Talking Movies

July 11, 2017

War for the Planet of the Apes 3-D

Andy Serkis, via motion capture, returns one last time for more monkey business as Caesar, the Moses of intelligent apes.

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Caesar is in the woods, with his apes, and just wants to be left alone; to brood over his murder of rival Koba (Toby Kebbell), and raise his new young son. But not only have Koba’s followers started to collaborate with the humans against Caesar in order to avenge his death, the humans have also become menacingly organised under a new leader, the Colonel (Woody Harrelson). An early bloody skirmish is followed by a night raid with the Colonel himself attempting to terminate Caesar’s command, with extreme prejudice. Caesar abdicates his duties as leader, vowing revenge. While the apes set out for the promised land beyond the desert, Caesar, with trusted lieutenant Maurice the orangutan (Karin Konoval), and two gorilla bodyguards, sets out to assassinate the Colonel. But matters are complicated by a new mutation of the virus assailing humanity.

War for the Planet of the Apes would be more accurately titled Commando Raids for the Planet of the Apes. Indeed a large portion of the movie is Prison Break for the Planet of the Apes, cycling back to the pivotal sequence of 2011’s Rise of the Planet of the Apes where super-intelligent Caesar was incarcerated with regular chimpanzees – because he chewed off a man’s fingers for being rude. Blake Snyder’s ‘Save the Cat’ does not advocate having your hero chew off a man’s fingers for being rude to elicit audience sympathy, quite the opposite really. Yet we are expected to automatically root for Caesar through three films progressively less interested in human characters. If one could call the ciphers in this franchise human. This is surely the worst written trilogy this decade, and logically so; if an audience accepts ciphers, why bother sweating writing characters? If an audience accepts Gary Oldman’s noble sacrifice to save humanity resulting in nothing, why bother even setting up protagonist and antagonist humans? Woody Harrelson’s Colonel McCullough is the only articulate human, and even Harrelson can’t excel with this straw man antagonist. Hard to credit this franchise was spawned by Rod Serling’s mischievous screenplay.

Rupert Wyatt in Rise, and Matt Reeves in Dawn, both threw in striking sequences of directorial bravura to try and paper over the poor scripting. But here, there is nothing going on in that department, which is a tremendous surprise given that Reeves returns as director. Where are his visual trademarks – the lengthy tracking shots following chaos exploding into frame, the fixed-position sequences, the Hitchcockian visual suspense? This is all the more surprising given the unsubtle references to the visually extravagant Apocalypse Now: slogans daubed everywhere, a shaven-headed Colonel expounding on history, culture and morality, a mission to exterminate (‘The only good Kong is a dead Kong’), Jimi Hendrix, and, just in case you didn’t get it, ‘Ape-pocalypse Now’ graffiti. It’s as if Reeves has just given up, going through the motions in a permanently 3-D darkened landscape of snow and concrete that renders things verily sepia-vision. Steve Zahn as a nebbish ape is a highlight, mostly because, when dressed akin to Bob Balaban’s Moonrise Kingdom narrator, he appears to have wandered in from Wes Anderson’s Planet of the Apes; the idea of which is more entertaining than this tedious movie, dragged out by its insistence on ape sign language.

The powerful and emotive finale is unintentionally hilarious when you realise just how literal the Caesar as Moses motif is being taken, but it’s just one final plodding mis-step. Caesar blows up the Colonel’s base and yet escapes the fiery blastwave because it is all-encompassing but apparently all to one side just to avoid enveloping him, Caesar’s final confrontation with the Colonel sees him extend a character redeeming mercy that looks uncannily like the height of cruelty, and the new mutation of the virus, which reduces humans to mute amiable simpletons, leads us seamlessly into the world of the Charlton Heston classic. So, we are required to cheer for the devolution of the human race into mute amiable simpletons, and yet that isn’t presented as a somewhat challenging proposition when even 2008’s disastrous The Invasion noted the paradox of rooting for free will at the cost of world peace. To reference another 1979 film that’s been in the air this summer Caesar’s story involves us losing the ability to produce another Groucho Marx, Willie Mays, Louis Armstrong, Ingmar Bergman, Gustave Flaubert, Marlon Brando, Frank Sinatra, Paul Cezanne or even understand who they were or appreciate what they did. Hail, Caesar?

0.5/5

September 4, 2015

Me and Earl and the Dying Girl

Me and Earl and the Dying Girl plays as a tragically awful The Fault in Our Stars and Be Kind Rewind mash-up by Wes Anderson.

