Tag: wes anderson

THE PHOENCIAN SCHEME – Review

(L to R) Benicio Del Toro as Zsa-Zsa Korda, Michael Cera as Bjorn and Mia Threapleton as Liesl in director Wes Anderson’s THE PHOENICIAN SCHEME, a Focus Features release. Credit: Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.

For any new Wes Anderson film, some things are certain: the art direction is going to be gorgeous, scenes will have central framing, and every little detail will be carefully thought out. That distinctive visual style is one of the things fans love about Wes Anderson’s work and that distinct visual aesthetic is on full display in THE PHOENCIAN SCHEME, which explores the vast moral emptiness of the lives of the ultra rich, through a tale of a sort-of Howard Hughes-ish/tech billionaire-type character in the same 1950s-ish world as ASTEROID CITY. The dark comedy, written by Anderson from a story by him and Roman Coppola, is a tale of international business and personal intrigue with commentary on the wealthy, as one of the world’s richest men tries to put together financing for one last big project before the next assassination attempt gets him, with the reluctant help of his daughter and sole heir, a nun, and a tutor-turned-assistant.

We meet wealthy businessman Anatole “Zsa Zsa” Korda (Benicio del Toro), one of the richest men in Europe, as he has just survived another assassination attempt. which forced him to crash-land his private plane in a cornfield. Korda treats the repeated attempts as routine, the cost of doing business, but this time, he thinks he might take steps in case one of them actually succeeds.

He decides to make his only daughter Liesl (Mia Threapleton), a nun, the sole heir to his estate. The two do not really know each other, as she was taken to the convent and raised by Mother Superior (Hope Davis) after her mother’s death. And she actually isn’t a nun yet, as she still has to take final vows, but as she was raised in the convent, it seems to be a sure thing. And she isn’t Zsa Zsa’s only child – he has nine younger sons too, who he leaves in charge of a tutor and never sees, although they live in his mansion. There are no mothers, and there seems to be questions about what happened to them.

The daughter resists the idea of being his sole heir and especially his plan that she needs to come along on his latest enterprise, a big infrastructure building project in a country called Greater New Phoenicia, to learn the business, which requires trips to visit various potential investors around the world, including his half-brother, Uncle Nubar (Benedict Cumberbatch). When a new Swedish tutor, Bjorn Lund (Michael Cera) who turns up to teach the sons, he gets pressed into service as ZsaZsa’s new assistant. He also becomes smitten with the nun-to-be.

Eventually, she does agree (else, there is no movie), and del Toro’s ultra rich businessman ZsaZsa, Threapleton’s nun Liesl and Cera’s tutor-turned-assistant Bjorn embark on an international adventure involving scheming business rivals, recalcitrant tycoons, potential terrorists, dangers, and ever-growing number of assassins. At the same time, a group of American business interests, led by Excalibur (Rupert Friend) secretly both engage in espionage and sabotage of Zsa Zsa Korda’s plan.

All this takes place in a beautifully theatrical-looking Wes Anderson world, those special self-contained spheres that Anderson creates so well. Nothing looks real but all looks colorful, fascinating and perfect, thanks to Director of Photography Bruno Delbonnel, productions design by Adam Stockhausen, and costume design by Milena Canonero. A bold classical music score, supplemented by original music by Alexandre Desplat, forms a perfect musical backdrop.

The cast is very good but Michael Cera is a standout. Cera is so perfect for the Wes Anderson world, it is surprising he hasn’t been in one of these films before this. Also very good is Mia Threapleton, who is saintly but stubborn, quick of wit and of action, with unexpected skills for a nun. Liesl may be a nun-in-training but, oddly, she does some very un-nun-like things, like wear bright red lipstick (real nuns don’t wear make-up). Benicio del Toro is deadpan as cigar-chomping millionaire nearly throughout, a studied unflappable demeanor but with a hint of sadness, maybe a lurking conscience.

The film features a small army of stars in minor, even cameo, roles, and some larger ones too. Among the potential investors in the Phoenician Scheme are Riz Ahmed as Prince Farouk of Greater Phoenicia, Tom Hanks and Bryan Cranston as American businessmen Leland and Reagan (respectively), Mathieu Amalric as nightclub owner Marseilles Bob, Jeffrey Wright as ocean-going ship’s captain Marty, and Scarlett Johansson as ZsaZsa’s second cousin. Richard Ayoade appears as a idealistic “radical freedom fighter” called Sergio, who turns up at a couple important moments.

