The titular fox (irresistibly voiced by George Clooney) goes toe to toe with farmers intent on destroying him, his craftiness given the ultimate workout. This witty adaptation of Roald Dahl’s children’s novel is a kitschy and kooky pleasure, every frame a delight. Stop-motion animation allows Wes Anderson to accelerate his already intensely fastidious style. Still, given the event was fuelled by racially-motivated violence, it’s a minefield. The writer/director gets his targets right, focusing on warring tribes of hotheaded young men who are foolishly ignorant and xenophobic. The Cronulla Riots is a tough subject to mine for laughs, but Abe Forsythe does a terrific job in his squirm-inducing satire that begins with news footage of the riots set to the tune of We Wish You a Merry Christmas. Shirkers, Stories We Tell) to construct a Buñuelian outlook, the real world forming a kind of purgatory, or waiting room before the inevitable. Working on the premise that part of the lovable 84-year-old has already left the building, Johnson uses the personal documentary genre (i.e. Refusing to accept that her elderly father is on the way out, director Kirsten Johnson decides to celebrate his life by killing him off in various ways-from crushing him with a falling air conditioner to making him bleed out on the street. A dream cast of Aussie talent play the patients-cum-thespians including Jacki Weaver, Toni Collette, Pamela Rabe, Barry Otto and David Wenham.ĭick Johnson is Dead (2020) Watch on Netflix It’s an excellent high concept, executed a little shaggily but with plenty of irresistible moments-particularly during rehearsals. A kooky inventor (voice of Bill Hader) builds a machine that accidently makes building-sized snacks fall from the sky, leading to a visually inventive aesthetic that plays with scale-not by reducing the size of humans (like The Incredible Shrinking Man and Honey, I Shrunk the Kids) but by turning dinner ingredients into potential planet-killers.īen Mendelssohn plays a theatre director who gets a job directing a play for a psychiatric facility, starring the inmates. Phil Lord and Christopher Miller’s delightfullly idiosyncratic disaster movie parodies the genre while delivering its own singular take. When two young kids get complete mind control of their malevolent principal, mayhem ensues.Ĭloudy with a Chance of Meatballs (2009) Watch on Netflix This reflects the director’s attitude: keep moving, keep poking every scene for opportunities, keep shifting realities. “This whole visual storytelling thing is hard”, says a character in David Soren’s gloriously kiddish pastiche. Bubby’s venture into wider society is an unflinching portrait of mental illness and much more-including a social critique formed from the protagonist’s, shall we say, unique life experiences.Ĭaptain Underpants: The First Epic Movie (2017) WATCH ON NETFLIX Its various boundary-pushing sequences tend to be discussed only in hushed tones. Rolf de Heer’s notorious classic about a tortured soul (Nicholas Hope) who spent the first 35 years of his life locked in a grubby apartment still, after all these years, almost defies description. The story of a decent kid embroiled in a life of crime becomes a quasi-musical, Wright furthering his already innovative style through playful experimentation with various kinds of rhythm: rhythm of sound, rhythm of images, rhythm of editing. Burgundy became kind of a big deal.Įdgar Wright’s sassy crime caper follows a getaway driver (Ansel Elgort) on the autism spectrum, who puts his foot to the floor only when listening to killer tracks on his headphones. Anchorman‘s shaggy pace works in its favour, giving the performances-particularly Ferrell’s-room to breathe and to settle into a zany, stonerish rhythm. Critic Luke Buckmaster has combed its archives and picked the 25 greatest rib-ticklers.Īnchorman – The Legend of Ron Burgundy (2004) WATCH ON NETFLIXįew films are as memeable, quotable, or as stupidly enjoyable as Adam McKay’s 70’s-set cult classic about a chauvinistic news anchorman (Will Ferrell) threatened by the arrival of a female newsreader (Christina Applegate). Want something funny to watch on Netflix? ‘Course you do.
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