Tagged: Wes Anderson
Review – Isle of Dogs (2018)
Director: Wes Anderson
Starring: Bryan Cranston, Koyu Rankin, Edward Norton, Bob Balaban, Bill Murray, Jeff Goldblum, Kunichi Nomura, Akira Takayama, Greta Gerwig, Frances McDormand, Akira Ito, Scarlett Johansson, Harvey Keitel, F. Murray Abraham, Yoko Ono, Tilda Swinton, Ken Watanabe, Fisher Stevens, Liev Schreiber, Courtney B. Vance.
In recent years, Wes Anderson has seemingly surpassed Tim Burton as cinema’s most popular and recognisable visual stylist. With every new film he only becomes more and more Wes Anderson. His latest offering, Isle of Dogs, is possibly his most imaginative film yet and sees him returning to the painstaking medium of stop-motion animation for the first time since Fantastic Mr. Fox.
While the title of the film may sound like ‘I love dogs,’ it takes us to a world which sadly does not. In the fictional Japanese city of Megasaki, 20 years in the future, an outbreak of snout fever and dog flu has seen Mayor Kobayashi (Kunichi Nomura), the latest head of the cat-loving Kobayashi dynasty, banish all of the city’s dogs to Trash Island. In this exile colony sick and angry dogs search for food among the garbage, forming gangs and alliances in order to survive. Continue reading
Best Picture Breakdown 2015
The Academy has presented us with quite an interesting eight film field for Best Picture this year. While half of the nominees are biopics – traditional Best Picture fare – we also have some rather audacious and distinctly non-traditional contenders. There is even a comedy in there! We also don’t have a cut and dry favourite, with different films having seemingly risen and faded over the last few weeks. What follows is a breakdown of the eight contenders chances and the arguments for and against for each. Continue reading
The Doctor of Movies’ Top 10 of 2014
1. The Grand Budapest Hotel (Wes Anderson)
Wes Anderson has for two decades now been the most distinctive cinematic voice in America, and this 1930s-style caper film is the most complete realisation yet of his aesthetic. Anderson first-timer Ralph Fiennes is not known for comedy, but he is tremendous here in leading an all-star cast. In a time when so many comedies are built around rambling improvisation it, there is something really striking about the meticulously crafted nature of The Grand Budapest Hotel. With a Russian Doll structure, the film is beautifully designed and precisely shot. A real treasure.
2. Calvary (John Michael McDonagh)
Irish director John Michael McDonagh managed to one-up his brilliant debut feature, The Guard, with this poignant, powerful and yet still very funny film about a rural Irish priest who receives a death threat in the confessional. What starts as a black comedy transitions into a quite profound modern passion play, with Brendan Gleeson delivering what is for mine the year’s best performance as Father James Lavelle, a good man who must bear the sins of the institution that he represents, an institutation that has failed both the wider community and himself.
3. Whiplash (Damien Chazelle)
Where so often movies about music focus on passion, soul, creativity and love for the art, Damien Chazelle’s debut feature chooses to explore the determination, single-minded obsession and dangerous perfectionism that goes into the pursuit of greatness. This emotionally and psychologically brutal film features a powerful and controversial depiction of the student mentor relationship as a determined young drummer is brought to the brink by a borderline psychotic conductor. JK Simmons is surely a short price favourite to walk away with a Best Supporting Actor Oscar early next year.
4. Boyhood (Richard Linklater)
There has never been a film quite like Boyhood. Writer-director Richard Linklater shot the film over a twelve year period, following the same boy (Ellar Coltrane) as he grew from a six year old into a young adult. Incredibly ambitious and effectively executed, the film manages to not only explore the evolving family dynamic as this family grows up together, but also to navigate the cultural and political changes the world experienced over the twelve years of production. Managing to be at the same time epic in scope and incredibly intimate, Boyhood is a truly unique cinematic experience.
5. Guardians of the Galaxy (James Gunn)
How hot are Marvel Studios right now? In what looked like a questionable step following the success of The Avengers, they announced they would be bringing a minor comic book about a motley crew of space adventurers that includes, among others, a talking raccoon and a walking tree, and they have turned it into the most exciting, fun and fresh blockbuster in decades. Rather than repeating the formula of The Avengers, James Gunn has gave Guardians of the Galaxy a completely different style and tone. This 1980s style sci-fi adventure is Marvel’s funniest film and has made a legitimate movie star out of Christ Pratt.
6. Inside Llewyn Davis (Joel & Ethan Coen)
While it lacked the mainstream potential of True Grit and No Country for Old Men, Inside Llewyn Davis saw the Coen brothers in top form. This character study of a neurotic, arrogant but undeniably talented folk musician offered significant insight into the mind of an artist while poking gentle fun at the earnestness of the Greenwich Village folk music scene. Bruno Delbonnel’s cinematography is stunning, with its muted colour palate of greys, greens and browns making the film feel almost black-and-white. The soundtrack, arranged by T-Bone Burnett is outstanding.
