Milena (1991): Beautiful picture, but not without flaws

If you are looking for a beautiful period movie, here it is. Milena is a headstrong woman who goes against her fathers wishes and marries a Jewish music critic. Costumes and scenery are fabulous, but one wonders why half the actors have thick accents and the other half don't.

Milena's accent is so strong at times you can hardly understand her, yet her father's is as American as apple pie. The intricities are hard to understand, who everyone is and what their relationships are to each other and when a new character is introduced it takes a while before you fully understand who they are and why they are here. If you are a fan of Peter Gallagher (as we all should be) you will find him as dashing as ever, wonderfully handsome and gallant and terribly wicked as well.

A very sexy scene in the first hour has him speaking French in the rain. You should not miss this one, as the movie is just too pretty not to, but don't expect to walk away fulfilled. Just try not to pay too much attention to it or your head will spin.

more about Milena here

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Nick Jonas to Win a Grammy

Nick Jonas has skyrocketed to fame with the Jonas Brothers, launched a solo career and has admitted he's thought about eventually running for president.

So, what milestone is the teen sensation eyeing next? "It's a dream of mine to win a Grammy one day," Jonas, 17, says in Sunday's issue of Parade". "I'm not saying I'm Grammy-worthy, but it would be a dream come true."

As for his possible aspiration of a run for the White House, the teen says his serious demeanor earned him the nickname "Mr. Prez" from family members. Although it was a "joke at first," it started him thinking about a future in politics. "Then I thought, 'Man, it actually would be cool to run for President one day.' I've always been quite driven. I take after my father."

While Jonas has said his band's name, Nick Jonas & The Administration, is a nod to his "fascination with the presidency," his first solo album, Who I Am, gives fans an intimate look into what makes him tick. The title song, for example is "saying that it's important for me to be comfortable with myself first," Jonas says.

"One of the biggest things I think people struggle with, even at my age, is self-confidence – feeling comfortable in their skin," he says, "and wanting to find someone who loves them for that."

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Chris Evans Wins the Role of 'Captain America'

After nearly two years of speculation, The Hollywood Reporter broke the news on Monday that Chris Evans will be playing Marvel Comics' iconic hero Captain America in the big-screen adaptation.

The movie, titled "The First Avenger: Captain America," was announced in 2008 after Marvel Studio's first production, "Iron Man," became a box-office hit. The names of many actors -- from established stars to mostly unknowns -- have been rumored to be up for the role for months. Action movie veterans Channing Tatum ("G.I. Joe: The Rise of Cobra") and Garrett Hedlund (the upcoming "Tron Legacy") were reportedly considered, as were TV regulars Chace Crawford ("Gossip Girl") and Scott Porter ("Friday Night Lights"). Even wild-cards like "The Office" funnyman John Krasinski tested for the part.

Chris Evans was a late addition to the roster of potential leads, but he had already established himself as a comic-book hero by playing the Human Torch in the two "Fantastic Four" movies. This goes against director Joe Johnston's stated intention to use an unknown actor for the role. But Evans is an American, which was Johnston's other requirement (and left out foreigners like Australian "Avatar" star Sam Worthington).

Finding the right actor to play Captain America has been pivotal for Marvel Studios because they have grander plans for the character beyond the one film. According to Johnston, "The First Avenger" is an origin story set predominantly during the 1940s, when the red-white-and-blue suited hero first appeared in comics. But the movie will also set up "The Avengers" -- based on Marvel's long-running team series -- where Captain America will lead a group of superheroes that will include Robert Downey Jr.'s Iron Man.

While fans of the comics have expressed their doubts at some of the candidates for the role, response to Evans has been uniformly positive. His performance as Johnny Storm in "Fantastic Four" and "Rise of the Silver Surfer" were widely considered to be the best parts of those movies. It's been said that Evans will sign a nine-picture contract that could see him appear as Captain America in multiple films, both on his own and with the Avengers.

Production on "The First Avenger" will begin in the U.K. in June. Hugo Weaving ("The Matrix") is in talks to play Captain America's nemesis, the Red Skull. It is the third movie in Marvel Studio's pipeline, following "Iron Man 2," which is coming to theaters on May 7th of this year, and "Thor," currently filming for a May 2011 release. "Captain America" is scheduled to open on July 22, 2011.

