I realize he's ultimately not crap but his entire thing leaves me absolutely cold. I don't care about his characters. I don't enjoy his manicured camerawork.

It feels like film for that certain type of person who works in design and also believes design is the most important thing in the world.

Ace K wrote: Fri Jun 23, 2023 1:46 am I realize he's ultimately not crap but his entire thing leaves me absolutely cold. I don't care about his characters. I don't enjoy his manicured camerawork.

As something of an Anderson apologist I think this is fair and kind of the unavoidable pure flavor of what he does. His characters don't feel authentic. They're more like storybook analogies for actual human emotions. It's weird to think that for all the drama in his stories the characters seldom feel like they embody an emotion only that their dialogue and experience gestures towards it. It almost reads like a speech bubble in a graphic novel. This is clearest to me in a scene like Luke Wilson flatly stating "I'm gonna kill myself tomorrow" into the mirror. Never once is his face twisted with grief before he slits his wrists.

I think viewers tend to expect an intact fourth wall that at worst is occasionally broken to advance an audience understanding of the story, or to provide a window into the unreliable narrator. WIth Anderson, there never is a fourth wall. You are invited to peek into the immaculately crafted facade and become a witness to something that is nothing more than a put-on. If that lack of suspension of disbelief and depth of character and story is not to your liking, you're going to hate WA. If you don't like four-part contrapuntal harmony in cannon or fugal form, descending circle-of-fifths modulations and authentic cadence, you're probably going to hate JS Bach too. I get it.

I can't stand Marvel movies, so I don't go to them. I'm okay with WA movies. I like the aesthetic and craft. I'm okay with the childish storytelling. It's a thing he does well.

losthighway wrote: Fri Jun 23, 2023 9:25 am Never once is his face twisted with grief before he slits his wrists.

I'd have that down as a rare instance of emotion being accurately reflected in a Wes Anderson film.

Kubrick for Disney adults. Hard pass.

The extent to which you like Wes Anderson is a 100% accurate guide to how colonised you are by bougie brain parasites.

Bluegum LaBloat wrote: Fri Jun 23, 2023 10:51 pm The extent to which you like Wes Anderson is a 100% accurate guide to how colonised you are by bougie brain parasites.

Your efforts to troll have reached limp dick levels. Please try harder if you really want the attention you crave. This forum is 20 years old, and you have yet to chip the paint. Do better. Or don't. No one gives a fuck.

I liked his first few, around the time they were released. They have a resonant moodiness at points. Good "mise en scene" (however you'd care to define it). More thoughtfulness in the way they were devised than the vast majority of movies. But the needle drops started getting less purposeful in places around Tenenbaums. And I know that a lot of people since have felt that his style, its tendency to be arch, has become predictable, if not irritating.

For one reason or another I fell off for a while and didn't check in again until The Grand Budapest Hotel, which I didn't bother to finish as the emotions in it felt like water through a sieve. Nice visuals, lots of noteworthy cameos, but not much "pull" in other departments.

Can't really vote without seeing more.