The extensive cast makes it seem like everyone is in this film. And, yes, that includes Wes Anderson favorite Bill Murray, in intermittent black-and-white fantasy sequences in Heaven. Oh yeah, on top of all that is goings-on on earth, Zsa Zsa periodically ends up in the afterlife, either dreaming or in near death, where he sees his grandmother (Carmen Maja Antonie), meets God (Bill Murray) and faces some questions from various characters, such as Willem Dafoe as Knave and F. Murray Abraham as Prophet, doubtless a reference to those movies of the ’30s-’40s where characters question or defend their life choices in similiar supernatural interludes.

Unlike THE FRENCH DISPATCH, this isn’t an anthology film and it isn’t a tale with multiple layers of story-telling like ASTEROID CITY and GRAND BUDAPEST HOTEL. However, like those later two it feels like an homage to classic film genres, in this case, a globe-trotting adventure/action/intrigue one, but there clearly is something more going on here.

There is a lot of busy-ness (and characters) in this plot. While the plot doesn’t make all that much sense, Wes Anderson does seem to be saying something about the very wealthy, those whose wealth is so great, they hardly notice the other human beings who occupy the planet as they go about their schemes and grand plans, suggested by Zsa Zsa’s slogan on the poster: “If something gets in your way, FLATTEN IT.

As one small example, in the assassination attempt in the film’s opening sequence, Zsa Zsa sits in the middle of his luxurious circa-1950s private plane, while his assistant sits at the back. When a bomb goes off at the back of the plane, killing the assistant and blowing a hole in the plane, Korda races to the cockpit and sits in the co-pilot seat, calmly rattling off orders to the pilot. The panicked pilot (Stephen Park) argues back and complains, resulting in Korda telling him he’s fired and then hitting the seat eject button. The pilot is luckier: he as a parachute, but it illustrates the point. Zsa Zsa’s rich buddies – investors, really – are similarly clueless and callous as they engage in their own wheeling and dealing. The only normal-seeming people in the whole whirl are the various minor characters who drift in and out, and the convent-raised daughter and the shy, accented tutor

The story becomes one of reconciliation between father and daughter, something that feels very Wes Anderson as well. This all takes place in a fantasy world where plenty of more-than-unlikely things take place, but Anderson has human truths underneath as well, along with commentary on extreme wealth.

THE PHOENICIAN SCHEME opens Friday, June 6, in theaters.

RATING: 4 out of 4 stars

ASTEROID CITY – Review

(L to R) Jake Ryan as “Woodrow”, Jason Schwartzman as “Augie Steenbeck” and Tom Hanks as “Stanley Zak” in writer/director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

Wes Anderson is among the most creative directors out there, a true auteur with a distinctive style. His films, including THE GRAND BUDAPEST HOTEL, THE ROYAL TENENBAUMS and THE FANTASIC MR FOX, are often quirky, color-drenched, full of cultural references and even whimsical but also deeply human. While not everyone loves their unique style, he has many fans, including this writer. Anderson’s last film, THE FRENCH DISPATCH, was an anthology inspired by the New Yorker magazine, and while Anderson’s newest, ASTEROID CITY, is not an anthology, it’s a story-within-a-story format evokes some of that as does its deadpan off-kilter comedy – but here with an Atomic Age slant, of 1950s candy colors, science-focus, buttoned-down seriousness and even a touch of Area 51.

ASTEROID CITY is the name of a small Southwest desert town in the 1950s, where middle-aged war photographer Augie Steenbeck (Jason Schwartzman) has arrived with his three children so his oldest, Woodrow (Jake Ryan), can take part in a science fair-like competition for very brainy kids. The tiny town is named for the asteroid crater that is its one tourist draw, and has one gas station, one diner and one motel, the kind with little cabins. The cabins are filled with the gifted kids and their parents, including a famous actress, Midge Campbell (Scarlett Johansson). The kids are going to show off their science creations and receive awards at the meteor crater, in ceremony led by General Gibson (Jeffrey Wright) and organized by physicist Dr. Hickenlooper (Tilda Swinton). While waiting for the ceremony, Augie talks by phone with his well-off father-in-law Stanley Zak (Tom Hanks), who lives nearby and who urges Augie to share the tragic secret he has been concealing from his son and young twin daughters.

