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Fantastic Mr. Fox (film review)

Fantastic Mr. Fox

Fantastic Mr. Fox was under the 8th International Festival of Animated Film Baden ( Fantoche ) is shown.

Content:

Mr. Fox (voiced by George Clooney), his character has a passionate chicken thief, quit his job and his wife (voiced by Meryl Streep) for the sake of the nail. Today, the "Fox of the World" works for the newspaper, even though he knows that nobody reads his column anyway. One day Mr. Fox discovered the display of an abandoned tree house and smells the opportunity to finally get rid of his cave. He bought the tree, although his lawyer in the badger (voice of Bill Murray), which advises against. Coincidentally, that is located not far from the farms of the most notorious of the valley farmers, Boggis, Bunce and Bean, which shall also provide the largest chicken farm in the country. But Mr. Fox leads up to something. Meanwhile, his son is
Ash (voice of Jason Schwarztman) in the school as an outsider, trying in vain to emulate his intelligent and talented athletic father. No big help is Cousin Kristofferson, who comes to visit for a few days and everything seems to be what Ash is not. Not enough that he is popular with the girls and karate, can even he is in Schmetterkrachen better!

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filmmaker Wes Anderson was previously best known for quirky indie comedies and his collaborations with Owen Wilson and Bill Murray. With the film adaptation of the children's book "The Fantastic Mr. Fox" by Roland Dahl, he now supplies from his first animation film. Although these occur exclusively today in most cases on the computer and in 3D, Anderson decided to resort for his film on the "old fashioned" technique of stop motion. He told the animators to make the movements of the characters intentionally abrupt and volatile liquid and place rounded. It was also used for the dolls real fur, which is difficult to control and to allow a "wind effect" has resulted, since the hair move with every touch something.

A similar claim was Anderson approached the narrative style of the film. Instead of a complete and simple as possible suspense, as is expected for children's films often incorrectly, tell Anderson and his co-writer Noah Baumbach, the story of Mr. Fox's fast-paced, Elan and quirky ideas. These are the images mainly of perky red, yellow and brown dominated, giving the film a great fall look. The beautifully detailed design of the love scenes is complemented by the musical accompaniment, on the one hand, of the fabulous score by Alexandre Desplat is, scores on the other hand, for example, with songs by the Beach Boys and the Rolling Stones. Finally now you can feel again Anderson's typical style.

The figure of Mr. Fox - voiced by George Clooney - is created somewhere between the civilized world of humans and wild nature of animals. On the one hand, he dresses stylishly, is formed and meets every other with a certain arrogance, on the other hand, is always the animal in him to light, it was only when he greedily herunterschlingt his breakfast. So it is very refreshing to see in a children's film once a main character, commits the numerous errors and sometimes plain selfish and immoral acts. Darüber hinaus enthält der Film durchaus einige Szenen, die in der Figur von Mr. Fox einen weit tiefschürfenderen Konflikt aufdecken: Als "gezähmtes" Tier ist er zwiegespalten zwischen seinen Verpflichtungen als Ehemann und Teil der Gesellschaft einerseits, und einem tief verwurzelten Drang nach Wildnis, nach Abenteuer, nach Gefahr anderseits - ein höchst animalischer Trieb, der im Film schlussendlich allen Tieren innewohnt. So gesehen handelt Fantastic Mr. Fox im Grunde von einer Revolution der Tiere gegen die Menschenwelt mit ihren Gewehren, Bauernhöfen und Eisenbahnen. Dies widerspiegelt sich in der turbulenten, ja geradezu anarchistisch anmutenden Inszenierung und kommt am beeindruckendsten in der Szene mit dem Wolf zum Expression. In the end, Anderson's film is a love letter to the savage and animalistic, but this is somewhere in all of us.

about 9 out of 10

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This review was published on OutNow .

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The American (Theater Review)

The American

Content:

Jack (George Clooney) is a seasoned hit man and knows the golden rule: Make friends with anyone! Nevertheless, he breaks this rule by itself in love during a job in Sweden in a woman. After an unfortunate incident, she is dead along with two other men in the snow.
Jack must escape and goes underground on the advice of his principal Pavel (Johan Leysen) concludes in a small Italian village. There he makes friends with a priest against his will Benedetto (Paolo Bonacelli) and the prostitute Clara (Violante Placido) to. But soon shall be a new mission: He must provide for the killer Mathilde (Thekla Reuten), a highly sophisticated weapon.

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With his movie debut Control star photographer Anton Corbijn one of the most successful British films of recent years. The expectations for his second film were correspondingly large. Naturally, then, that Corbijn did not want to be committed to a genre and the novel A Very Private Gentleman filmed a thriller. The adaptation, entitled The American is still much less action film than the trailer wants us to believe. It's pleasant, in the times of The Bourne Ultimatum again to see a Hitman movie, which does not require ultra hectic handheld camera and average frequency of three seconds. The American is rather a film with a classic plot, which was also directed classic. The pace of the film is quiet, almost meditative, and the recordings stand out above all atmosphere and color.

