To date, I don’t think there has been a single film based on a novel by Roald Dahl that I have not liked. The Witches was a juvenile horror masterpiece, James and the Giant Peach was enthralling, and both adaptations of Charlie and the Chocolate Factory were thrilling and entertaining, not to mention Danny De Vito’s adaptation of Matilda, which is most certainly one of the greatest children’s films ever made. There have been other filmmakers that have taken forays into representing the work of arguably the most important children’s author of all time (not to mention one of the most terrific short story writers, with many of his stories aimed at adults being bona fide literary masterworks). A filmmaker who seemed beyond perfect for Dahl’s style is Wes Anderson, who makes films with the same rambunctious whimsy and joyfully twisted humor. Perhaps the work that best merges the talents of Dahl and Anderson is Fantastic Mr. Fox, the delightfully witty tale of a fox and his friends (Fassbinder reference alert! Who would’ve thought you’d find that here?) and they plunder and pillage the produce of a trio of draconian farmers who grow weary with the constant theft they are subjected to.

I do not need to summarize Fantastic Mr. Fox. The reason is because I suspect, much like myself, many people reading this are probably very familiar with the novella themselves, either have been exposed to it as a child, or even have learned to read through it, or books of its ilk. However, the story is focused on the titular fox (voiced by George Clooney) who lives in the woods with his wife Felicity (voiced by Meryl Streep) and their meek son Ash (Jason Schwartzman), who is not pleased with the lengthy stay of his cousin, Kristofferson (Eric Anderson), who is practically superior to Ash in every way. Mr. Fox used to be a well-known bandit, terrorizing the local farmers with his sly and cunning methods of raiding their produce and livestock. However, he retires from this life and follows a safe but unexciting career path, becoming a newspaper columnist. However, Mr. Fox is soon drawn back into the life of thievery, and his reckless joie de vivre puts himself, his family and multitudes of other animals in danger when the farmers decide to go-for-broke and annihilate the thieves.

There is quite a bit we can talk about regarding Fantastic Mr. Fox, but there is one element that stands out above all else and is the most notable aspect of the film as a whole – the animation. Anderson, by this point, had already directed five extremely well-regarded films and was only growing in prestige and acclaim. It seems unusual that a filmmaker at his peak would decide to make an animated film, but Wes Anderson is quite an unusual director. In no uncertain terms, the animation in Fantastic Mr. Fox is beyond impressive. Anderson and his team of animators crafted a film that was absolutely extraordinary, imbued with some of the most incredible stop-motion animation ever conveyed on film. The style was so vibrant and filled with life, and there was not a single false moment throughout the entire film, whereby any doubt to the quality of this animation occurred. Anderson would wait nearly a decade before venturing into animation again (with the recent Isle of Dogs, which I am anxiously awaiting), but if Fantastic Mr. Fox is indicative of anything, it is that Anderson certainly has a grand eye for detailed animation, and what he constructed in this film is nothing less than absolutely astonishing.

A large portion of the success of this film comes through in the fact that so much of what has made Anderson such an extraordinary and popular filmmaker is his style, which has been seamlessly assimilated into this film. Anderson, however, does seem to suffer from a similar ailment as Tim Burton and Quentin Tarantino, whereby their styles are so distinct, as well as the often prestigious artistic value of their work, makes them exceedingly popular to the general public. This is not a problem in itself, as the work of these filmmakers is always reliably terrific – it’s just that when a filmmaker is known more for their aesthetic than their narratives and storytelling abilities, it is rather unfortunate. Fantastic Mr. Fox has the perfect amalgamation of both elements, and it finds the perfect balance between them. Visually, this film features the same endearing artifice that has defined Anderson’s career, with the visually-delectable production design and beautifully intricate details being a major presence throughout this film. Much like all of Anderson’s films, Fantastic Mr. Fox has the same endearing quirkiness, with a distinctive set of colors that are alarming but not jarring, and a soundtrack with the exact kinds of songs one would expect to find in a Wes Anderson film. As a whole, Fantastic Mr. Fox is a stunning film and has some of Anderson’s most impressive visual flair to date.

Anderson has come to be known for his ensemble casts of familiar performers, and Fantastic Mr. Fox is not an exception. Occupying the titular role is George Clooney (working with Anderson for the very first time), who brings his reliable wit to the character, as well as his distinctive charm. Meryl Streep (who also collaborates with Anderson for the first time, replacing Cate Blanchett in the role) plays Mr. Fox’s supportive but feisty wife who wants her family to exist peacefully. However, despite the status and prestige of the leads, the supporting cast is precisely where Fantastic Mr. Fox soars – two of the filmmaker’s most reliable collaborators – Bill Murray and Jason Schwartzman – have pivotal roles, and while Murray is as terrific as always (lending his trademark wit and warmth to the character of the badger lawyer), Schwartzman is surprisingly complex, being able to convey so much with so very little. The characterization of these characters really was incredible, and an entire series of films could be made around the inhabitants of those woods because Anderson makes them all so fascinating without allowing them to overpower the central story.

I mentioned this about, but Fantastic Mr. Fox seemed to be the perfect Roald Dahl work for Anderson to make because it has the same care-free whimsy of the filmmaker’s other films. Like discussed previously, this is a result of the distinctive style of Anderson translating well into the aesthetic of the film, but an even larger portion comes on behalf of the story. Fantastic Mr. Fox has the same remarkable humor that Anderson has come to be known for, and it manages to have a magical quality while still being relevant and fascinating in a contemporary landscape. The film allows Anderson to exercise his iconic idiosyncratic skills while being restricted enough to prevent unnecessary forays into other domains (this is, to date, the only Anderson film based on previously-existing source material). The humor is great, and the storytelling is neat and straightforward. It is an adventure film without many cliches or taut predictability, and the result is an entertaining and thrilling caper from a truly masterful storyteller.

In short, if someone absolutely despises Wes Anderson, Fantastic Mr. Fox may be the most excruciating experience imaginable. However, for those that are adherents of his unique style, this film really is very special. Some believe Anderson is far too concerned with the visual aesthetic and realizing his own quaint ambitions, resulting in a twee and artificial piece of work. However, others see him as one of the great modern cinematic storytellers, someone with a firm grasp on all aspects of the filmmaking, and who has effortlessly entered into a realm not many filmmakers are capable of doing so effectively. Fantastic Mr. Fox really is a wonderful film, and it shows Anderson doing some of his best work to date. It may not be his masterpiece, but it is a lovely film, with gorgeous animation and a story faithful to the source material, while still being daring enough to match the ambitious talents of the filmmaker behind the camera, who has proven on countless occasions to be an extraordinary creative force.