Except none of that is real, because Asteroid City isn’t a real place. It exists only in a play being broadcast on TV, as the announcer/host (Bryan Cranston) tells us. The whole thing – play and TV broadcast – evokes the 1950s, a time when serious theatrical productions by big-name playwrights, even original ones, appeared on the small screen. There is also just a touch of a “Twilight Zone” vibe to the TV sequences, with their narrator, presented in black-and-white and in a square frame like an old television show.

In contrast to those black-and-white sequences, the world of the play itself, “Asteroid City,” fills the screen with bright pastel colors, reflecting the era’s advertising artwork, with lots of pink, teal and tangerine orange. Everything looks like a stage set – or a movie one. The town has all the classic ’50s elements: a one-pump gas station, a diner with a long counter, a motel with little cabins, even a highway ramp that goes nowhere. From the wood-panel sided station wagons to the meteor crater tourist site, ASTEROID CITY has it all.

ASTEROID CITY is a complicated, three-ring circus of a comedy, a send-up of the ’50s stereotypes and culture, but it is also a film that is likely to divide audiences – a sort of love-it or hate-it film. It is busy and crazy but if you can just go with its flow, and especially if you are a fan of Wes Anderson generally, it is fun, and even impressive that Anderson can pull it all off (Anderson even throws in a little animation). Personally, as a big Wes Anderson fan, ASTEROID CITY delighted me although it may not top my list of favorites. Yet, some others might even rank it as among his best. However, for others, it may be the opposite. If you crave deeper character development or a reflection on human life, which some Anderson films offer, ASTEROID CITY might be irritating more than enthralling. A good rule of thumb might be how you felt about THE FRENCH DISPATCH. Love that one, and this one will likely follow its path to your heart.

As the film alternates between those two story-lines, one with the characters in the play and the other the people putting on that play and broadcast, both stories reflect the 1950s world where they both exist. In the desert world of the play, the adults struggle with their various issues as the kids await the science awards, until a surprise disrupts the carefully-planned program. In parallel, we follow playwright Conrad Earp (Edward Norton) as he crafts the play in which those character exist, and the artistically-driven director, Schubert Green (Adrien Brody), has he shapes it for the studio stage, as well as the tales of the quirky actors in it. Which means some of the film’s actors play dual roles, with Jason Schwartzman playing Jones Hall, the actor playing Augie Steenbeck and Scarlett Johansson playing Mercedes Ford, playing Midge Campbell. Matt Dillon, Stephen Park and Rupert Friend also play dual roles, actors and characters in the play.

Confused? Yes, director Wes Anderson has a lot of balls in the air as he juggles these two stories and this large cast, But this a comedy, which means a bit of chaos works in its favor. There are plenty of sterling comic bits, and visual joking, playing off the kitsch and culture of the 1950s era, with its science-seriousness, and futuristic optimism battling Atomic Age nerves, with a splash of space alien flavor.

ASTEROID CITY is packed with big-name stars, including several Wes Anderson regulars, which gives wide potential for its plentiful weird little comic bits involving supporting characters. And quirky, deadpan characters abound here, among them, Steve Carell as the manager/owner of the town’s sole motel, which has the most impressive oddball assortment of vending machines, including one that sells real estate.

Unsurprisingly, the A-list cast is excellent, and each gets his or her moment. Jason Schwartzman and Scarlett Johansson carry much of the dramatic element, as they share their various struggles, but Tom Hanks, Adrien Brody and others get their moments. A fair amount of comedy comes from Steve Carell as the very entrepreneurial motel owner, but there are plenty of others in the mix.

Actors playing actors playing actors is among the nested elements in this film. This structural conceit is a bit unwieldy at times but whether all the ’50s references about science, alien landings, Actors Studio and more delight or irritate will depend on the individual. One feels that if ASTEROID CITY were a straightforward telling of the story in the play, without the framing device, it would have been sufficient. But Wes Anderson wanted to do more, and so gives us this three-ring circus of a film, not content with just one act in the ring.

ASTEROID CITY has dazzle, it’s fun and sparkling, and has full-bore star power. But the dual-story track can distract, interrupting each story by turn, which might make it harder to engage with the characters. Depending on what someone wants or expects from the film, it will be an enthralling ride or a frustrating one.