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Greg (Thomas Mann) navigates high school by being super-nice to all cliques, and a member of none. He avoids the cafeteria turf wars, eating with his sole friend Earl (RJ Cyler) in the office of cool history teacher Mr McCarthy (Jon Bernthal). (You know he’s cool because he has tats and a shouted slogan ‘Respect the Research!’) But then Greg’s odd, odd mother (Connie Britton) forces him to befriend classmate Rachel (Olivia Cooke) when Rachel is diagnosed with leukaemia. Rachel’s weird mother Denise (Molly Shannon) is delighted at this development, and soon Greg’s eccentric dad (Nick Offerman) is hosting marathons for Rachel of the dreadful movies Greg and Earl have made. Greg is losing his treasured detachment, and, despite repeated protestations in his narration, Rachel is going to die; what will the emotional impact be on such a self-loathing figure?

You won’t care, because this film quickly becomes extremely grating. Set in Pittsburgh with an emotionally deadened hero who opens up under female tutelage this invites invidious comparisons with The Perks of Being a Wallflower; but Project X star Thomas Mann is no Logan Lerman, and novelist/screenwriter Jesse Andrews is no Stephen Chbosky. As for director Alfonso Gomez-Rejon who has worked on American Horror Story and Glee… This is his second feature after The Town That Dreaded Sundown. He’s not straying far from familiar settings. His whip-pans, arty tracking shots, hand-crafted animations, long-takes, narration, chapter titles, straight to camera monologues, odd perspectives, and painfully self-conscious quirkiness all play like ersatz Wes Anderson and become increasingly maddening. Having a character die of cancer doesn’t gift your movie instant profundity. Telling us twice that she’s not going to die is just annoying.

Bernthal is the only actor who escapes this farrago with dignity intact, as he has some interesting material on the nature of memory and biography to work with. Offerman is reduced to non-sequitirs and monologues akin to his workshop appearances on Conan. Shannon is creepy and disturbing as Rachel’s overly-sexualised mother, while Britton is unbelievable and bizarre as Greg’s mother pushing him into a weird gesture. Greg and Earl are ‘characterised’ by their love of Herzog, Kurosawa, and the Nouvelle Vague, which they pastiche in home-movies. The result is as infuriatingly pretentious, derivative, and mannered as the central trio in The Dreamers. So of course Greg’s former crush Madison (Katherine C Hughes) suggests making a new movie especially for Rachel. Dying is almost worthwhile if it inspires self-referential self-congratulatory cinema! This truly is Bret Easton Ellis’ nightmare conception of film-school student making films based on films, not on life; a cinematic parallel of Mannerist artists proudly painting based on Old Masters not on observed reality.

Having experienced Nico Muhly’s soundscape for the Wilton Diptych in the British National Gallery, I weep at his music being wasted trying to give Greg’s contemptible film some depth.

1/5

August 12, 2014

Hector and the Search for Happiness

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Simon Pegg is Hector, a psychiatrist who travels the world researching happiness in this comedy-drama adaptation of a French novel.

Hector lives a very orderly life in London. He treats patients with absurdly first-world problems, and lives with Clara (Rosamund Pike); who creates enticing names for pharmaceutical products. But is it all too orderly? Hector decides to go on a journey of enlightenment; partying with wealthy businessman Edward (Stellan Skarsgard) in Shanghai, praying with a wise monk (Togo Igawa) in Tibet, working with old medical school friend Michael (Barry Atsma) and clashing with Columbian drug-lord Diego (Jean Reno) in central Africa, before finally arriving in California to talk with the pioneering Professor Coreman (Christopher Plummer). And with Coreman’s research assistant Agnes (Toni Collette) aka The One Who Got Away… Clara is rightly suspicious that Hector’s entire trip is an excuse to reconnect with Agnes, but the trip itself actually does teach Hector some hard lessons about life and, yes, happiness.

Director Peter Chelsom has had an odd career (Funny Bones and Serendipity?), and this is another curious entry. Hector and the Search for Happinessbears all the marks of a Europudding; a fantastic amount of international producers, a multinational cast, a screenplay by Swede Maria von Heland, rewritten by Chelsom himself with Tinker Lindsay, all adapted from Francois Lelord’s novel; and yet it actually almost works. Hector’s journey is very naive. The comedy of Hector’s clumsiness is quite forced, and yet there is a very nice trick with a running gag which I won’t spoil. But, though it works, it’s almost a synecdoche for the film: Hector works best when it is serious, but most of the time it’s whimsical. Hector’s infatuation with Shanghai student Ying Li (Ming Zhao) is nicely undercut, but whimsy keeps intruding and preventing true substance.

