Review: Moonrise Kingdom
A pair of young lovers flee their New England town, which causes a local search party to fan out and find them. The majority of Wes Anderson’s previous films deal with characters lost, drifting, and dreaming of a perfect past. Moonrise Kingdom situates itself in the now, and has its characters dealing with their problems in the present. This is probably one of Wes Anderson’s most visually striking film, which is saying a lot considering the brilliance of photography in all his previous films. This is by far one of Anderson’s funniest films. The dialogue is as unconventional and stylized as we come to expect. Highlights include Sam and Suzy’s stand-off with a predatory gang of scouts, and a fireworks laden cabin destruction when a huge flood hits the island, highlighting Anderson’s excellent craft of dramatic scenes. This is a brilliant piece of filmmaking from one of the best filmmakers of today.
* * * *
Review: The Darjeeling Limited
One year after their father’s funeral, three brothers travel across India by train in an attempt to bond with one another. This film is pleasant, especially on the design front, but a lack of narrative and substance makes the whole a little too indulgently whimsical. The technical prowess of Wes Anderson is still top-notch in this film, with the best example being the train showcasing all of the characters at the end, but as a viewer I found myself drifting in and out of scenes. There are only a few moments in the film that demand your attention, and those scenes deliver. Unfortunately, the whole film doesn’t quite have the bite it could have. Overall, it’s a decent film and worth a watch.
* * *
Review: Bottle Rocket
Bottle Rocket is a film about a group of young Texans aspiring to become master thieves. Their leader is Dignan, an upbeat, naive charmer who convinces his friends Anthony and Bob Mapplethorpe to enter the crime business. This is a very dry film, not in a bad way, but in it’s subject and humour. Bottle Rocket doesn’t quite reach the same same level as Anderson’s following films, but nonetheless this is a sweet and pleasant breath of fresh air. An indication of Anderson’s distintive style and approach to filmmaking.
* * *