7. Locke (Steven Knight)
One man in a car making phone calls. Who’d have thought that could be the basis of the year’s best thriller? Steven Knight’s variation on the one-man play breaks with formula and bravely rethinks how to tell a story on screen. Carried by a compelling performance from Tom Hardy – one of the few actors in the world who can carry a film on their own for ninety minutes – this minimalist piece of filmmaking reimagines the very nature of what is cinematic.
8) Chef (John Favreau)
Jon Favreau got back to his indie roots in 2014 with his passion project Chef, the food porn film of the year. With its simple story, Chef is a completely endearing celebration of food, cooking, creativity, passion and family, with many critics seeing more than a hint of autobiography in chef Casper’s quest to rediscover his creative spark. Vibrant and alive with the Cuban inspired flavours of the food and the music, Chef is a joyous film and not to be seen on an empty stomach.
9) What We Do in the Shadows (Jermaine Clement & Taika Waititi)
With What We Do in the Shadows Kiwi duo Taika Waititi and Jermaine Clement take a subject matter, vampires, with which popular culture is teetering on the edge of overload, and a form, the mockumentary, that is every bit as tired and combine them to create a vibrant, original and downright funny movie. Juxtaposing the extraordinary with the mundane, the film follows a trio of vampire flatmates living in Wellington. The New Zealand sense of humour brings a slightly different sensibility to the film than we’d get from an American or British equivalent.
10) Under the Skin (Jonathan Glazer)
This year saw two films in which Scarlett Johansson got a bit cerebral. While Lucy was among the year’s worst films, Under the Skin was among its best. This odd film sees Johansson driving around Glasgow and the Scottish highlands, picking up men and then… well it’s best not to give away too much. A most peculiar and entrancing film, when you get to the end of Under the Skin you won’t quite know what you’ve seen but you’ll know you’ve seen something.
The Next Best (alphabetical): The Dark Horse (James Napier Robertson), Dawn of the Planet of the Apes (Matt Reeves), Frozen (Chris Buck & Jennifer Lee), The Lego Movie (Phil Lord & Christopher Miller), Nightcrawler (Dan Gilroy), The Wolf of Wall Street (Martin Scorsese)
The Worst Movie of the Year:
I, Frankenstein (Stuart Beattie)
200 years after being brought to life, Frankenstein’s monster finds himself in the middle of an ongoing war between demons and gargoyles for… You know what? It’s not worth going on. This diabolical film which recasts Frankenstein’s monster as an action hero is utter nonsense and would have Mary Shelley rolling in her grave.
Other stinkers: Grudge Match (Peter Segal), Love, Rosie (Christian Ditter), Lucy (Luc Besson), My Mistress (Stephan Lance), Non-Stop (Jaume Collet-Serra), They Came Together (David Wain)
by Duncan McLean
What were your best and worst films of the year? Post in the comments section and let us know.
Review – The Grand Budapest Hotel (2014)
Director: Wes Anderson
Starring: Ralph Fiennes, Tony Revolori, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Saorise Ronan, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson
Wes Anderson is probably the most distinctive cinematic voice in America today. An Indie darling, he has strong sense of aesthetic design and a quirky approach to narrative and character which he has been refining for almost two decades. With The Grand Budapest Hotel,Anderson’s eighth feature, we get his take on the 1930s caper movie, and in many ways the film his entire body of work has been building towards.
The Grand Budapest Hotel presents us with a Russian doll structure, with layer upon layer of prologue leading us in to the story. Each era, each layer of untrustworthy narration, is visually represented by a different aspect ratio. We start in the present day as a girl visits a park where there stands a monument to ‘The Author.’ She opens a book called ‘The Grand Budapest Hotel.’ From there we are taken to 1985, to the study of that author, who sets about narrating to us the story of his visit to the hotel. We then venture back to 1968 when the author, as a younger man, first arrived at the once great hotel and became intrigued by its wealthy owner, Zero Moustafa. Over dinner one evening, Mr. Moustafa begins to recount to the author the story of how he came to own the hotel. Finally, we come to rest in 1932 with the story of the young Zero, a humble lobby boy, and his mentor, M. Gustave. M. Gustave was the heart and soul of the Grand Budapest Hotel. A concierge, Gustave is at the beck and call of the many wealthy dowagers who are drawn to the Grand Budapest by, among other things, the ‘services’ he offers. When one of the older and wealthier of these clients, Madame D, expires, her will is found to bequeath a priceless artwork to Gustave. Her family is outraged and Gustave finds himself accused of murdering her. What results is a good old-fashioned caper farce.