Sure, there’s some quite amusing Wes Andersonish FX fun with a decrepit plane but the film’s standout sequence is when Hector tends to an ill woman on his flight to LA, because Pegg gets to play quiet empathy. Collette is fantastically cast as the woman worth waiting for, and her harshness is perfectly judged. As her mentor Plummer rightly remarks Hector is not responding to stimuli like a grown man, so how can he ever expect to be happy? The film itself, however, when it comes to articulate its grown-up wisdom promotes a facile viewpoint: change, for its own sake, guarantees happiness. Why is a comfortable routine ispo facto bad though? Do people really like constant change? As a rigid guiding principle it seems to say ‘That was great, we really enjoyed it, now let’s not never do that again.’

Hector and the Search for Happiness is a curious film. It doesn’t quite work as a comedy-drama, but it is consistently engaging throughout (not least because of its colourful cast) with some memorable moments.

2.5/5

March 6, 2014

The Grand Budapest Hotel

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Wes Anderson’s second period film in a row is a considerable contrast to the charmingly nostalgic Moonrise Kingdom, and that’s not necessarily a good thing…

To begin at the beginning, a young woman visits the grave of a writer. Wait, no, that writer (Tom Wilkinson) before he died recorded a talk about the background of his most famous novel. Hang on, when he was a young writer (Jude Law), [now we’re getting somewhere] he stayed in the Grand Budapest Hotel. There he met ineffectual concierge M. Jean (Jason Schwartzman). Wait, no, M. Jean didn’t matter, what mattered was that the young writer met Mr Moustafa (F Murray Abraham), who told him about the glory days of the hotel in the 1930s. Back then, [finally, real progress!] Moustafa was known as Zero (Tony Revolori), and he was the lobby-boy to legendary concierge M. Gustave (Ralph Fiennes). Gustave was completely devoted to rich, widowed, amorous guests such as Mademe D (Tilda Swinton, after she wrecked the picture in her attic.) So much so that when she unexpectedly died after leaving the hotel he was summoned by her staff Serge X (Mathieu Amalric) and Clotilde (Lea Seydoux), to hear her lawyer Kovacs (Jeff Goldblum) read the will – which left a priceless painting to Gustave, much to the fury of Mademe D’s son Dmitri (Adrien Brody), and as he had the scary thug Jopling (Willem Dafoe) on retainer that meant Gustave was well-advised to run for his life, despite the protestations of policeman Henckels (Edward Norton); who remembered Gustave’s abundant kindness to him as a boy. And after that, reader, things really got complicated.

Anderson’s film is bursting at the seams from sheer busyness, and the film thus lacks emotional depth even as it boasts under-used actors (Harvey Keitel, Saoirse Ronan), a deliberately unnecessary Chinese box of narratives, and a sequence in which Anderson tests how many times the same gag can be made in succession; even by Bill Murray and Bob Balaban; before an audience grows restive. His regular production designer Adam Stockhausen’s archly mannered sets are the most artificially coloured he has rendered for Anderson to date. Think about that.

Anderson showcases an unexpected flair for blackly comic suspense but there’s an odd and draining mean-spiritedness to this film’s gruesomeness. Fiennes’ dialogue makes no sense for the setting, lurching as it does from a gentlemen quoting poetry to an R-rated Oddball from Kelly’s Heroes, but it does make for some spectacular laughs. Anderson is apparently honouring the terrifyingly obscure author Stefan Zweig, and the worst thing I can say about this film is that after seeing such loving homage I have no desire to read Zweig’s work.

The Grand Budapest Hotel is an impeccably mounted film, but it unavoidably disappoints because it doesn’t come close to The Darjeeling Limited for depth or Moonrise Kingdom for whimsy.

3/5

January 28, 2014

2014: Hopes

Filed under: Talking Movies — Fergal Casey @ 3:58 pm
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The Monuments Men

George Clooney stars, co-writes with Grant Heslov again, and directs what seems like a promising mash-up of The Train and Ocean’s 11, arriving sometime in February. Somewhat based on fact, a crack team of art experts and soldiers are assembled in the dying months of WWII to try and rescue priceless works of art from wanton destruction at the hands of nihilistic Nazis. The team includes regular Clooney cohort Matt Damon and the great Cate Blanchett, alongside the undoubtedly scene-stealing comedic duo of Bill Murray and John Goodman, and oddly Jean Dujardin. Can Clooney pull off a more serious art heist from Nazis caper? Fingers crossed he can.

