Fantastic Mr. Fox (2009)

The critic praises the idiosyncratic, charming fusion of Roald Dahl’s story with Wes Anderson’s quirky style in lo-fi stop-motion animation. It highlights the excellent voice work, particularly Clooney and Streep, and the film’s humorous take on dysfunctional families.

The review calls the film a playful, cerebral delight that reanimates Anderson’s career with fresh energy. It singles out the stop-motion process and the balance between wild-animal instincts and domestic family dynamics for praise.

The review calls the film brilliantly eccentric and a cult classic in the making, noting Anderson’s distinctive lo-fi stop-motion approach and how it updates the source material while retaining its narrative thrust. It singles out Clooney’s voicing of the roguish title character for praise.

The critic calls the film a revelation and Anderson’s best since The Royal Tenenbaums, praising its stop-motion animation, production design, score and voice performances as a successful return to form.

The critic praises the witty adaptation that matches Anderson’s sensibility with Dahl’s subversive spirit, highlighting the charming puppets, expanded characters and memorable asides in this fun, old-fashioned stop-motion film.

Peter Bradshaw calls the film eccentric, whip-smart and very funny, praising its beguiling old-school stop-motion animation and how pitching it at children restored Anderson's sweet-natured charm and heart.

The review finds the stop-motion animation light on its feet and fun, with a strong cast and caper pacing that suits Anderson’s style while adapting Dahl effectively.

The review highlights the film's playful, rambunctious stop-motion animation and Anderson's signature style applied to quirky characters and family themes, but finds it prioritizes lighthearted humor over deeper exploration, resulting in a charming but somewhat superficial take.

The critic calls it a visually inventive, stylized stop-motion world that blends kid-friendly Dahl adaptation with adult appeal, praising the textures, design, and family dynamics while noting the screenplay can feel overly winking and jumpy between set pieces.

The critic finds the film Anderson’s most fully realized and satisfying work to date. It stands out for its proudly handmade stop-motion animation and sly emotional undercurrents amid the visual style.

The critic praises Wes Anderson for turning his stylistic tendencies into a strength in this stop-motion adaptation, calling it one of the best films of the year and his best since The Royal Tenenbaums. He singles out the meticulous stop-motion animation with its furred animals, bright colors, and clever tone that fits the story perfectly, along with the sly family dynamics and voice performances.

The review calls it the best animated film of the year and a perennial classic, celebrating its sophisticated family focus, stop-motion craft, and embodiment of Dahl's subversive spirit through visible handmade artistry and thematic depth.

The critic finds it a standout Wes Anderson film and a great movie overall, praising its hand-crafted stop-motion world that feels more human and alive than previous works, along with its smart humor and creativity.

The critic praises this as a fantastic adaptation that surpasses its source while remaining true to its spirit. Anderson's idiosyncratic style merges beautifully with Dahl's, creating a quirky, witty confection full of charm through stop-motion animation and autumnal visuals.

It is a nice, charming return to form that is Anderson's most enjoyable since The Royal Tenenbaums, with delightful stop-motion visuals, witty dialogue, and strong voice work. Though small, slight, and minor overall, it feels vibrantly alive and economically told.

The critic praises the film's charming stop-motion animation, retro feel, and fusion of Anderson's style with Dahl's story, highlighting the voice work and score, but notes some clunkiness in quieter thematic moments. It is a joyful, entertaining ride.