Although I have not always gone fully along on his rides, I will always look forward to seeing what he comes up with next. With the release of The French Dispatch being delayed, I've decided to take a look back at his filmography so far.
SYMMETRY!
9. Rushmore (2.5)
A semi-sophomore-slump for Wes Anderson, although I've never thought the film as bad. My main problem with the film is that Anderson can't seem to decide if he wants to fully embrace his style or try to do something outside of that. I find it a little too aimless, and the attempt at combining comedy and drama not being very effective. On the plus side, it did successfully introduce Bill Murray to the more introspective second half of his career, although in the grand scheme of things, his performance here would prove to be only a warm-up.
8. Isle of Dogs (3.5)
A decent animated effort from Wes Anderson that follows Chief (Bryan Cranston) as he attempts to help a young boy search for his own dog after the species is banished to an island following the outbreak of a canine flu.
The world that Anderson creates here is inventive in depicting a dystopian Japan, and the film has a great voice cast (the aforementioned Cranston, Edward Norton, Liev Schreiber, Jeff Goldblum, Bill Murray, other Anderson regulars) and there is fun to be had in the story. Yet, for some reason, there has been something in this film that has prevented me from clicking with it past a certain point, and I can't exactly pinpoint what it is. I wouldn't consider the film as having any major flaws, but as it is, I do find it somewhat enjoyable.
7. The Darjeeling Limited (3.5)
This one is in a weird spot for me, as while I do like the chemistry amongst the three brothers (Adrien Brody, Jason Schwartzman, Owen Wilson), I can't help but feel that the story itself doesn't add up to much in the end. Wes Anderson makes great use of the location shoot in Northern India, and the train sets do have a good sense of creativity to them, as well as Anderson implementing a soundtrack to good use. Again, I technically do like the film as is, but I can't help but feel that the film didn't go as far as it could've with the camaraderie of the trio of brothers.
6. Moonrise Kingdom (3.5/4)
Ah, this one. I toggle with the rating on this film for a couple of reasons. On one hand, I do like the romance at the center of the story, as Sam & Suzy (Jared Gilman and Kara Hayward) decide to run away from their community as they have fallen in love. The romance did succeed in keeping me invested enough with the film. As usual with Wes Anderson, the leads are anchored by a strong supporting cast (regulars Norton, Murray, McDormand, Swinton, and "newcomer" Bruce Willis.)
On the other hand, I find the films' aesthetic to be too "Wes-Andersony" for its' own good, as many of his visual flourishes seem a little bit too indulgent for the film, such as the production design and the cinematography. I am definitely a fan of Wes Anderson in general, but I think he went a touch too far than he really needed to. Nevertheless, I do like the central thrust of the story, and I honestly wouldn't call the flourishes technically bad, as I can see why someone would definitely take to them more than I do.
5. Bottle Rocket (4)
A solid debut effort from Anderson, and an enjoyable heist film at that. One thing that is definitely worth noting is that is has aged very well, which is even more impressive once you consider that it's a low-budget film that was made in the mid-90s.
The film doesn't have a distinctive feel "Wes Anderson" as much as his films would later have, however, it is still notable, and would be a good sign of things to come. Both of the Wilson brothers give enjoyable performances in breakout turns for each, while James Caan is memorable as crime boss, Mr. Henry.
4. The Life Aquatic with Steve Zissou
Probably the Wes Anderson film that has grown the most on me, as I wasn't quite sure what to make of it the first time I watched it, but I've come to appreciate it over time to be sure.
The film follows Zissou (played by...of course...Bill Murray), as he attempts to get revenge on a shark that previously devoured one of his former cast members, while also dealing with people from his past such as his ex-wife Eleanor (Anjelica Huston). Past that, the film is also anchored by a strong ensemble filled with Anderson regulars (Owen Wilson, Jeff Goldblum, Willem Dafoe in a very funny supporting role) while also introducing Cate Blanchett (even better here than The Aviator) to the Anderson world. The aesthetic for the film I do feel does a great job of servicing the story, as it helps in creating one memorable world out of Zissous' quest for revenge on the shark.
