Wes Anderson has once again accepted countless movie stars for trivial roles: hotel owner, auto mechanic, cowboy. Every frame is meticulously crafted and full of clever details: a flyover to nowhere, a vending machine with bizarre articles, dialogue through the window frames. You make everything televised.”
However, this is a difficult film: your benevolence is gradually giving way to boredom. It has never happened to me before with Wes Anderson: his previous blockbuster four-parter French Dispatch lead to overstimulation. The problem is in the plot. At first glance, Wes Anderson hardly needs a plot: isn’t his work a triumph of style over narrative? However, it is precisely Anderson’s diorama that cannot do without a tragic hero as the focus of a simple story.
Wes Anderson moviesGrand Budapest HotelAnd Sunrise Kingdom) have become richer as spectacle in recent years, but poorer as emotional experiences. also Asteroid City, with roles by Tom Hanks and Scarlett Johansson, among others, it all seems out there. But if you can see beyond the dazzling ensembles, something compelling awaits you.”
His characters rarely laugh or cry. Conscious. If you think away from all the pretty storefronts, you see movies about people who find it hard to get in touch with their inner feelings, let alone share them with others. This fact resulted in one of his masterpieces: Royal Tenenbaums (2001) in which Gene Hackman acts as if he is dying in an attempt to mend broken family relationships.
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