Michael C. here to try to look past the standard take on one of our leading filmmakers.
Steve Zissou: This is going to hurt.
I have decided that I am no longer interested in reading reviews of Wes Anderson films that contain the word “quirky” in the opening paragraph. Same goes for “twee”.
Over and over I read that, what do you know, Wes Anderson has gone and made another Wes Anderson movie. It’s about time, don’t you think, that people take a more substantive look at a one of the most distinctive bodies of work of the last two decades? A body of work whose deeper currents are often ignored amid the same old talk about flat compositions and diorama sets. Anderson’s movies have a lingering impact that defies those would dismiss his carefully composed world as emotionally detached. Right below that carefully composed surface are the deeper currents of a director preoccupied with death, loss, and alienation.
With all the focus on his signature colorful style are we ignoring Wes Anderson’s dark side?