The Grand Budapest Hotel

Wes Anderson returns in March, apparently in thrall to Lubitsch and Lang. Edward Norton did so well in Moonrise Kingdom that he’s invited back alongside Bill Murray, Jason Schwartzman, Tilda Swinton, and Owen Wilson. Newcomers are Ralph Fiennes, Saoirse Ronan, Jude Law, Mathieu Amalric, and F Murray Abraham. Fiennes is the legendary concierge of the titular hotel in inter-war Europe, where any gathering storms are ignored in favour of absurd murder plots, art thefts and family squabbles gone mad, as Fiennes gives his lobby-boy protégé an education in dealing with the upper classes which he’ll never forget; if they escape a sticky end long enough to remember.

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Veronica Mars

AW YEAH!! It was cancelled in 2007 but Kristen Bell’s iconic teen detective snoops again as creator Rob Thomas sends NYC legal eagle Veronica back to sunny Neptune to attend her high school reunion. Present and correct are friends Mac (Tina Majorino) and Wallace (Percy Daggs III), nemesis Madison (Amanda Noret), and frenemy Dick (Ryan Hansen). Dad Keith (Enrico Colantoni) remains a sage, warning against the obvious peril of insipid boyfriend Piz (Chris Lowell) being replaced in her affections by roguish ex Logan (Jason Dohring), who is once again accused of murder and asking for V’s help. Please let the sparks of ‘epic love’ spanning ‘decades and continents’ rekindle!

Frank

Lenny Abrahamson is the opposite of a Talking Movies favourite, but he’s teamed up with the favourite di tutti favourites Michael Fassbender. Thankfully Abrahamson’s miserabilist tendencies and agonising inertness have been put to one side for this rock-star comedy co-written by journalist Jon Ronson, a man with a verified eye for the absurd having written The Men Who Stare at Goats and The Psychopath Test. The original script loosely based on a cult English comic musician follows wannabe musician Jon (Domhnall Gleeson), who discovers he’s bitten off more than he can chew when he joins a pop band led by the enigmatic Frank (Fassbender) and his scary girlfriend Maggie Gyllenhaal.

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Captain America: The Winter Soldier

Literally everything I loved most about the original disappeared with the time-jump. So the major attraction of April’s sequel isn’t Robert Redford as a shady new SHIELD director, but Revenge’s icy heroine Emily VanCamp as the mysterious Agent 13. Samuel L Jackson’s Nick Fury and Scarlett Johansson’s Black Widow regrettably take the place of Tommy Lee Jones and Hayley Atwell in support, but Anthony Mackie as sidekick Falcon is a major boon. The real worry is that directors Joe and Anthony Russo (You, Me and Dupree, yes, that’s right, that’s their resume) will be intimidated by their budget into endless CGI action and precious little else.

X-Men: Days of Future Past

I’m excited and nostalgic, because May 23rd sees the arrival of the X-3 we deserved, but never got. Bryan Singer returns to the franchise he launched for one of Claremont/Byrne’s most famous storylines. In a dystopian future, where mutantkind has been decimated by the Sentinels of Bolivar Trask (Peter Dinklage),Kitty Pryde (Ellen Page) Wolverine (Hugh Jackman – this is a movie, not a comic, it’s all got to be about Wolverine!) is sent back into the past by Professor X (Patrick Stewart) and Magneto (Ian McKellen) to alter history by rapprochement of their younger selves (James McAvoy, Michael Fassbender). Jennifer Lawrence co-stars, with every X-Men actor!

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22 Jump Street
A proper summer blockbuster release date of June 13th for this sequel recognises the hilarious success of the absurd original. Schmidt (Jonah Hill) and Jenko (Channing Tatum) (or was it the other way round?) go undercover in college to crack another drug ring, and once again their fantastic bromance starts to crack under the strain. The original’s unwieldy team of writers and directors are back, as are Ice Cube, Nick Offerman, Rob Riggle and Dave Franco. Amber Stevens and Wyatt Russell are the college kids, but sadly Brie Larson is absent. Jonah Hill appears in full goth gear, which seems to suggest that the absurdity levels remain healthy.