In the meantime, Chris Evans has two films set to open this year, both of which also happen to be based on comic books. Next month, he'll play a Special Forces operative in the adaptation of Vertigo Comics' "The Losers." Then in August he will appear in "Scott Pilgrim vs. the World," based on the graphic novel series.

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N-Viro Green Technology

Environmentalists are continuously searching for green and clean fuel. While new energy solutions are being discovered, refined and brought further and further into the public light, something that does not get a lot of headlines is waste to energy. Now researchers are thinking about using this waste energy.

A good news come from N-Viro International which support this green technology. They convert various types of waste into beneficial alternative fuel products. Their clean coal fuel product of course will help us to save our green environment.



N-Viro Fuel has received alternative energy status from the US Environmental Protection Agency, which qualifies the technology for renewable energy incentives. N-Viro operates processing facilities independently as well as in partnership with municipalities.

As we have known, the consumption habits of modern consumer lifesyles are causing a huge worldwide waste problem. Some alternative energy companies are now developing new ways to recycle waste by generating electricity from landfill waste and pollution.

N-Viro green technology offer us an opportunity fuels. This is any type of fuel that is not widely used, but has the potential to be an economically viable source of power generation. Opportunity fuels are typically unconventional, and usually derived from some sort of waste or byproduct.

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Treasures From American Film Archives

Academy Film Archive, Academy of Motion Picture Arts and Sciences™
Luis Martinetti, Contortionist (1894, 1 minute), peepshow kinetoscope of the Italian acrobat made by the Edison Co.
Caicedo, King of the Slack Wire (1894, 1 minute), the first film shot outdoors at the Edison Studios.
The Original Movie (1922, 8 minutes), silhouette animation satire on commercial filmmaking, by puppeteer Tony Sarg.
Negro Leagues Baseball (1946, 8 minutes), footage featuring Reece "Goose" Tatum, the Indianapolis Clowns, and the Kansas City Monarchs.

Alaska Film Archives, University of Alaska Fairbanks
The Chechahcos (1924, 86 minutes), first feature shot entirely on location in Alaska.

Anthology Film Archives
Rose Hobart (1936, 19 minutes), artist Joseph Cornell's celebrated found-footage film.
Composition 1 (Themis) (1940, 4 minutes), Dwinell Grant's stop-motion abstraction.
George Dumpson's Place (1965, 8 minutes), Ed Emshwiller's portrait of the scavenger artist.

George Eastman House
The Thieving Hand (1908, 5 minutes), special-effects comedy.
The Confederate Ironclad (1912, 16 minutes), Civil War adventure, here accompanied by the original music score, in which the tough heroine saves the day.
The Land Beyond the Sunset (1912, 14 minutes), social problem drama about a tattered newspaper boy who yearns for a better life.
Snow White (1916, 63 minutes), live-action feature of the Brothers Grimm tale starring Marguerite Clark.
The Fall of the House of Usher (1928, 13 minutes), avant-garde landmark created by James Sibley Watson, Jr., and Melville Webber from Poe's short story.

Japanese American National Museum
From Japanese American Communities (192..., 7 minutes), home movies shot by Rev. Sensho Sasaki in Stockton, California, and Tacoma, Washington.

Library of Congress
Demolishing and Building Up Star Theatre (1901, 1 minute), the time-lapse demolition of a New York building, preserved from a paper print.
Move On (1903, 1 minute), Lower East Side street scene, preserved from a paper print.
Dog Factory (1904, 4 minutes), trick film about fickle pet owners, preserved from a paper print.
Princess Nicotine; or, The Smoke Fairy (1909, 5 minutes), special-effects fantasy of a tormented smoker, by the Vitagraph Company.
White Fawn's Devotion (1910, 11 minutes), probably directed by James Young Deer and the earliest surviving film by a Native American.

Minnesota Historical Society
Cologne: From the Diary of Ray and Esther (1939, 14 minutes), small town portrait by amateur filmmakers, Dr. and Mrs. Dowidat.

Museum of Modern Art
Blacksmithing Scene (1893, 1 minute), first U.S. film shown publicly.
The Gay Shoe Clerk (1903, 1 minute), comic sketch with celebrated early editing.
Interior New York Subway, 14th St. to 42nd St. (1905, 5 minutes), filmed by Biograph's Billy Bitzer shortly after the subway's opening.
Hell's Hinges (1916, 64 minutes), William S. Hart Western about a town so depraved that earns its own destruction.
The Lonedale Operator (1911, 17 minutes), D.W. Griffith's race-to-the-rescue drama, starring Blanche Sweet.
Three American Beauties (1906, 1 minute), with rare stencil color.