The film was developed with a hit man whose life is less of shootouts and chases because a lot of solitude, interrupted by short, intense outbursts of violence. This Corbijn is probably closer to reality than the aforementioned Bourne films, if one can speak in this genre at all of "realistic". It should also be more of a target group aged over 30 are attracted by the film, not least thanks to the cast the lead role by Mr. Nespresso. Nevertheless, the problem that the leisurely narrative pace is ideal for art-house drama - such as Control - may be, but for a thriller. Thus The American carries some meaning, without giving the viewer plenty to offer.

The starting point of the film - a mysterious stranger arrives in a small town and stands out as a killer - very reminiscent of a western. Sun pays homage to his idols Corbijn bluntly respect by a scene in the background play me the song of death can run on TV. Is being closed and the grim look tells George Clooney's role with characters such as those of John Wayne. That his game still does not project really is, because it is not big different from other films such as Clooney in Michael Clayton . The rest of the cast to convince, but again without really stay in memory because their characters fail not finally interesting. Thekla Reuten is worth mentioning only that you know possibly from In Bruges, as Jack's "colleague".

interesting way is the comparison between the latter and The American . but the two films could not be more different - both have a similar idea - submerged (r) Killer in a small town in the middle of nowhere. In comparison to Martin McDonagh's ingenious sense of black humor is Corbijn's film rather dull and monotonous, even when he photographed extremely stylish.

rounded about 6 out of 10

This review was published on OutNow .

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Monsters (movie review)

Monsters

Monsters under the 63rd Locarno Film Festival shown.

Content:

Six years ago: Having been discovered in our solar system, extraterrestrial life, NASA sent a probe to explore this. Crashed under mysterious circumstances from the probe when returning to Central America. A little later start in the field of strange life forms to appear. Today: The infected " Zone "extends now over half of Mexico, which is under strict quarantine. The United States has built on its southern border a large wall to keep out the aliens.
in this civil war, chaos gets the journalist Andrew (Scoot McNairy) is mandated to the daughter of his boss (Whitney Able) sure to bring them home. But when they miss the last ferry, they take the daring decision to venture on land to the north. Andrew hires a handful of mercenaries them as escorts by the . lead to dense jungle But that is against the unknown danger that lurk there

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occupation with Monsters , one can not help but engage with its extraordinary history of production. His feature film debut has Gareth Edwards namely, for a paltry $ 20,000, and virtually single-handedly put on the legs. Without permission to shoot without exact script and especially without proper crew, he has made with its two leads and an ordinary camcorder on a journey through Mexico and filmed, where it just went straight. Then he not only has it gathered material laboriously edited into a half-hour feature film, he also has all the visual effects on the home computer itself created. The result: Monsters no less than the most impressive to date, Behind-the-cameras-one-man show at all.

reminds Thematically, the film strongly District 9 , even if Edwards was already in the middle of the shooting, as Neil Blomkamp delivery points surprise hit. Nevertheless, distinguishes the approach of the two films finally: While mutated District 9 the longer the longer, like an action-Kracher, deceive at Monsters the impression of an action-packed science fiction thriller, which is suggested by the trailer. Tellingly, it is the film as a drama with both eerie and romantic elements characterized. This is the name Edwards also Lost in Translation as one of his main inspiration points.

really much action Monsters has not actually offer. The focus is much more the viewing experience, which can directly experience a world through the eyes of the protagonists. Thanks to their fresh, often improvised play and the documentary camera operator one has the feeling of really being there and to experience the events firsthand. With its claim to tell the story möglichtst realistically, raise Monsters therefore interesting associations with the Dogme films. By the way is very cleverly by allusions to current political Debates created a certain profundity. Thus, the immigration problem the U.S. but raised about the moral dubiousness of war reporting. This does not begin to the dimension of the apartheid analogy of the above District at 9, but it helps Monsters to let viewers the conflicts seem familiar and realistic.

pity that the film is not the interest of the audience can maintain all the time and miss a big finale at the end can. Finally now makes again a limited, or simply not existing budget noticeable. Nevertheless Monsters is a pure triumph: Without comparable means Edwards has created a film that can range from the Edge of the millions of products in terms of creativity and innovation like loose the water. We are excited about what this man brings about, then even if he has some money available. was

rounded up about 8 out of 10

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Saç (Theater Review)

Saç

Saç in the 63rd Locarno Film Festival shown.

Content:

stands all day long Hamdi ( Ayberk Pekcan ) in his shop in a shabby neighborhood Istanbul. Throughout the room busts on shelves on the walls: Hamdi sells wigs. He speaks little, smokes all the time and is very lonely. to live a long time he has not - he has cancer - and would go before his death more than happy times to Brazil, he knows of a billboard outside his shop.
One day, Meryem ( Nazan Kesal ) to it in the store and would like to sell him her hair. When she solves her headscarf, Hamdi amazed not bad: Her black hair reached down over the hips. Slowly, it truncates Hamdi. When leaving Meryem his shop, he follows her. It turns out that in a Einkaufszentrum arbeitet und ein distanziertes Verhältnis zu ihrem Mann ( Riza Akin ) hat. Hamdi kann nicht mehr von ihr ablassen und folgt Meryem Tag und Nacht. Die Situation wird immer bizarrer.

