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The wes anderson collection hardcover6/28/2023 ![]() ![]() A diorama overdose scene is emblematic of the carefully calibrated subplot.Īgainst that, the film is an aesthetic triumph, a gorgeous gallimaufry of artefacts from the golden age of American technocracy, Looney Toons and westerns. Tableaux in dialogue with Bus Stop and The Misfits add to the knot. ![]() Interesting self-reflexive ideas, including Johansson playing an actor playing an actor, feel underdeveloped. ![]() ![]() The director’s trademark deadpan silences have seldom felt longer. Willem Dafoe’s Stanislavski-ersatz Saltzburg Keitel begs for an acting studio movie to call his own.Īnderson’s 11th movie is simultaneously furiously busy and curiously uneventful. Margot Robbie is a footnote and a photograph. Blink and you might miss Jeffrey Wright’s general, Tilda Swinton’s astronomer, Jeff Goldblum’s alien and Maya Hawke’s Clementinian schoolmarm. This smaller family crisis is surrounded by a dizzying number of characters. The occasion is doubly, triply interrupted by a UFO landing, a subsequent government lockdown and debriefing, and wall-breaking inserts concerning Jones Hall (Schwartzman, again) and Mercedes Ford (Johansson again), the actors who play Midge and Augie, and their cohorts back east.Īs Asteroid City – that is to say, the cartoonish drama within the drama – opens, Augie’s car breaks down, and he calls his father-in-law, Zak (Tom Hanks), to pick up his young scientist son, Woodrow (Jake Ryan), and three daughters.Īugie has yet to tell their children that their mother has died. ![]()
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