ASTEROID CITY opens Friday, June 23, in theaters.

RATING: 3 out of 4 stars

Focus Features To Takeover The Landmark Theatres Sunset In Los Angeles For Wes Anderson’s ASTEROID CITY In A One-Of-A-Kind Immersive Experience From June 15th – June 30th

Get ready to Blast Off!

Focus Features is transforming the Landmark Theatres Sunset in Los Angeles into a real-life Asteroid City for an exclusive two-week immersive experience. The pop-up will be open to the public beginning with 7:45PM preview screenings of ASTEROID CITY on Thursday, June 15th, with all five screens at the theater showing Wes Anderson’s newest film for the first two weeks of its theatrical run. ASTEROID CITY takes place in a fictional American desert town circa 1955, when the itinerary of a Junior Stargazer/Space Cadet convention is spectacularly disrupted by world-changing events.

Brimming with vibrant colors and the unique aesthetic that has come to represent a Wes Anderson film, this singular experience will transport fans into another world. Patrons will have the opportunity to explore the fictional town of Asteroid City in person while capturing photos with set re-creations, props from the film, and costume displays. The theater’s concession area will be transformed into the 1950’s luncheonette seen in the movie, and interactive elements inspired by the film’s fictional town will be featured throughout the space.

Kevin Holloway President Landmark Theatres commented, “Landmark Theatres is proud to have innovative and collaborative studio partners like Focus Features, that like us, remain committed to celebrating specialty films like Wes Anderson’s latest, ASTEROID CITY. We’re excited to unveil our latest Landmark location by dedicating our entire Sunset complex to this fully immersive experience.”

Added Lisa Bunnell, President of Distribution at Focus Features, “Watching a Wes Anderson movie is an incredibly unique experience that can often feel like you’re stepping into an entirely new universe. We’re excited to partner with our friends at Landmark Theaters to bring his newest film to life with this pop-up and give fans the opportunity to experience a bit of Wes’ magic in person.”

(L to R) Jason Schwartzman stars as “Augie Steenbeck” and Scarlett Johansson stars as “Midge Campbell” in Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

In addition to standard admission tickets, fans can also purchase a premium experience ticket which will include a movie ticket, an exclusive t-shirt, and concessions.

Located at the Landmark Theatres Sunset at 8000 W Sunset Boulevard, the pop-up experience will be open from June 15th – June 30th.

For more information and to purchase tickets to ASTEROID CITY, visit: www.focusfeatures.com/asteroid-city

ASTEROID CITY takes place in a fictional American desert town circa 1955. Synopsis: The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.

The film’s huge cast features Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Jeff Goldblum.

ASTEROID CITY opens in limited theaters in NYC and LA on Friday, June 16th and expands nationwide on June 23rd.

(L to R) Tom Hanks as Stanley Zak, Hope Davis as Sandy Borden, Tony Revolori as Aide-de-Camp, and Liev Schreiber as J.J. Kellogg in writer/director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

Wes Anderson’s ASTEROID CITY First Trailer Features The Stellar Cast Of Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston And Jeff Goldblum

Focus Features has released the first trailer for Wes Anderson’s ASTEROID CITY.

ASTEROID CITY takes place in a fictional American desert town circa 1955.

The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.

Deadline is reporting that the film will debut in May at the Cannes Film Festival. Anderson’s previous films to bow at the festival are MOONRISE KINGDOM and THE FRENCH DISPATCH.

The huge cast includes Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, and Jeff Goldblum.

Focus Features will release Asteroid City in select theaters on Friday, June 16th nationwide on Friday, June 23rd.

Scarlett Johansson in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

Steve Carell in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

Wes Anderson’s THE FRENCH DISPATCH Available on Blu-ray and DVD on December 28th

“A message from the foreman, one hour to press.”

Wes Anderson’s The French Dispatch Releases on Digital December 14 and Blu-ray and DVD on December 28

Academy Award nominee and visionary filmmaker Wes Anderson presents his 10th film, The French Dispatch. An homage to literary journalism, French culture and classic cinema the film is praised by critics and audiences alike for its exquisite visuals, captivating performances and unique artistry. Add The French Dispatch to your collection on Digital December 14 and on Blu-ray and DVD December 28.

