Of all the current filmmakers working today, I’m not sure that there is one with a more distinct style than Wes Anderson. Here’s what I mean by that: if there was some unearthed Anderson film the world had not seen, and you showed a scene of it, most people would be able to tell you who the director was. There’s something in the look, the dialogue, the score, the editing, and how it all blends together for a beautiful pastiche. I have often said that every frame of his 2012 masterpiece Moonrise Kingdom is so gorgeous that they could all go in an art museum. His failures (The Darjeeling Limited) are, at worst, “ambitious missteps” and his successes (The Royal Tannenbaums, Rushmore, The Grand Budapest Hotel and so on and so on and so on) are some of the best films of their years.
That is not to say that Anderson is not without his critics: people who think he is too cutesy or twee or quirky, sometimes at the sake of substance. I’m not dismissing all of those critics out of hand (though they all are wrong… and stupid… and probably ugly), but for those who do not like what Anderson has given, allow me to offer some advice about his latest film, The French Dispatch:
This film is not for you.
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