Romantic seems to not accurately describe Midnight although it forwardly acknowledges in plot and in dialogue the disappointments of romanticism itself.  There’s a discussion (albeit one-sided) between two of Allen’s characters, played by Owen Wilson and Michael Sheen about an idea termed “golden age thinking,” a longing for a time outside of the present, where everything seems to have burned a little brighter.  For Wilson’s character Gil, this is 1920s Paris.

This discussion of nostalgia lays the foundation for the fantastical experiences Gil begins having as at the stroke of midnight each night as he’s wandering the streets of Paris alone, a car picks him up and transports him back to that time.  There he parties with Hemingway, has absurdist discussions with Salvador Dali, Gertrude Stein gives him notes on the novel he’s writing (a novel which itself is about nostalgia), and stops Zelda Fitzgerald from jealously throwing herself into the Seine.  But more importantly, he meets a lovely girl named Adrianna who seems to be approaching the end of her affair with Pablo Picasso.

If there was an ensemble cast to pay attention to, it’s here.  There’s no shortage of Oscar winners, including Kathy Bates as Gertrude Stein, Adrien Brody as Dali, and Marion Cotillard as the lovely Adrianna.  Watching other fine actors such as Alison Pill and Tom Hiddleston imitate these iconic and brilliant characters of history is endlessly charming.  The first lady of France, Carla Bruni, even makes an appearance.

As ridiculously sentimental and idyllic as it all sounds, Allen’s best move was not to take it too far.  Especially considering that there’s nothing deeper to this story than meets the eye.  Like Chehkov’s gun, the discussion of the faults of nostalgia in the first act gently rears its head in the film’s ending–the best ending Allen could have written for his film. But I won’t spoil anything.  Midnight in Paris is perfectly enchanting.

3.5 out of 4 stars

Fantastic Mr. Fox takes a whole lot of genius, mixes it up, and turns it in to cinematic gold.  Take one great story by Roald Dahl, combine it with the unique vision of Wes Anderson, mix in a little of the frighteningly pessimistic and hilarious Noah Baumbach, along with the voices of some of the best actors around, and you’ve got a film that promises to knock the socks off all those aged five to ninety nine.

Mr. Fox (George Clooney) is a suave, thrill-seeking fox, married to one Mrs. Fox (Meryl Streep).  When Mrs. Fox becomes pregnant, Mr. Fox is pressured into promising to quit his dangerous job of stealing chickens, and becomes a columnist for a newspaper.  He keeps his promise for years.  His son grows up to be Ash, an eccentric little fellow voiced by Jason Schwartzman.  Mrs. Fox’s nephew Kristofferson (Eric Anderson), who’s father is sick with double pneumonia, comes to live with the family, who move into a beautiful tree home near dangerous bird farmers that hate foxes.  Ash and Kristofferson keep a lively competition of greatness throughout the film that is endlessly entertaining.  The temptation, being so close in proximity, is too great for Mr. Fox, and he stages one last, great heist, that throws the entire local animals population into chaos.

The animation is a mix of computer graphics and stop-motion techniques.  The ads promise Fantastic Mr. Fox to be something you’ve never seen before, and I attest, this is the case.  It’s a beautiful film, filled with colors and effects that lure you into the wonderful mind of Mr. Dahl.  Anderson and Baumbach adapted the story into what is simply one of the best scripts of the years.  Besides the main cast, the peripheral characters are tremendous, voiced by Owen Wilson, Michael Gambon, Willem Dafoe and Bill Murray just to name a few.  Jason Schwartzman’s character Ash really steals the show, with perfect comedic timing, and some of the most quotable stuff we’ve heard all year.

The cliches really do apply to this film  This is hilarious, touching, crowd-pleasing, and certainly one of the best films of the year.  A must-see for everyone!

4 out of 4 stars

Vann seems to have no direction, and he’s driving through the northwest.  He wastes no time poisoning those around him when he gets a chance, including a drunk junkie he picks up in a bar, played by Sheryl Crow.  He explains in his defense (in the disturbing calm narration) that he never does anything violent to anyone, he just makes them go to sleep.  Forever.  Settling in a quaint little town, he gets a room in a house, owned by a strange couple, Doug and Jane (Jane is short-tempered, and cries at random, and when drunk, Doug hits himself hard enough to leave extensive bruises) played by Brian Cox and Mercedes Ruehl.  Jane is killed in a suspicious accident and it’s unclear whether or not Doug had a hand in it.  Doug takes a liking to Vann, and gets him a job at the post office, where he’s introduced to Ferrin, played by Janine Garofalo (another actor who’s not playing their usual character here).

The film is narrated by Vann.  His calm, emotionless voice is completely disturbing as he explains his methodology of murder, the rules he sets for himself, and describes his desire to be normal.  Wilson’s performance (not just his narration) will creep you out.  The pacing is steady, but slower then you’d expect when you think serial killer thriller, and this will deter many.  However, it’s extremely effective in building tension.  Vann serves as a catalyst in his new small town, bringing to the surface all the issues that were always just beneath the surface.  Director Hampton Fancher (this is only directing credit to date) refused to sensationalize the dark, and disheartening acts of his characters, forcing us to really look at them as people, and believe me, what you see isn’t pretty.  If you watch this expecting Saw VI, you’ll be vastly disappointed, just keep the term ‘psychological thriller’ in mind, and you’ll be perfectly satisfied.

3 out of 4 stars

Rottentomatoes: 59% – Cream of the Crop: 71%

I couldn’t track down a actually trailer, so here’s a promotional spot screened at Sundance Film Festival before the release of The Minus Man.