A crafty businessman with a death wish concocts a shady scheme in Anderson’s new work that seems to have diminishing returns, though backed by strong performances from Benicio del Toro, Mia Threapleton and Michael Cera.
A more wistful film than usual by Anderson, who is back in fine form as we enter the world of a fictional play populated by a range of eccentric characters.
Wes Anderson’s debut feature is so underrated it’s actually one of his best—a raw, humorous and amiable journey with a trio of young men hoping to pull off robberies for a living.
Anderson’s weakest in a long while despite the indelible images and precise mise-en-scene which he is so good at—there’s hardly any character worth resonating with, and the stories are way too dry and lack sentiment.
Possibly the finest and most fully-realised of his early works, Wes Anderson tells a quirky story about a family full of eccentric, estranged members looking for some measure of redemption and reconciliation.
Wes Anderson’s quirky set-in-Japan dogs’ tale is breathtaking in its stop-motion animation detail, while accruing a rhythmic sense of movement and storytelling momentum from start to end.
Slightly overlong and its offbeat humour doesn’t always work, but this is one of Wes Anderson’s most strangely enigmatic of screen adventures.
Watching Wes Anderson’s total command of his exquisite craft is a thing of pure joy few can match.
Colourful characters adorn this emotionally restrained, but immensely quirky Wes Anderson dollhouse drama.
A Wes Anderson masterpiece of craftsmanship, direction and visual storytelling that is arguably still his finest work.
Eternality Tan 