Four new Wes Anderson short films were released daily on Netflix from Sept. 27 to Sept. 30. The films are adaptations of the Ronald Dahl stories “The Wonderful Story of Henry Sugar,” “The Swan,” “The Rat Catcher” and “Poison.”

This is not Anderson’s first time adapting Dahl’s writing. His first highly-acclaimed adaptation was the 2009 release of “Fantastic Mr. Fox.” These recent short films, however, take a much different approach. 

Rather than adapting Dahl’s books into a film, Anderson creates a visual audiobook. This visual audiobook technique works surprisingly well with his directorial and filming style. Anderson is renowned for his highly-stylized films featuring eye-catching symmetric shots, deliberately unique color palettes, long takes, detailed set backgrounds and intentionally-awkward performances from A-list actors.

Instead of feeling weird when Benedict Cumberbatch stares directly into the camera and begins narrating the events transpiring behind him, it is almost soothing. While you watch the scene unfold in front of an impossibly perfect and artificial background, you hear a calm voice making sense of it all. 

Not only do the short films share similar visual storytelling styles, but they also share interchangeable casts. The cast lists rotate through different groupings and roles played by Benedict Cumberbatch, Ralph Fiennes, Dev Patel, Ben Kingsley, Richard Ayoade and Rupert Friend. The only actor to appear in all four shorts was Fiennes in the role of Roald Dahl, usually providing a brief commentary at the end.

Other than Fiennes, all of these actors are new additions to Anderson’s revolving door of recycled actors. Friend was a particular standout in “The Swan,” with his narratorial role evoking the most emotion of any of the films. Cumberbatch’s tense performance in “Poison” was also fairly captivating.

The debut release from this collection was “The Wonderful Story of Henry Sugar,” with a runtime of approximately 40 minutes — nearly tripling the combined duration of the other three 15-minute shorts. It also stands out as the strongest of the bunch.

“The Wonderful Story of Henry Sugar” resembles a nesting doll of stories within stories, as Cumberbatch’s role as the titular Henry Sugar reads from a journal entry that recorded the story of a man who visited a psychic guru and learned how to maintain inner peace. While the plot of the film may sound complicated when explained, it is simple to follow when viewing. It is always clear which character is speaking and when, showcasing an impressive feat by Anderson.

Henry Sugar is a classic Anderson character — flawed, melancholic and trapped in an undesirable way of life. His newfound spirituality helps him realize how he has gone astray and must change, serving as an optimistic reminder that anyone can still find themselves.

“The Swan” was the next film to be released. It is narrated by Peter Watson, excellently portrayed by Friend. He tells the audience the story of a day from his childhood when he was tormented by local bullies.

Peter’s story is the darkest and most emotional of all the short films. Friend’s narrative delivery captures the agony that his character must have felt that day, as did the performance by Asa Jennings, the actor who played the young version of Peter.

In the best way possible, “The Swan” leaves you feeling far from uplifted. It is a dark, depressing tale that will linger long after the film ends. Unlike “The Wonderful Story of Henry Sugar,” it does not provide audiences with an optimistic ending and for that I commend Anderson.

“The Rat Catcher” served as both the third film in this installment and the weakest production, suffering from poor performances and a lack in the quality of the story itself. 

Narrated by Ayoade, he struggles to engage the audience in the same way as Friendin “The Swan.” Ayoade’s subdued demeanor shrinks into the background and is overshadowed by Fiennes’ gripping performance as the titular rat catcher.

Fiennes’ captivating performance dominates an already abstract story. His rat-like appearance and disturbing line deliveries distract audiences from the rather rudimentary plot. Perhaps when viewed on its own and not accompanied by the rest of the collection, it may stand out more. But as it is, “The Rat Catcher” failed to live up to the successes of its fellow three shorts.

“Poison,” the fourth and final film, restores the previously-lacking installment quality with an intense thriller that discusses racism and imperialism, all while an Englishman named Harry Pope remains immobilized in his bed with a deadly snake positioned upon his stomach.

Cumberbatch’s Harry Pope believes he can barely speak without disturbing the snake from its slumber. He sends his friend Woods, played by Patel, to summon Dr. Ganderbai, the local doctor, portrayed by Kingsley. 

The film ends with Harry jumping out of bed and delivering a racist tirade against the doctor who cannot do anything to help the given situation. Harry is left to bear this hatred simply because there is nobody else to direct it toward. 

All three performances are incredibly strong, highlighting the intensity of the predicament. Cumberbatch’s mouth twitches more as he struggles to control his temper while Patel appears genuinely terrified, and Kingsley remains shockingly calm through it all. 

These short films, while not without their flaws, showcase Anderson’s admirable directorial skills. Each story narrates its unique plot while also pairing nicely with the other films in the collection. The blend of his directorial style and the outstanding performances by the cast makes these films ideal to watch after a long day when you want to hear a good story and enjoy beautiful visuals.