The Men Who Stare at Goats

The trailer is funny, absurd, ridiculous, and supposedly true. The movie is very similar, but to the detriment of its longevity, it seems to stop there. It is certainly very relevant to consider the occasions when the military machine thrusts headlong, with taxpayer money in hand, into some new and expensive undertaking aimed at dominating world powers. This arrives at hyperbolic dimensions in the creation of Jedi warriors whose superior psychic abilities allow them to run through walls, disappear, and kill goats on sight. But after the consistent laughs and compounding absurdity we are left with little but questions about what and why. Not simply why these military acts were ever allowed or encouraged but what we are supposed to take away from their reenactments.

We cannot fully render their existence social commentary on the frivolity of war given the sparse placement of actual combat. We could start to ponder the notions of people supposedly out of place that find their calling where they least expect it. And we could certainly address, as mentioned before, the attempts at superiority by any means necessary on the part of our countries military. Yet even with these possibilities in hand the film feels empty on the larger scale. We get no message, we take it in stride, we laugh at the exaggeration but receive no warning. Certainly we could be left with the intent that any money spent on war is wasted, or any plan based psychically is ludicrous.

I will, however, commend the film for its subtle jab at current film posters by giving equal billing to both main actors and namesake goat. And of course, if you have not read the other article previously published, do so now. It has been out intent to respond to the same films as a combined post but as of yet such desires have failed to find fruition.

Fantastic Mr. Fox

My growing disappointment and frustrations with the slew of juvenile and intelligence-offending trailers were immediately diffused with the first frames of Anderson’s animation. The warm orange sky and simple childish staging of Mr. Fox next to a single tree was all at once amusing, captivating, and calming. And to the benefit of young and old alike, the entire film remains as such.

It should come to no surprise to those savvy to the films of auteur Wes Anderson, his ascribed quirkiness and fondness for a particular color palette remain intact. The little suits and details that exist in the Fox world could have come from the Tenenbaum’s house or from the director’s closet. However, the minutiae of set designs, miniature props, and detailed creations could hardly be contained with a closet of even the most successful director. The film’s visual exuberance and craftily ingenious construction return to an inspired and inspiring state of animation lost on the repetitive computer based child fare audiences yearn for. Aided by twelve frames per second rate, the film captures early animators attempts at fluid motion limited by the then current state of technology. The result is not some quaint attempt at nostalgia nor homage to the early days of film but rather a re-envisioned distancing from the kind of movie audiences are used to.

Praise to Anderson for making a children’s movie not aimed at kids. And praise for making an adult movie not too grown up to be inaccessible. The 87 minutes flow by in what seems like ten and the visual and narrative deliveries provide both complex and simple exposition. Any fears that this be throwaway kiddy fare should be instantly allayed if not simply given the man at helm. And any fears I had the Anderson was selling out and taking the easy road seem trivial and irrelevant.

Still, I cannot help but ask how one directs an animation. And while the concerns and mentions of such questions arising during the production exist, in the wake of the final product they are better left for another day. Fantastic Mr. Fox is full of standard Anderson comedics, detailed and intricate creations, and likable, relatable characters. The complex and carefully executed action readily ignores the rules of logic to great benefit and pays little attention to common sense. And while the rich visuals do wonders for the senses themselves, the fact that all the characters seem to find their place doesn’t leave the film on any sour note.