Wes Anderson’s The French Dispatch brings to life a collection of stories from the final issue of an American magazine published in the fictional 20th-century French city of Ennui-sur-Blasé. With an all-star cast that includes Benicio Del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray and Owen Wilson, this vibrant film is a funny, moving celebration of journalism.

Cast

Benicio Del Toro as Moses Rosenthaler

Adrien Brody as Julian Cadazio       

Tilda Swinton asJ.K.L. Berensen     

Léa Seydoux as Simone

Frances McDormand asLucina Krementz

Timothée Chalamet as Zeffirelli

Lyna Khoudri as Juliette                   

Jeffrey Wright as Roebuck Wright

Mathieu Amalric as The Comissaire

Stephen Park asNescaffier (as Stephen Park)          

Bill Murray as Arthur Howitzer, Jr.              

Owen Wilson asHerbsaint Sazerac

Christoph Waltz asPaul Duval

Edward Norton asThe Chauffeur    

Jason Schwartzman as Hermès Jones

Anjelica Huston asNarrator  (voice)

THE FRENCH DISPATCH – Review

(From L-R): Elisabeth Moss, Owen Wilson, Tilda Swinton, Fisher Stevens and Griffin Dunne in the film THE FRENCH DISPATCH. Photo Courtesy of Searchlight Pictures. © 2020 Twentieth Century Fox Film Corporation All Rights Reserved

After heading off to distant worlds in DUNE (transported via the “cinema starship”), how about a visit to another faraway world? Well, it feels and looks pretty similar to our own, but with some major differences. If only our Earth had as much wit, charm, and whimsy, though both have Bill Murray, one of a galaxy of stars. I’m talking about the wondrous world of Wes Anderson, who effortlessly mixes nostalgia, literate language, and modern film tech to create a place that evokes a magical past, but feels fresh and new. And, he’s gifted movie lovers with a pretty wrapped early holiday present. Oh, it’s a gift subscription to the supplement magazine to the Liberty Kansas Evening Sun, THE FRENCH DISPATCH.


The film begins, much like many periodicals, with a brief publishing history and a table of contents, introducing us to the various editors. Its office on the top floor of a small building in the French metropolis of Ennui-sur-Blase is run by longtime editor Arthur Howitzer, Jr. (Murray) until his sudden death in 1975. As his longtime staff gathers for a memorial in his private office, the narrator (Angelica Huston) presents several articles from the supplement’s long run. First is a bicycle tour of the streets of Ennui by writer Herbsaint Sazerac (Owen Wilson). The pages turn to the art section as J.K.L. Beensen (Tilda Swinton), tells the story of painter Moses Rosenthaler (Benicio Del Toro) to a rapt audience. Moses was producing abstract paintings of his muse/guard Simone (Lea Seydoux) while serving a lengthy sentence for multiple murders (though he’s clearly disturbed). This attracts the attention of art dealer/hustler Julian Cadazio (Adrian Brody) whose gallery promotes the work of Moses. Though unable to get the artist a pardon, Julian prods him into creating a masterpiece for the owner of the Evening Sun. From there we’re off to the “current events” section as writer Lucinda Krementz (Frances McDormand) examines the student uprisings of the late 60s as she focuses on the young leader of the movement, the charismatic Zefferelli (Timothee Chalamet). Rounding out this “best of” edition is a food article by Roebuck Wright (Jeffrey Wright). Guesting on an early 70s TV talk show he relates the story to its host (Liev Schrieber), one that begins as an examination of “police cuisine” by sharing a meal with the police commissioner (Mathieu Amalric). But the entrees are set aside when the commissioner’s son is kidnapped by ruthless criminals led by his chauffer (Edward Norton) and his showgirl/moll (Saoirse Ronan). This prompts a harrowing chase and a police dragnet of the city. At its conclusion, the story resumes back in Howitzer’s office as the staff prepares for an uncertain future.