National Archives and Records Administration
We Work Again (1937, 15 minutes), WPA documentary on African American re-employment, including excerpt from Orson Welles' stage play of "Voodoo Macbeth".
The Autobiography of a Jeep (1943, 10 minutes), the story of the soldier's all-purpose vehicle, as told by the jeep itself.
Private Snafu: Spies (1943, 4 minutes), wartime cartoon for U.S. servicemen, directed by Chuck Jones and written by Dr. Seuss.
The Battle of San Pietro (1945, 33 minutes), celebrated combat documentary directed by John Huston.
The Wall (1962, 10 minutes), USIA film on the Berlin Wall made for international audiences.

National Air and Space Museum, Smithsonian Institution
From The Keystone "Patrician" (1928, 6 minutes), promotional film for new passenger plane.
From The Zeppelin Hindenburg (1936, 7 minutes), movies by a vacationing American family made on board this famous lighter-than-air-craft, one year before its destruction.

National Center for Jewish Film
From Tevye (1939, 17 minutes), American Yiddish-language film, directed by Maurice Schwartz, adapted from Sholem Aleichem's stories.

National Museum of American History, Smithsonian Institution
From Accuracy First (ca. 1928, 5 minutes), Western Union training film for women telegraph operators.
From Groucho Marx's Home Movies (ca. 1933, 2 minutes).

National Museum of Natural History, Smithsonian Institution
From Beautiful Japan (1918, 15 minutes), early travel-lecture feature by Benjamin Brodky.

New York Public Library
From La Valse (1951, 6 minutes), pas de deax from George Balanchine's 1951 ballet, featuring Tanaquil Le Clercq and Nicholas Magallanes and filmed at the Jacob's Pillow Dance Festival.
Battery Film (1985, 9 minutes), experimental documentary of Manhattan, by animator Richard Protovin and photographer Franklin Backus.

Northeast Historic Film
From Rural Life in Maine (ca. 1930, 12 minutes), footage filmed by Elizabeth Wright near her farm of Windy Ledge, in southwestern Maine.
From Early Amateur Sound Film (193..., 4 minutes), scenes of family life captured by sound-film hobbyist Archie Stewart.

Pacific Film Archive
Running Around San Francisco for an Education (ca. 1938, 2 minutes), early political ad, shown in San Francisco theaters, that helped win approval of local school bonds.
OffOn (1968, 9 minutes), Scott Bartlett's avant-garde film, the first to fully merge film and video.

UCLA Film & Television Archive
Her Crowning Glory (1911, 14 minutes), household comedy, with comic team John Bunny and Flora Finch, about an eight-year old who gets her way.
I'm Insured (1916, 3 minutes), cartoon by Harry Palmer.
The Toll of the Sea (1922, 54 minutes), Anna May Wong in an early two-strip Technicolor melodrama, written by Frances Marion, and here accompanied a performance of the original music score.
The News Parade of 1934 (10 minutes), Hearst Metrotone newsreel summary of the year.
From Marian Anderson: The Lincoln Memorial Concert (1939, 8 minutes), excerpt from a concert film, reconstructed from newsreels, outtakes, and radio broadcast materials.

West Virginia State Archives
From West Virginia, the State Beautiful (1929, 8 minutes), amateur travelogue along Route 60.
From One-Room Schoolhouses (ca. 1935, 1 min), amateur footage from rural Barbour County.

4 DVDs
DVD RELEASE: May 10th, 2005 (First Edition 2000)
SYSTEM: NTSC
SCREEN: Various from (Picture boxed) 1.15:1 to Full Screen (Standard) - 1.33:1
COLOR: Black & White/Colour
AUDIO: Dolby Digital 2.0 (Mono)
LANGUAGE: Silent/English
INTERTITLES: English
RUNTIME: 642 minutes
FILE SIZES: 6.64/7.34/6.54/7.09GB

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Digital Film Tools Digital Film Lab v2.5

The ultimate film look plug-in Digital Film Lab simulates a variety of color and black and white photographic looks, diffusion and color grad camera filters, lighting gels, film stocks and optical lab processes. The power of the plug-in lies in its presets which can be loaded to achieve a variety of different effects. There are over 135 useful presets organized into black and white looks, color looks, diffusion, grain and temperature. Feel free to use our presets, modify them or create your own.

