Dunno why I was staying even semi-grumpy about this, still a little too gossamer-thin to compete for my favorite but hard to argue with as the very Soderberghiest of his catalog, breezing by on a career's worth of ingenious, disparate stylistic tricks and some very funny guys and stars (she really makes me believe that's Tess and not Julia Roberts). My favorite part was the extended Schizopolis bit but now it's the Solaris flashback, it is a bummer that Thirteen leaves Catherine Zeta-Jones hanging after she delivers this. But maybe it's best to leave her only seen how Milena Canonero styles her.

Art, man

“boo hoo I don’t like Wes Anderson I can’t enjoy a Lacanian conservative fantasia even though it’s soooo pretty and sooo funny and basically the only place you can see Hollywood movie stars involved with sophisticated and rewarding material” - some of you

"What worth is there in the pledge of a swindling rogue?"

Not as layered or as emotionally dense as his best films from the last decade, but it's hard to complain when the movie is this brisk and consistently funny. Imagine if a more ambitious Royal Tenenbaum was teleported into the post-war Europe of Grand Budapest. Had never heard of Mia Threapleton before, but she completely steals the movie and...

:Googling while writing the blurb:

...also apparently she is Kate Winslet's daughter????

“Break. But never bend.”

There is perhaps no sure way to salvation in the end, but allowing ourselves to be changed through love and forsaking greed isn’t a bad place to start. 

Endlessly funny, every joke hits. He just doesn’t miss. Feels firmly Nu-Wes with shades of Life Aquatic and a dash of Tenenbaums. The black and white sequences are some of my favorite things he’s ever made, as well as some of his most breathtaking close ups. Loved.

This was a delight, felt like venture bros for people that have more than a ing interest in Orientalist architecture

The corporate espionage trappings provide an ideal container for some time-tested Andersonian themes. My usual resistance to his sanded-down dramaturgy didn't surface here; the genre obligates the sublimation of conflict into negotiation, disaffection and compromise, which nonetheless converge in some unusual and highly welcome disruptions of the visual schema. Didn't like the supernatural interludes, one filligreed flourish too many, but I suspect they will grow on me as the rest of the film's concerns did even in the course of a single sitting.

prepare for deviltry! a hilarious rowdy mystery thriller whose villain is running around in a properly terrifying costume, more man-bat than bat-man. every scene contains a fun gag, every character leaps at their own shadow, murderous tricks and plenty of rooftop skullduggery. i will dare to say that roland west is the american feuillade, and i can't get enough of his silly adventures in spooky houses, this is my comfort zone.