversive writing by cramming everything into a Disneyfied plot filled with misunderstandings and morality speeches.

[111] In the opinion of an IGN critic, "Writer Chris McKenna [...] has essentially crafted a tale that robs the genre of all of its hallmarks – real monsters, gore, or even just genuinely scary moments – in lieu of a superficially entertaining tome that either borrows heavily from the above predecessors or doesn't have enough creativity not to steal from their iconic landscapes.

"[112] Mark Demetrius of Filmink opined that the film was ruined by cliches, an overwhelming amount of adult jokes, forced humor, and "pathetic" ending.

"[114] A review from the Toronto Star claimed cliches, "movie quotes and Hollywood parodies dictate the action," also stating the kids wouldn't get the references.

[115] Schager explained, "Director Anthony Leondis peppers his tale with a host of leaden cinematic references children will almost surely miss, which is just as well since virtually every film-related gag directed at adults feels like a pitiful attempt at knowing cleverness.

This, coupled with a cinematic eye leaning towards the dramatic, further pulls you into the feature, exposing the creator's love for black and white horror films of years past.

"[112] Franklin called it too "inconsistent,"[105] Hartlaub who opined "the character design leans more toward disturbing than cute,"[108] and Total Film who was turned off by the "shoddiness" of the art style.

[100] The Sydney Morning Herald praised it for being unique from most family films due to its cast of improv actors and impertinent horror concept: "Igor celebrates a defiantly adolescent and suitably caricatured vision of mortality with the potential to have adults and special young malcontents in stitches.

[130] The inclusion of Louis Prima songs also garnered divided reactions; while appreciated by some reviewers[98][102] to the point where one called it "the film's best decision,"[111] others found it unfitting with Doyle's score.