Features :

Color Correct
Color Correct manipulates the Black and White, Hue, Saturation, Brightness, Contrast, Gamma, Red, Green and Blue values of the image.

Diffusion
Diffusion creates atmosphere by reducing contrast while creating a glow around highlights or shadows. It simulates diffusion and fog filters as well aglows. In addition, a pre-built texture library allows you to add realistic diffusion to scenes as if you were adding diffusion directly to your camera lens.

Color Grad
Color Grad colors and or darkens only a portion of the image giving you tability to simulate any Color Grad or ND (Neutral Density) Grad filter. Presefor your favorite color grad filters are provided as well as the ability to create

MAKING DIGITAL LOOK LIKE FILM
The quest to make video and digital images look like film has been going on f years now. Some have even grown entire businesses around this idea. Without making judgements as to which medium is "better" than the other, let??™s swith the notion that video and film are completely different animals and both have their advantages and disadvantages. There are a number of factors to consider when attempting to achieve a film look: lighting, cameras and lenses, filters, depth of field, grain and frame rate. While some of these items are addressed during shooting, Digital Film Lab can simulate many of them digitally.

Lighting
In our opinion, the most important factor in achieving a film look is lighting. Don??™t just blast a scene with light. Make sure that you employ modeling in yo lighting, making sure that the shadows have some detail and that you don??™t completely blow out highlights. Video and digital cameras have a narrower contrast ratio than film and the limits of their brightness range are sharply defined, whereas film gently rolls off in the whites and blacks. Remember, you can always digitally make the shadows darker and the highlights brighter. Going in the opposite direction is murder and yields lousy results.

Cameras and Lenses
Another factor in achieving a film look is the video or digital camera. They frequently have their Detail or Sharpness settings cranked up. Detail controls the sharpness of the image and creates jagged, aliased edges. The first thing to do before shooting is to turn the Detail or Sharpness down. This can be accomplished by adjusting either a menu or pot inside the camera. Once turned down, it is harder to focus but will soften edges.Depth of field also plays a role in the way film is perceived and is a measure the amount of picture that is in focus. Video and digital cameras differ fro35mm film in that they have a much greater depth of field. This is a result of cameras CCD??™s being physically smaller than 35mm film frames.


download: size 9.07 Mb
Digital Film Tools Digital Film Lab v2.5 or
Digital Film Tools Digital Film Lab v2.5

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The Metamorphosis Of Mr Samsa (1977)

The Metamorphosis of Mr. Samsa is an adaptation of Franz Kafka's story about a man who metamorphoses into a beetle. Because of his repellent appearance, the man, a dutiful and loving son and brother, is unable to communicate to his family his feelings of shame and guilt and his need for love. The film conveys the atmosphere of anxiety and alienation that Kafka creates in his story. The story is told with sand animation.

Selected Awards: IAF Annecy 1977: Critics’ Prize & 1st choice of the public; IFF Athens, Ohio, 1978: Merit Award, ISFF Krakow, 1978: Grand Prix; Cork Film Festival, 1978: Certificate of Merit, Animated Films Category; IAF Ottawa 1978: Special Jury Award; IFF San Francisco 1978: Certificate for Outstanding Achievement

more on IMDB

download:
http://rapidshare.com/files/196884462/Short.Animation.-.Caroline.Leaf.-.The.Metamorphosis.of.Mr..Samsa.avi

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Avatar, the biggest film ever

Into the blue … Chinese moviegoers watch Avatar in a cinema in Hefei, in Anhui province. Photograph: STR/AFP/Getty Images


In the end, the only man capable of defeating James Cameron was James Cameron. Titanic, the film-maker's epic 1997 romance set on the doomed ocean liner, yesterday lost its crown as the top grossing movie of all time to Avatar, an epic 3D romance set on an Earth-like moon orbiting a distant star.



The science-fiction saga almost overtook its predecessor's record of $1.843bn at the weekend, after six weeks topping box-office charts around the globe. Twentieth Century Fox confirmed yesterday that the record had finally been broken.

Many pundits had predicted Titanic's record would never be beaten. Yet, early in Avatar's run it was clear it was repeating the pattern of multiple repeat viewings that had been the making of Cameron's previous film. Avatar also benefited from the higher price of tickets for 3D screenings, which have accounted for more than 80% of US earnings and 65% of those elsewhere. The film was so successfully hyped as the first must-see stereoscopic experience that few wanted to compromise with a 2D viewing. In addition, its record-breaking success in China and Russia, markets harder to crack back in 1997, certainly helped to lift its bottom line.

