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FANTASTIC MR. FOX

Wes Anderson United States, 2009
From the textured outfits of the lead cast of countryside characters that seem rudimentarily sewn together to the film’s rousing soundtrack that squeaks, bangs, whistles and hums as if it was put together by a rustic folk band, Anderson orchestrates a well-oiled machine that elevates his artistic vision.
January 19, 2022
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Fantastic Mr. Fox isn't a "children's film" with the quotes to signify that it's a money project for slumming major talents. It's a full-blooded Wes Anderson film like any other, and one of his very best... Fantastic Mr. Fox contains Anderson's customary impeccable framing as well as his heartbreaking acknowledgement of the private dreams that must die for the sake of that mini-democracy known as family...
February 8, 2014
...Anderson and Noah Baumbach's tight-as-a-drum screenplay is perfectly constructed screwball, and its makers' idiosyncrasies and concerns (fathers and sons, familial resentments, charming man-boys—the Fox family seems like a furry version of the Tenenbaums at times) are carefully built in rather than glommed all over the narrative like molasses.
April 1, 2010
Jonze's film [Where the Wild Things Are] is a slog, pitched directly at sadness, every turn a battle against or a flight from pain, while Wes Anderson's Fantastic Mr. Fox props up like a pop-up with one sight after another designed to delight. Fox is, in every frame, a geometric marvel of right angles and scrolling panels, each composition jam-packed with information and tightened off by the control Anderson exerts over every millimeter of screen space.
March 24, 2010
There’s a sublime marriage here of script and technique... [Mr Fox] may be slight as a feather (a quality Anderson holds dear) and vexing for Dahl purists, but for a film so outwardly bonkers, it works like a dream.
December 11, 2009
The switch to stop-motion has inspired [Anderson's] most visually lovely film... But better than that, stop-motion seems to have freed up Anderson's comic imagination. "Fantastic Mr. Fox" is jam-packed with delicious non sequiturs and merrily absurd inventions.
November 30, 2009
Fox would be best as a radio show, letting the voice talent murmur, babble, caress Dahl-Anderson-Baumbach's words as they do without the needs for dramatic movement, which leaves the film as film superfluous with disposable jealous misfit children—sorely, touchingly voiced—and a misunderstood and underappreciated renegade father... Fox winks drolly and leaves nothing behind but flat, empty cardboard boxes...
November 26, 2009
The art design is a large part of the film's appeal. It stays fresh all the way through... The animals [in Fantastic Mr. Fox] aren't catering to anyone in the audience. We get the feeling they're intensely leading their own lives without slowing down for ours.
November 24, 2009
The New York Times
[Fantastic Mr Fox] is in some ways [Anderson's] most fully realized and satisfying film. Once you adjust to its stop-and-start rhythms and its scruffy looks, you can appreciate its wit, its beauty and the sly gravity of its emotional undercurrents.
November 12, 2009
[Mr Fox] still the work of a filmmaker who likes to preen, a dandy. But it jells because the hero, the wily master thief Mr. Fox, is a dandy, too... And it jells because the animation fits the story... I don't know how, but I felt as if the puppets themselves were taking pleasure in their own movements. Anderson's ultra-composed frames have never seemed so magically alive.
November 12, 2009
If, like me, you're a lifelong aficionado of miniatures... this movie will seduce you on tactile terms alone. The animal characters' real, shiny fur, gently moving in the wind! The infinitely detailed sets and props: acorn-patterned wallpaper, cutlery made from deer hooves, bespoke corduroy jackets with tiny stalks of wheat in place of pocket squares! You don't want to watch this movie, you want to climb inside it and play.
November 12, 2009
GreenCine
Working in stop-motion, with visuals pre-timed to sound, has forced compression upon Anderson, ironing out his pacing problems: this is vintage screwball-comedy speed with no repose. It may be too much for some people, but it's relentlessly inventive. The verbal wit only stops for physical gags... and there's zero downtime. The movie is never not clever, and its verbal digressions and jokes are more moment-to-moment surface hilarious than any of Anderson's past work.
November 12, 2009