As with many Anderson projects, there are no clear “lead roles’, but the cast, many in his unofficial “reparatory company” get ample time to ‘shine’ in several small roles. Murray is the perfect father figure/supervisor as the soft-spoken Howitzer. Wilson balances his laconic line delivery with some nifty slapstick as our cycling guide (look out for the subway entrance…). One of the movies’ most versatile “chameleons” adds another eccentric role to her repertoire as the awkward, toothy art expert who’s not as witty as she believes. Del Toro is funny and dangerous as the animal-like art savant and is matched by Tony Revolori as his younger self. He makes for a good counterpart in his scenes with Brody as the intense, motor-mouthed “artist exploiter” Julian. Seydoux is the ultimate deadpan seductress as the prison’s model/muscle. McDormand is “all business” as the investigating journalist who gets far too close with Chalamet, who’s his usual youthful charmer (and capable of cultivating a much better mustache, I’d think). As the new writer in town, Wright has a melancholy dignity as he conquers the challenges of the time (though many barriers he faced are still in place). Amalric is a most efficient “crimebuster”, always in control despite the danger to his youngster. His personal chef, Nescaffier juggles policework and epicurial accument is played with grace and subtlety by Stephen Park. And though they’re given few lines, it’s great to see Elizabeth Moss, Fisher Stevens, and Griffin Dunne huddled in the editor’s office. Oh, and who’s that next to Anderson stalwart Bob Balaban? Could it be our beloved Fonz, Henry Winkler? Exactamundo’!

As you’ve no doubt surmised, this is an anthology film, with segments clearly delineated by article headings and even page numbers (Pg. 14-53, etc.). And with that format, some stories are stronger than others. It was wise for Anderson to bookend the (to be kind) less riveting of the stories (the student protests) in the middle, between the delightful prison artist and police dinner sequences. The script from Anderson and co-writers Roman Coppola and Hugo Guinness is full of wit and acerbic commentary (“no crying” is written above Howitzer’s door). And then there are the exquisite visuals. Each moment is designed and framed like a classic illustration or photo essay from a bygone era. Happily, Anderson has the look of the film constantly changing, popping from black and white to color, from widescreen to standard “square” ratio, and going from rapid editing “chops” to superb “slo-mo”. Plus there’s a nod to “old school” effects with some delicate miniatures (love the “cross-section” airplanes) along with classic “hand-drawn” style “2D” animation (the a”artist renderings” are in the style of the FD covers created by the staff artist Hermes Jones played by Jason Schwartzman). It’s all engaging “eye candy’ for adults (though all ages should be fascinated). Here’s another qurky, endearing literary “love letter” from one of our most imaginative film “voices”. It’s a shame we can’t all subscribe to THE FRENCH DISPATCH, but this delight is the next best thing.

3.5 Out of 4

THE FRENCH DISPATCH is playing in select theatres

Wes Anderson’s THE FRENCH DISPATCH Opens This Friday at The Hi-Pointe Theatre in St. Louis

“A message from the foreman, one hour to press.”

The Hi-Pointe Theater (1005 McCausland Ave in St. Louis), the best place in St. Louis to see movies! The Hi-Pointe has the best popcorn, the biggest screen, and a great beer selection! No reservations required at The Hi-Pointe. Just show up! Wes Anderson’s THE FRENCH DISPATCH opens this Friday October 29th at The Hi-Pointe. There will be an advance screening October 28th at 7pm. The Hi-Pointe’s site can be found HERE

A love letter to journalists set in an outpost of an American newspaper in a fictional twentieth century French city that brings to life a collection of stories published in “The French Dispatch Magazine”.

THE FRENCH DISPATCH stars Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray, and Owen Wilson

THE FRENCH DISPATCH, a New Film Directed by Wes Anderson, Opens July 24th

We Are Movie Geeks does not have much more information on this film, nor have any photos from the set been released yet, but this is exciting news for fans of the eccentric director. This will be Anderson’s first live-action film since THE GRAND BUDAPEST HOTEL in 2014. The IMDB describes the plot of THE FRENCH DISPATCH as: ” A love letter to journalists set in an outpost of an American newspaper in a fictional 20th-century French city that brings to life a collection of stories published in “The French Dispatch” magazine. “

Timothée Chalamet, Saoirse Ronan, Cécile de France, Willem Dafoe, Bill Murray, Tilda Swinton, Owen Wilson, and Christop Waltz all co-star in the film. Look for further coverage here at We Are Movie Geeks.

