The Fantastic Mr. Fox is the newest film by the quirky director of hipster dramadies, Wes Anderson (The Royal Tenenbaums, Bottle Rocket). Not only is it one of his best to date, the film re-imagines what we have come to think of as a modern children’s animated movie.  Without an ounce of computer-generated imagery, Anderson is able to paint a portrait that is artistic, meticulously crafted and highly entertaining.

The story, which is co-authored by both Anderson and Noah Baumbach (The Squid and the Whale), is a take on a popular Roald Dahl children’s book. It centers on the antics of Mr. Fox, voiced by the ever charming George Clooney, and his zany clan of family and friends. They aim to take on a trio of agriculture businessmen in a theft that rivals anything Clooney pulled off in the three “Ocean” films. Well, almost.

If any of Dahl’s stories were to be Wes Anderson’s animated opus, it would have to be Fantastic Mr. Fox. Anderson is known for his portrayal of dysfunctional and odd-ball families and can peg their interactions spot on. Such a character-driven film is perfect in his hands.

There is also something to be said about the great voice work done on the film. Clooney is joined by an all-star cast that includes Meryl Streep as Mrs. Fox as well as Anderson staples Jason Shwartzman, Bill Murray, and Owen Wilson. The dialogue suits both the actors and the characters, combining to bring the furry creatures to life.

With all of that being said, the film would never have the impact it does without the animation technique used in it. Stop motion hasn’t been seen in a while, but it always seems to work. Remember A Nightmare before Christmas or the other Roald Dahl story, James and the Giant Peach? Fantastic Mr. Fox joins these films and even surpasses them in many ways to become what I consider to be one of the better animated films of the past decade.

Every movement of the characters has been crafted delicately and purposefully. While certain CGI films found movement and realism purely by accident, Anderson makes sure nothing has happened by chance. Even the gentle movement of facial fur in the wind is created shot by shot, moving the characters slightly in each frame. This love and care has clearly paid off.

As the film progresses, we learn more and more about Mr. Fox and his family until a fairly rich tableau of characters are presented. These include Ash, Mr. Fox’s son, the badger who fixes Mr. Fox’s plumbing, and Ash’s cousin, who happens to be a martial arts expert. They all come together to pull off one incredible heist.

If you have kids, take them to see this film. Drag them if you have to, because they’ll really appreciate it. It might also make you seem less creepy than if you were to go alone. If you don’t have kids, but revel in the nostalgia of the story and the buzz that comes along with any new Wes Anderson flick, then you should go too. Seeing it on the big screen is a great experience where you can really appreciate the details, so don’t wait for this one to come out on DVD.

A war movie titled The Men Who Stare at Goats may lead some to the theaters searching for an allegory about our modern day military occupancy in the Middle East. Others are likely to just say “What the hell?” and expect 90 minutes of something at least a little strange. Neither of these groups is likely to leave the theater entirely disappointed, but there may be an air of unfulfilled dreams around them. Grant Heslov (writer, Good Night and Good Luck) seems to want to blend the two together, but falls short on delivering something lasting.

In this film we follow the exploits of Bob Wilton, played by the flat, yet ever charming, Ewan McGregor. He’s an American journalist who heads to Kuwait to prove to his ex-wife that he’s more man than she may believe, despite her utter lack of interest in it all. Along the way he meets Lyn Cassidy, a retired soldier. This is the kind of role George Clooney shines in and he took and ran with it as far as he could go. It’s an excellent performance of a soldier who’s both beautifully insane and inspiring.

Not long into the film, it’s exposed that he was once part of a military psychic operation unit known as “The New Earth Army.” It’s based on the real-life project known as “The First Earth Battalion.” Bill Django, played by the scene-stealing Jeff Bridges, runs the group of rag-tag young men and turns them all into “super” soldiers who dance around like they’re at Woodstock. He’s the hippie soldier who teaches peace, love, and the way of the Jedi. And, yes, this film is based on true events.

That being said, the director obviously has something to say about the many insane ideas and the almost adolescent desire of the United States Army to the best of the best. “The U.S. Army has no alternative but to be wonderful,” is one of Bridges many quirky one-liners in the film, and history has shown us that this idea has led to some pretty insane projects. The psychic operations programs are just one example.

