In GREENBERG, Academy Award-nominated screenwriter/director Noah Baumbach (THE SQUID AND THE WHALE) brings us the funny, touching and poignant story of two souls adrift in Los Angeles, trying to forge a connection.

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THE FANTASTIC MR. FOX is Wes Anderson’s best movie since BOTTLE ROCKET. (Read Perrin Drumm’s previous coverage of this film.) And boy is that fox foxy. Scoring George Clooney and Meryl Streep was truly a coup, as their interactions subtly and richly mine the dynamics of marriage, life expectations, and negotiating “bad” behavior in a relationship.

How did Wes arrive at this place? My response to most of his films has been that they certainly are fun to look at, but waaaaaaay less satisfying story-wise, a cotton-candy sugary disappearance from the consciousness almost instantly after viewing. (My husband always says, “He should have been a graphic designer.” Ouch.) The magic bullet here, the big difference, seems to be Noah Baumbach, co-writer, who is clearly bringing additional nuance to the table.

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Finally, a film that lives up to the hype. Not only is FANTASTIC MR. FOX thrilling to simply look at, I think even hard-core Roald Dahl fans will appreciate the liberties Wes Anderson and Noah Baumbach (SQUID AND THE WHALE, MARGOT AT THE WEDDING) took with the story. While it’s not clear what they invented and what they took from Dahl’s original notes, the events in the book occupy the middle of the film with added backstory in the beginning and a more involved and complete ending.

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