George Clooney voices a fox whose one last heist against three farmers turns into a siege on his whole underground community. Wes Anderson's 2009 stop-motion adaptation of Roald Dahl keeps the plot but reshapes the tone into something drier and more personal.
A dictatorial mayor exiles every dog in the fictional Japanese city of Megasaki to Trash Island over a manufactured flu outbreak, and his own twelve-year-old ward hijacks a plane to find his banished bodyguard dog among them. Wes Anderson's second stop-motion feature, drawing openly on Akira Kurosawa and Hayao Miyazaki, pairs meticulous handcrafted puppetry with a plot about political corruption and canine loyalty, while drawing sustained criticism for how it handles the Japanese setting and characters within it.
A postman's reluctant son delivers Vincent van Gogh's last letter a year after the painter's suicide and, meeting the people who knew him in his final weeks, starts doubting the official account of how he died. Dorota Kobiela and Hugh Welchman's Loving Vincent is the first fully painted animated feature, built from oil paintings made in Van Gogh's own technique over sixty-five thousand hand-shot frames, a six-year production that treats the investigation plot mainly as scaffolding for its visual project.