The Trip to Italy

It’s not clear yet if we’ll get this as an abridged film or just be treated to the full version as 6 episodes on BBC 2. In either case Steve Coogan and Rob Brydon reunite to play heightened versions of themselves as they bicker their way around restaurants in Italy for the purposes of writing magazine reviews. 2010’s endearing roving sitcom The Trip, with its competitive Michael Caine impersonations was a joy, and director Michael Winterbottom takes the show on tour here. And no better man for the job, as this originated with their duelling Al Pacinos at the end of his A Cock and Bull Story.

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Magic in the Moonlight
Woody Allen’s latest should hit our screens around September. This time round the cottage industry is giving us a period romantic comedy, set in the south of France, which takes place in the 1920s and 1930s. The cast is as usual intimidating: Emma Stone, Colin Firth, Marcia Gay Harden, the imperious Eileen Atkins (one of the few actresses capable of domineering over Judi Dench), and Jacki Weaver. Will F Scott and his ilk make an appearance? Who knows! There are no details, just stills of open-top cars, drop waists, and cloche hats so this could be a close cousin of Sweet & Lowdown or Midnight in Paris.

Gone Girl

The start of October sees the great David Fincher return, with his first film in three years, and it’s another adaptation of a wildly successful crime novel. Nick (Ben Affleck) and Amy (Rosamund Pike) are seemingly the perfect couple, but when she disappears suddenly on their 5th wedding anniversary, Nick becomes the prime suspect as he discovers his wife told friends she was scared of him. Could he have killed her? Or is the truth far more twisted? Gillian Flynn has adapted her own work, and, incredibly, penned an entirely new third act to keep everyone guessing. The unusually colourful supporting cast includes Neil Patrick Harris and Patrick Fugit.

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The Interview
The pitch is that an attractive talk show host and his producer unwittingly get caught up in an international assassination plot. So far so blah, if that was say Ben Stiller and Owen Wilson directed by Shawn Levy, except that the host is actually James Franco, the producer is Seth Rogen, the interview is in North Korea, and the awesome Lizzy Caplan is the rogue femme fatale CIA agent who drags them into all sorts of mischief. And it’s written and directed by Rogen and Evan Goldberg who distinguished themselves with 2013’s best comedy This is The End. This is very likely to mop up the non-Gone Girl audience.

Interstellar

Christopher Nolan tries to redeem himself after TDKR with a small personal project, taking the same release date as The Prestige did. Well, small, in that the WB needed Paramount to stump up some cash for it, and personal, in that Spielberg spent years developing it; albeit with the assistance of Jonathan Nolan. Scientists attempt to observe a wormhole into another dimension, and that’s about all we know, other than vague speculations about ecological crises. Matthew McConaughey 2.0 stars alongside Anne Hathaway, Casey Affleck, Matt Damon, John Lithgow, Jessica Chastain, and, yes, Michael Caine – who is now as essential a part of the signature as Bill Murray for Wes Anderson.

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The Hunger Games: Mockingjay – Part I

Jennifer Lawrence goes for third biggest hit at the North American box office for the third year in a row with her latest turn as rebel heroine Katniss Everdeen on November 21st. Having survived the Quarter Quell and the destruction of her District, she discovers President Snow has Peeta hostage, and that the rebellion has a leader, President Coin (Julianne Moore), ready to embark on a full-scale bloody war of rebellion against the Capitol. Recount writer (and Buffy shmuck) Danny Strong is the new screenwriter, and Elementary star Natalie Dormer joins the cast, but director Francis Lawrence remains in situ, with his considered visual style.

December 3, 2011

The Big Year

Steve Martin, Jack Black and Owen Wilson star in a pleasant tale of competitive bird-watching that just stubbornly refuses to take true comedic flight.

Martin plays the retired CEO of a major company who’s trying to belatedly achieve a ‘big year’, in which he would spot more species of birds in North America in a single calendar year than any other birder. That means spotting more than 700 types of bird. This involves trekking all over the continent on hot tips to spot rare birds like the great snowy owl or the pink-footed goose, travelling to the farthest island tip of Alaska (nearer to Tokyo than Anchorage) for a week to see the Asian wildlife landing there, and chasing major storms that will cause migrating birds to touch down unexpectedly on the Gulf Coast. The lengths to which the birders go results in a number of nicely rendered stampedes and diabolical schemes and tricks as well as a charming travelogue of some of America’s prettiest landscapes.

