Word: andersonã
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...instruments developed for studying Arctic greenhouse gas emissions are the most recent projects in Anderson??s lab, which focuses primarily on “feedback” from nature—physical effects that amplify changes in our environment. The lab develops methods to understand these feedback systems and then tries to prevent or lessen their effects...
...course, the question of a moral framework is more problematic. Anderson??s work has always been deeply moralizing—whether on the resilience of family or the fidelity of close friendship—but here he trivializes Fox’s recklessness. The casual way that he endangers and deceives everyone in the film, or how he neglects his own son to an almost condemnable degree, is never answered for. Instead, “Fantastic Mr. Fox”—dramatically revised from Dahl’s book—ends ambiguously, with its characters...
...Anderson has spent a decade as one of America’s most important filmmakers, and the better part of that same decade shaking the good will earned by the films that gave him his reputation. Anderson??s characters—idiosyncratic, often emotionally opaque and depressive—inhabit worlds whose visual splendor assumes the sentiment, both delicate and deliberate, of an auteur—his awareness of the history of cinema giving way to reverence and innovation in equal parts. His films identify with a generation still in turmoil over lost innocence and the transition between...
...could be that the creative slump punctuated by 2007’s stunningly bad “The Darjeeling Limited” is what makes Anderson??s sixth feature such a warm surprise. It could also be that “Fantastic Mr. Fox” is a light, lovely, and clever comedy that finds the director’s vision coinciding with pure entertainment for the first time in years. A stop-motion animated riff on Roald Dahl’s classic book, the film reunites Anderson with frequent screenwriting collaborator Noah Baumbach (director...
...mind—the film has considerable mileage. “Fantastic Mr. Fox” is a small wonder of mise en scène, richly crafted and painstakingly choreographed, allowing for the total control over composition to which Anderson always seemed to aspire in his earlier films. Anderson??s decision to shoot an animated film comes as no real surprise. It’s the natural end of a fascination with vibrant color schemes in his films in general—a runoff from his French New Wave influence—and specifically the stop-motion...