While this is a fairly profound concept, the film simply doesn’t give off the vibe it’s going for. There is too much going on for the director to handle.  But, luckily it doesn’t fall apart. The film is funny and there isn’t really a scene that disappoints completely. However, the characters aren’t given the amount of flesh and history that’s going to take over the audience. There aren’t any moments of really wanting to know what’s going to happen next.

If you’re looking for a funny film that’s going to try its best to make you think a bit, The Men Who Stare at Goats is for you. With a great cast of guys that includes Kevin Spacey in a role that was far too small, there’s plenty of charismatic faces moving around on screen to keep most people happy. Could it be funnier? Yes. Could it be smarter. Absolutely. Does it deliver what you would expect? Well, there are certainly goats and they do get stared at, so when it comes down to it, it does. This is definitely worth the price of admission, but don’t expect to go back for seconds.

Whenever I receive an invitation to view a screening of a film I have never heard of I get a familiar thrill of being thrust into the unknown. I do no research and go in with no expectations. Typically, that means I at least won’t walk away disappointed. A few times, however, as is the case with my recent encounter with “An Education,” I discover a little gem of a film that I can’t get out of my head.

Lone Scherfig (“Italian for Beginners”) brings to life a story we’ve all heard before: a young girl falls for a charming older gentlemen and, in the process, goes through a coming-of-age trial. She does this in way that leaves no sentiments for the characters involved and has no problems showing all of their flaws, no matter how minuscule. Guided by a sharp screenplay scribed by Nick Hornby (“About a Boy,” “High Fidelity”), the story is as smart and charming as it is simple.

From the moment the film begins we are introduced to Carey Mulligan’s 16-year old “Jenny” character, who wears the weight of the film on her tiny shoulders and holds it like a seasoned pro. She is the perfect student with best the grades and the prettiest face. She is the perfect daughter. She is everything her parents and teachers could have asked for. For all of her perfection, though, she is still a child and shows this in the rash decisions she makes throughout the film. Sometimes you just want to scream at her naivete, but then Mulligan will just flash her girlish smile and warm your heart. This young reminiscence of Audrey Hepburn will catapult her stunning career with this film.

At home, Jenny is presided over by her parents Jack and Marjorie, played by Alfred Molina and Cara Seymour. They have decided that Jenny is bound for Oxford, where she is to read English, and they’ll do anything at their disposal to get her there. Her English teacher, Miss Stubbs (Olivia Williams) would also have her heart broken if Jenny strayed from her path. This is the perfect setup for the film. Like the whole story, it’s nothing new, but the setting of 1961 Britain and the spot on performances are spellbinding.

Just as we get to know Jenny and her world, David (Peter Sarsgaard) comes onto the screen. He is an affable and mysterious older man who takes an instant liking to Jenny. There’s instant chemistry on the screen and as youthful flirting slowly becomes something more, there’s no doubt that these two people could very well have come together naturally in the real world.

David has an air of mystery about him and at many points in the film the mood might even be described as dark or malignant. This polite man is obviously wearing some kind of mask, and it’s enjoyable to watch that mask get pulled off, again slowly, to reveal his true face.

We’re not to worry too much about Jenny, though. There are plenty of reminders about just how sharp she is, but also just how much of a child she can be. We end up wanting to see Jenny make a mistake so that she can learn from it and be the woman she should be. It might be a strange way to root for the lead in a film, but it’s the way of a concerned parent or older sibling and it’s a way that feels right.

Lessons are learned all around in the film. Jenny isn’t the only one who has to constantly re-evaluate her world (to the dismay of her teachers, in particular). Her parents, the headmistress at her school, David all face truths about themselves and others that they never did before. It should be stressed, though, that sentimentality doesn’t really come across, even if the lesson learned is a harsh one. It simply feels good to see everyone coming to a level-headed understanding. A rare feat in any film.

Having debuted in Sundance this year, “An Education” has already built a great fan base. It won the Audience Award as well as the award for Best Cinematography. When it hits theaters on Friday, it’s sure to get a sneak attack among filmgoers. With romance, intrigue, stylish socialite parties, and a crisp story,  “An Education” is sure to delight most people who see it.