Avatar's box-office victory was, however, won without adjustment for inflation. Figures that do so show how far it's eclipsed by the likes of 1939's Gone With the Wind – that film grossed $400m worldwide, which equates to at least $6bn in today's money, more than three times Avatar's figure.

# Production year: 2009
# Country: USA
# Cert (UK): 12A
# Runtime: 161 mins
# Directors: James Cameron
# Cast: CCH Pounder, Giovanni Ribisi, Michelle Rodriguez, Sam Worthington, Sigourney Weaver, Stephen Lang, Zoe Saldana

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Sherlock Holmes Big Fun at the Movies

It was McManus from The Usual Suspects who said, "There is nothing that can't be done," and thus there's no reason stodgy old Sherlock Holmes can't come off as a vibrant and rollicking good time at the theater. Which it does. It reminds me of the solid parts of a Tim Burton film, the muted palette, the delving into the macabre -- but it avoids the Burton pitfalls, too (lack of story cohesion, a fascination with style). Sherlock Holmes feels like the start of a mega-franchise, a Pirates of the Caribbean-level foundation for Robert Downey Jr. and Jude Law to build upon. Essentially, I dug it. If you get nothing else from this review then please get that.

It's the Victorian Age in England, and we can deduce it's the year 1887 based upon the character's mythology. Holmes and Watson are sharing a London apartment. Sherlock is the crackerjack sage, able to detect more than any other mortal using sight, sound, touch, smell, and his prodigious intellect. Watson is the ever-present sidekick; he's more socially capable and straightforward in speech and deed. The mystery of the film is launched immediately, no beginning credits, and Guy Ritchie's directorial touch can be felt right off the bat. Ritchie has always been the best "fight scene" guy in the business, and he adds a modern "tough fella" element to the foppish Holmes character. Oh, and Rachel McAdams! She's good here, and it's nice to see this side of her. She's devilish and resourceful as Irene Adler, the romantic interest and potential downfall of Sherlock.

The villain? Mark Strong as Lord Blackwood. He's a conjurer of expensive tricks, and he's out for blood after Sherlock and Watson foil one of his early plans. The film fluidly transitions from comedy to quasi-suspense (we're not talking Rear Window here) and moves quickly save for about 45 minutes in. Yes, the one flaw I can point to is that by starting quickly the film feels longish in the middle. It's the same phenomenon you feel when you're going 70 miles per hour in heavy traffic: you're moving at a nice clip, but you can't tell because you've been going that speed for too long.

Overall though, this is a nice win for Guy Ritchie and company. It's very fun, but not in the sanctimonious manner of the "this is all very important!" Avatar. It's just pure entertainment, something that's been sorely missing this year. I would heartily recommend this to people who like smart films, to audiences looking to get away, to folks who enjoy snappy dialogue and dynamic pacing. There's a scene early on where slo-mo is intermingled with voice-over, a method that would seem cheap and contrived if not for the prodigious talent involved. By putting you inside the head of Holmes, the film allows you to connect with the character early and often. That's the trick of Sherlock Holmes, taking older source material and infusing it with new life. You've got to sit back and enjoy a film that takes you away, to another era, while utilizing the best of modern techniques to stay relevant. Some will dismiss this as a "popcorn film" -- but I deem it a blessed escape. Enjoy Downey and Watson's interplay, the action, the comedy that unfurls in every scene. Why not? You've earned it. You've survived another year at the movies! So, what's stopping you? Buy a ticket. Let the good times roll. [source: www.film.com]

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Top Ten Movies of 2009

Il Divo, Sept. 5, 2008.* It was on my inaugural trip to the Toronto International Film Festival that I first saw this stylish Italian tragicomic political biography. Despite knowing nothing about Italian politics -- I barely know how American politics work -- I was riveted by Paolo Sorrentino's super-cool direction and Toni Servillo's grimly amusing central performance.

Humpday, Jan. 16. Sundance audiences were drawn in by the eyebrow-raising premise -- two straight male friends decide to make a sex tape -- but were won over by how plausible the outrageous scenario winds up being. That's because the writer/director, Lynn Shelton, and her actors, Joshua Leonard and Mark Duplass, play everything naturally. The result is a surprisingly insightful and funny look at male friendship, platonic love, and society's concept of masculinity.



