The escape is too cheekily conceived for triumph not to feel like a foregone conclusion. The Grand Budapest Hotel gave us a prison break so clever that it’s almost more memorable for the crafty resourcefulness at play than for the suspense of the scene. In Isle of Dogs, a scene of sushi being prepared renders the practice into an art form and the chef, hands nimbler than a heart surgeon’s, into an artist. It is, for me, one of their better qualities. This, as much as his well-documented stylistic habits (the tragicomic romanticism and nostalgia, the fantastical insistence on visual balance and emotionally coded-color schemes) is what has defined his movies. Anderson has always displayed affection for great craft - and for the artist-geniuses responsible for that craft, including the collaborators who’ve made his cosmetically pristine, well-coiffed cinematic style possible over the years. Nevertheless, The French Dispatch feels inevitable.īut thankfully not in the obvious ways. ![]() ![]() He is also a director known for geeking out over his appetites, obsessions, and taste in his movies - even if the man himself is too well groomed for the phrase “geeking out” to feel appropriately tailored to the man. Berkeley for $600 and who even, for a while, paid to have his new issues bound for preservation. This is a man who fell in love with The New Yorker in the 11th grade who once bought a bound set of forty years’ worth of the magazine from U.C. They’ll tell you that Wes Anderson’s new movie, The French Dispatch, is a love letter to The New Yorker magazine.
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