Wes Anderson’s Terrific ISLE OF DOGS is Currently Playing at The Hi-Pointe in St. Louis


The Hi-Pointe Theater, at 1005 McCausland Ave in St. Louis, is the best place to see a Wes Anderson movie. Something about its city locale, its nostalgia factor, its retro interior, and the fact that they sell wine by the bottle make me think that Anderson would be happy to know that his newest, ISLE OF DOGS, is currently playing there. It’s been showing at Landmark’s Plaza Frontenac Theater (a fine venue) for the past week and I certainly don’t begrudge anyone who already saw it there. After all, I did claim ISLE OF DOGS “deserves a prominent spot in the run for this year’s best-animated feature Oscar.” in my 5-star WAMG review last week (read my complete review HERE), but The Hi-Pointe is the place to be and is where I’ve already seen it a second time and will likely indulge a third.


Here are the showtimes for ISLE OF DOGS at The Hi-Pointe:
Monday, April 9 -Thursday, April 12:  (5:30), 8:00

The Hi-Pointe’s Site can be found HERE

ISLE OF DOGS – Review


ISLE OF DOGS is a treat for fans of director Wes Anderson, who makes a welcome return to stop-motion animation ten years after THE FANTASTIC MR. FOX. Anderson’s new film looks raggedly beautiful, is hilariously off-balance, warm-hearted, and perfectly composed and detailed – much like every other Wes Anderson movie. The title is a reference to Trash Island, a mountainous accumulation of garbage where, in the near future, the canine population of Megasaki City in Japan is banished by cat-loving Mayor Kobayashi (voiced by Kunichi Nomura). This is after a plague of Snout Fever (also known as the Dog Flu) has broken out, endangering both dogs and humans. The pooches are dropped from planes onto the island where they battle over maggot-infested food scraps plucked from piles of trash. Mayor Kobayashi’s 12 year-old nephew Atari (Koyu Rankin) commandeers a small airplane and crash-lands it on Trash Island in hopes of finding his cherished pet Spots (Liev Schreiber), who’d been dropped there six months earlier. Atari is aided in his search by a motley band of alpha hounds including tough stray Chief (Bryan Cranston), leader Rex (Edward Norton), former dog food commercial star King (Bob Balaban), gossipy Duke (Jeff Goldblum), and former sports mascot Boss (Bill Murray). Their journey leads them across the island, where word has it that Spots may be among a savage pack of feral dogs and they soon discover that the enclave is not only a trash heap, but also a dumping ground for a failed nuclear plant. Back in Megasaki, tenacious (and freckled ) American foreign exchange student Tracy Walker (Greta Gerwig) leads a pro-dog resistance movement against Kobayashi’s government after discovering, with the help of scientist Yoko Ono (Yoko Ono), a conspiracy to suppress a found cure for Snout Fever.

Original, eye-popping, and somewhat topical in its story about a shady government fabricating its own truths to feed fear and prejudice, ISLE OF DOGS is essentially a Wes Anderson movie with eccentric humans replaced by eccentric stop-motion mongrels. Anderson’s clever script (co-written by Roman Coppola and Jason Schwartzman) is casually but meaningfully voice-acted by a stable of Anderson stalwarts who deliver their lines with the same cadence that makes his live-action films so endearing (Scarlett Johansson, F. Murray Abraham and Tilda Swinton are also on board). The cool pauses, the dry wit and clever humor are all in full effect and the way this movie comes together is a testament to Anderson’s distinctive abilities (the sushi prep bit is pure Anderson). It all plays out under another of Alexandre Desplat’s terrific, off-beat scores. Anderson is clearly enamored of Japanese cinema and culture and while much of the dialogue is spoken in Japanese without translation (though sometimes explained in narration by Frances McDormand’s ‘Interpreter Nelson’), there’s never doubt as to what is going on in the story. There’s a lot to take in a second viewing is likely mandatory to absorb all of the detail and personality. It may be slightly over-extended and the standard complaint about Wes Anderson that his visuals are so colorful and characters so whimsical that the story often takes a back seat to the quirk could apply (but not enough for me to dock it any points). ISLE OF DOGS isn’t a movie that will appeal to children or tweens looking for a more energetic animated film and I’d say it’s even less kid-friendly than THE FANTASTIC MR. FOX, but it’s a genuine charmer and deserves a prominent spot in the run for this year’s best-animated feature Oscar.

5 of 5 Stars

ISLE OF DOGS opens exclusively in St. Louis March 28th at Landmark’s Plaza Frontenac Theatre