Precious, Jan. 17. It was still called Push at Sundance -- that's the title of the novel it's based on -- and people were already making jokes about it getting mixed up with the other Push scheduled for 2009, starring Chris Evans and Dakota Fanning as ordinary people with superpowers. Distributors wisely changed this one's title to Precious, but the movie stayed the same: a stark, terrifying portrait of a Harlem girl in awful circumstances, bolstered in the end by a rush of hope and decency. Alarming but never exploitative, this is one of the most emotionally powerful films of the year.

500 Days of Summer500 Days of Summer, Jan. 18. Three days in a row of Sundance premieres that would eventually make the top 10 list! It was a good year for the festival. Check out the diversity, too: While Precious was harrowing, 500 Days of Summer was breezy, hilarious, and resonant, a near-perfect depiction of a failed romance that manages to be realistic (you'll see yourself in one or both of the main characters) as well as inventive and loopy.

Drag Me to HellDrag Me to Hell, March 15. Sam Raimi's return to his horror roots is the fun kind of scary, like a roller coaster or haunted house, not the kind that gives you nightmares afterward. That's my favorite kind of scary, and seeing it at midnight with an enthusiastic South by Southwest audience -- introduced in person by Raimi! -- was a memorable experience. I saw it again later in a more conventional setting and was just as delighted by its twisted imagination, macabre humor, and good old-fashioned thrills.

Star TrekStar Trek, May 2. A lucky audience in Austin got to see this well ahead of schedule when an Alamo Drafthouse screening of Star Trek II: The Wrath of Khan was altered by two things: Leonard Nimoy made a surprise appearance, and he asked if everyone wouldn't rather watch the new film instead. (Those intent on seeing Wrath of Khan were, I guess, disappointed.) The place went nuts, and everyone loved the film. I was skeptical, though -- not because I had any reason to believe J.J. Abrams' Star Trek reboot might be lousy, but because it's hard to trust responses from a crazy premiere like that. You think you're seeing something else and get the brand-new Star Trek instead? A month early? Introduced by Spock himself?? The stunt was designed to produce giddy enthusiasm, so it was no surprise that giddy enthusiasm was the result. It was a relief, then, to see the film a few weeks later, at a regular ol' press screening, and find myself almost as wowed as that Austin audience had been. There had been no need to stack the deck to get a gracious response. Something this energetically funny, smart, and exciting was going to earn praise no matter where it was shown.

UpUp, May 26. This makes three summers in a row that Pixar has released an animated film that eventually made its way to my top 10. Every year I look forward to the studio's latest invention, and almost every year I am astonished at how they have managed to surprise me yet again. The dialogue-free segment near the beginning, showing Carl and Ellie's life together, is one of the most beautiful sequences of the year, not to mention one of the most concise, expressive, and well executed. What other cartoon would even dare to address the issue of Carl and Ellie's inability to have a baby, let alone pull it off so sublimely?

In the LoopIn the Loop, June 11. After hearing raves about this British political comedy at Sundance (where I missed it), I was eager to see it at CineVegas. Then I had to see it again six weeks later, at a local screening, to catch the lines I'd missed the first time because I was laughing (or because their British accents are sometimes a little indecipherable). Imagine a world where everyone speaks in a nonstop barrage of withering sarcasm and profane insults. To live there would be hell, but to view it from a safe distance, as in this film, is comedic bliss.

Serious ManA Serious Man, Sept. 21. Joel and Ethan Coen's films tend to be among my favorites, and this darkly funny story about a man seeking answers from the Almighty is right up there. It's a tough movie, though, one that required a lot of thought and scrutiny before I really "got" it. But once I got it, I got it good. Just like Pixar, the Coens always make whatever movie they want, no matter how bizarre or unorthodox, and they nearly always succeed.

Fantastic Mr. FoxFantastic Mr. Fox, Nov. 9. Just before Christmas, when I was re-watching this with a friend who had not seen it before, he said, about 10 minutes into it, "I can't believe how Wes Anderson-y this is." And that's part of its delight: It's a typical Wes Anderson movie (Rushmore, The Royal Tenenbaums), only enacted by woodland creatures. This makes it funnier, of course; the fact that they come to life through stop-motion animation gives the film an extra boost of quaint whimsy. The film also teaches us that moles are good at seeing in the dark, rabbits are fast runners, and badgers are demolition experts. Good to know.

[fil.com]

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