Martin is supported in his absurd quest by his wife, but perpetually harassed by requests from his former lieutenants to head back to NYC to help them with deals. Wilson, by contrast, plays the world-record holder Bostick who is testing the patience of his wife Rosamund Pike to its breaking point. She’s taking hormones to try and conceive, but he’s never around as he’s trying to better his own record to secure his place in the history books as the undisputed best birder of all time. Black is the singleton of the trio, a divorced loser who wants to achieve something with his life, and is aided by his mother Dianne Wiest arranging his travel schedule even as his father Bryan Dennehy despairs of the stupidity of his son’s choice of goal. The adorable Rashida Jones crosses his path from time to time as a fellow birder who he just can’t summon up the courage to ask out.

It’s a delight to see Anjelica Huston crossing swords with her regular Wes Anderson colleague Wilson, over his mutiny on her birding ship in his previous ‘big year’ quest to see a rare bird rather than the whale she was showcasing to tourists. It’s also amusing to see a veritable pantheon of TV comedy actors including Joel McHale from Community, Kevin Pollak, CSI Miami’s Byron quoting British Person in the lab, Network head Jack and the demented impressionist from Studio 60, as well as Sheldon from The Big Bang Theory as a blogger causing trouble. However, this movie while big hearted, solidly acted, perfectly structured, and nicely subversive of the philosophy of winning at all costs, just doesn’t have enough jokes. There’s one sublime gag but mostly you’ll just chuckle and smile.

The verdict must rest with the good doctor, Samuel Johnson: “Worth seeing? Yes. Worth going to see? No.”

2.5/5

October 22, 2009

Fantastic Mr Fox

Wes Anderson deploys all his cinematic trademarks to bring Roald Dahl’s beloved children’s story to stop-motion animated life and the results are, well, yes, rather fantastic actually…

The film opens with Mr Fox (voiced by George Clooney) and his wife (Meryl Streep) breaking into a farm to steal chickens in a sequence devised as one long tracking shot, scored by the Beach Boys’ Heroes and Villains, and filled with ridiculous acrobatics by the foxes to avoid detection before they fall for the oldest trick in the book. When we fast-forward two human years/twelve fox years Mr Fox is raising a moody cub and is a social columnist for the local newspaper having promised his wife that he is retired from poaching. Yeah, that’ll last. Sure enough Mr Fox has a mid-life crisis and bullies his grouchy attorney Badger (Bill Murray) into securing him a new tree-home with a view – a view of three farms run by the evil farmers Boggis, Bunce and Bean.

Clooney’s Fox, not unlike his Danny Ocean, plots an audacious poaching strike on all three farms. Clooney’s always distinctive voice is perfect casting as its mixture of charm and unctuousness captures the arrogance that gets Fox into trouble and the quick-wittedness that gets him out of scrapes. This scrape is though is very tricky as he incurs the wrath of the smartest of the farmers Bean, richly played by Michael Gambon in a vocal performance that occasionally recalls Ben Kingsley’s villain in Sexy Beast, who makes it his mission to kill Fox even if he has to dynamite half the countryside to do so. Indeed requests for dynamite are just one of many requests issued to Bean’s chief henchman Petey, (voiced by Jarvis Cocker who performs a campfire song which is then hilariously critiqued by Bean) the funniest of which involves a plaintive request to fetch a ladder.

Anderson has injected so much of himself into this story that Dahl would probably raise an eyebrow. Some of the greatest comedy moments come from the indie director filming scenes with his too hip whip-pans and artful long takes of deadpan dialogue, then having the be-suited animals suddenly behave like animals, or from adding lines only adults will appreciate like the besieged Fox sighing “Well this is just going to turn out a complete cluster-cuss for all concerned” and filming confrontations in the style of spaghetti westerns. Mostly this Anderson-isation of Dahl works but the lack of explanation of why animals living in 1950s England sound American occasionally grates when we’re given nonsensical moments like Owen Wilson’s cameo as a high-school sports-coach, while Jason Schwartzman’s neurotic shtick as Fox’s moody cub, intensely jealous of the attention his athletic cousin Kristofferson is given by Fox, wears thin very quickly.

Seeing Anderson’s unmistakeable style in stop-motion is endearing but it is the mixing of his studied sensibility with Dahl’s anarchy which raises this far above the rival auto-pilot ‘the moral is always be yourself’ animations of Dreamworks. Recommended viewing.

4/5

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