While I do admit that the film is probably the most divisive out of Wes Andersons' films, I've come to appreciate the film a lot over time, as for me, I like to view it as a good character study of Zissou reflecting on his career up to that point, which is greatly helped by Bill Murray at his a-game.
3. Fantastic Mr. Fox
Just a very fun stop-motion animated film, and one that has also stayed well me since I first viewed it. Once again, the cast here is quite strong in granting a lot of life to the fox family and their enemies. To start, George Clooney as the titular character and Schwartzman as the son are both good in their roles with Meryl Streep also very good as the matriarch (side note: she really should do more animated work, as funnily enough, her work in that area is rather underrated).
Past the family, Willem Dafoe does a great job in capturing the exact tone required for the film, as he brings the right amount of "evil" as "Rat", while bringing a proper sense of fun. Other Anderson regulars (Bill Murray, brother Owen) are all memorable as well.
Of course, it wouldn't be a Wes Anderson film with some memorable production design, even if I might be contradicting myself with what I said about Moonrise Kingdom. Anyways, the animated sets in the film are outstanding, as the farms and the Foxs' family home each have a vivid life of their own.
2. The Royal Tenenbaums (4.5)
Like with Steve Zissou, it's a Wes Anderson film that has grown on me quite a bit, however, I was more positive a whole with this one to begin with.
The film follows Royal Tenenbaum (played perfectly by Gene Hackman in his last great performance, though that has more to do with the quality of his later films) as he announces that he is dying, which of course, brings his family to reconvene. As you can probably tell by now, the rest of the cast is filled out by Anderson regulars such as Anjelica Huston, Bill Murray, the Wilson brothers (with Luke Wilson in a very underrated performance), while also being nicely complemented by other Anderson neophytes such as Ben Stiller and Gwyneth Paltrow.
One aspect that I'm a great fan of about this film is that Wes Anderson does a great job of balancing comedy and drama, as many moments range from chuckle-worthy to laugh-out-loud funny, while also never seeming at odds with the emotional thrust of the film (the grown-up childrens' relationship with their father). A very good example of a film combining heart with comedy.
"I've had a rough year Dad..."
"I know you've had Chas."
1. The Grand Budapest Hotel
Wes Andersons' finest hour for me, and this time, I'll switch it up a little bit
- Once again, the cast is for the most part outstanding
- Ralph Fiennes in one of his most delightful performances, if not the most, as he is terrific in making Wes Andersons' dialogue sing as well as it should. His comic timing is off the charts, both in the dialogue while also being physically gifted in scenes where he is confronted by the authorities. He makes M. Gustave quite a memorable character.
- Many other Anderson regulars (Bill Murray, Adrien Brody, Willem Dafoe, Jason Schwartzman) all manage to make distinct characterizations out of their assorted roles such as lawyers, art dealers, lawyers, butlers, hotel staff, etc.
- The aesthetic here seems like it is the film that Wes Anderson has been heading towards his whole career: it is simply stunning here.
- The cinematography for me evokes a slight memory-type of feel, while at the same working in tandem with the tone that Anderson aims for: a comedy-drama caper film.
- Every single set in the film is very memorable: the titular hotel, the trains, the millitary headquarters, you name it.
Of course, what really brings the whole film together is the story itself. Gustave is wrongly framed for the murder of a former lover at the titular hotel, and he is intent on fully proving his innocence. To do so, he has to go on a hunt for a second will that will clear his name. In the meantime, he befriends a lobby boy, Zero (Tony Revolori), who, by the way, is the narrator in the films' framing device.
To me, the film is quite a simply a great ride that also manages to be quite poignant, as it also explores themes of nostalgia, friendship, war and fascism (almost forgot to mention that the film takes place in the fictional post-WWII Republic of Zubrowka) without burdening the story. These themes help in adding a richness to the story, which is an added bonus when Anderson first and foremost entertains with this great film.
What is your favorite Wes Anderson film? Your least favorite? Answer off in the comments below.