Kritik:

Saç ist der vierte Spielfilm des Türken Tayfun Pirselimoglu, der sowohl Regie führte als auch das Drehbuch schrieb. Dass er zuvor in Wien Malerei studiert hatte, merkt man auch seinem neusten Werk an. Schliesslich glänzt Saç in erster Linie durch seine Bilder, die allesamt perfekt komponiert, aufwändig ausgeleuchtet und mit gezielter Symbolik angereichert sind. Mit seiner eindringlichen Bildsprache gelingt es Pirselimoglu, ein Istanbul voller Melancholie and loneliness present. The characters always return to the same deserted places and also some adjustment coming back. In this case the action is staged very static, and consequently also the camera barely moves.

not enough to move the characters in the film very slowly and deliberately, they hardly talk. Then, when times held a dialogue, it is just and necessary limits again. Rather, these figures seem to gaze to communicate, while their bodies are like stuck between the walls and walls. More unexpected outbreak of violence comes at the short end. About the inner lives of the protagonists, we learn, but even in this little scene, or Only by implication suggests. In general, it remains in the dark as to what is now Hamdi's plan or whether he has any. Almost floating as he moves through the city, said his shop and the view from the window marked the starting point.

Maybe is the recurrent image of Hamdi, as he alone in a room full of "dead", staring at him heads, is dar. a metaphor for isolation of the individual in modern Turkish society because no matter whether the characters are at home in the dark living room or on the bus full of people are, they're always lonely and isolated. Stressing Pirselimoglu contrast between the modern, fast paced city life and the slow, Islamic Tradition. On the visual level that is sent illustrated by seeing thunder past about once in a deserted, barren village in the background of the highway.

All well and good, but not change the fact that the film drags. It is simply not enough. Pirselimoglu devotes much time to develop the plot, without really giving the audience a reason to empathize with Hamdi. Only toward the end of something dynamic is in the matter, and the final is both extremely bizarre and quite unsatisfactory.

Saç photographed is great, but for no more than art-house fans really interesting. A real festival film plane.

was about 6 out of 10

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Curling (Theater Review)

Curling

Curling in the 63rd Locarno Film Festival shown and there won the Golden Leopard for best director and best leading actor.

Content:

The 12-year-old Julyvonne (Philomène Bilodeau) is not a normal child. From her father, Jean-François (Emmanuel Bilodeau) it is guarded as his eyeball, while their mother in the psychiatric Institute sits. They live in the suburb of a town in Quebec. Julyvonne almost never leaves the house and was taught at home her whole life - but only with moderate success, because they can not even solve the simplest math problem. Nevertheless, her father is convinced that a public school is not right for his daughter.
Jean-François has a day job in a bowling alley, at night in a seedy motel, but also little contact with society. Only after a series of incidents, he begins to realize that something is wrong in his life. But while his daughter is already making their own development, after the dismal forest Fund has made.

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Denis Côté is not exactly known for being more readily accessible films. Nevertheless Curling could compared to his other works are more suitable for the mass, but thanks to the fact that he wakes up on a content as on a formal level associations with Fargo . On the one hand, the number of morbid and bizarre plot elements, on the other hand, it takes place in a snowy, remote suburban area. Much more common are there but not as Fargo course, much more of the classic Hollywood narrative structure is required.

Côté contrast tells his film in a very few, very long shots. These are then usually very static and quiet, so they could count the beginning without any problems. Also stands out from the beginning of the artistic intention to portray loneliness and isolation, as if on an icy road appears in an endless field of snow, the film title. This is already established that visual core issue is to permeate the whole film: the color white. This can be found virtually everywhere - in nature, on the deserted streets or in bare interiors. Often the images seem almost as if they had been painted with some color to a blank, white canvas. Thus, the viewing public to cold and harshness of the world inside and outside of the figures made it abundantly clear.

So while the art work was paid very close attention to what is shown on the assembly rather what is not just shown. We learn little about the background of the characters, and are within the story partly skipped sudden events. Shall renounce Côté aware of a rounded narrative flow and expected the audience to take initiative and to care of themselves for what happened. This is somewhat difficult because the basic problem is indeed given his history, however, merely indicated.

From the beginning you can feel that behind the facade of harmonious father-daughter relationship is something wrong. You wait a certain extent, to an explosion, which solves the problems, or at least disclose what of Côté also aware - are denied - presumably out of conviction. Everything remains vague and imprecise. Finally, it leaves Côté then by pointing to a possible healing process. The problem with Curling is less that he reduced his story telling and restrained, but that this very banal and somehow in the end is irrelevant.

rounded about 6 out of 10