At a time when so many mainstream comedies are built around rambling improvisation, there is something really striking about the meticulously crafted nature of Anderson’s films. The Grand Budapest Hotel is very carefully structured. The dialogue and performances are precisely delivered. The framing of each and every shot has an intentionality to it. The film is alive with Anderson’s trademark bright pastel colours, in this case particularly pinks and purples. This fictional Europe Anderson has created has a sense of fantasy to it (the titular hotel is not in fact located in the Hungarian capital but rather in the fictional country of Zubrowska), with some exterior scenes employ a sort of stop-motion animation style, with a similar mechanical feel to The Fantastic Mr. Fox. All performers speak in their own accents, creating an endearing hodge-podge of dialects.
The Grand Budapest Hotel boasts a truly star-studded cast. There are recognisable names playing even the smallest of roles. The Anderson regulars like Jason Schwartzman, Bill Murray and Owen Wilson, take a back seat in this one, filling only very minor roles. Previous collaborators like Willem Dafoe, Adrien Brody, Jeff Goldblum and Edward Norton are back for another go around to flesh out the cast, but at the centre of the film are four newcomers to the world of Wes; Ralph Fiennes, F. Murray Abraham, Jude Law and Tony Revolori. Across the board the cast is wonderful, but it is Fiennes who really shines.
Ralph Fiennes and Wes Anderson seems like a strange combination. But just as Anderson drew one of the great comedic performances out of Gene Hackman in The Royal Tenenbaums, Fiennes, despite not being known as a comedic performer, proves to be tremendous as the concierge-gigolo, M. Gustave. While still speaking and moving in accordance with Anderson’s rhythms, Fiennes brings a different presence to the film which enables the character to move beyond some of the constraints of a Wes Anderson character. M. Gustave is a more sexualised character than we are used to encountering in Anderson’s work. He also has these explosive outbursts of swearing, similarly out of character for an Anderson protagonist, but used to great comic effect when contrasted with his usual polished demeanour.
As a filmmaker, Wes Anderson is yet to make a serious misstep in his 20 year career, so expectations are always reasonably high when a new film is released. But The Grand Budapest Hotel is such a well-crafted, vibrant and fun film that it quite possibly could be his best film yet.
Review by Duncan McLean
Have you seen The Grand Budapest Hotel? Leave a comment and let us know what you thought.
The Doctor of Movies’ Top 10 of 2012
1. Argo (Ben Affleck)
People have to stop talking about Ben Affleck “being on a hot streak” or “enjoying a purple patch” as a director and accept that perhaps he is just a really talented director. Maybe he didn’t ride Matt Damon’s coattails to that screenwriting Oscar for Good Will Hunting all those years ago like so many joked. Argo, Affleck’s third film, is the year’s best thriller and mixes moments of extreme tension with some great laughs. Alan Arkin and John Goodman are fantastic as the CIA’s Hollywood collaborators.
2. Hugo (Martin Scorsese)
A few eyebrows were raised when it was announced that Scorsese was going to adapt a children’s book as his next project, but with David Selznick’s The Invention of Hugo Cabret it made perfect sense. Hugo was Scorsese’s love letter to the early cinema. A visually stunning film it is also one of the few films that have been made which have convinced me there may be some merit to 3D.
3. The Artist (Michel Hazanavicius)
Of course, Hugo was not the only film in cinemas this year which celebrated the early days of cinema. Michel Hazanavicius’ The Artist went one step further, engaging with the long-lost art of silent storytelling. This was such an ambitious project, but it was just so endearing and charming that it won people over. It also came out at exactly the right time for me as I’d recently been watching a lot of Charlie Chaplin films and my interest in silent cinema was peaking.
4. Skyfall (Sam Mendes)
With MGM’s financial troubles we were forced to wait four years to see James Bond back on our screens after the disappointing Quantum of Solace, but boy was it worth the wait. Skyfall had everything you want in a Bond film, some great action sequences, a bit of humour, a fantastic villain. But on top of that, having a real filmmaker in Sam Mendes at the helm meant that the film also had an attention character development and an emotional depth that we’d never seen in a Bond before. Skyfall is not just a great Bond film, it is a great film.
5. Les Misérables (Tom Hooper)
This was not going to be everyone’s cup of tea just because of the sheer volume of singing, but Tom Hooper’s ambitious film is a cinematic achievement, successfully translating one of the West End’s most successful and most tragic musicals to the screen. Hugh Jackman and Anne Hathaway gave two of the year’s best performances in this gut-wrenching story of poverty and injustice, rebellion and redemption.
6. Tinker, Tailor, Soldier, Spy (Tomas Alfredson)
The thing that struck me about this adaptation of John Le Carre’s novel was its stillness and quietness. You feel like it is moving slowly, but when you stop and think about you realise that a lot has been happening. We are so used to seeing spy movies in the James Bond mould, that the stillness Tinker, Tailor, Soldier, Spy is quite intriguing. An absolute all-star British cast led by a great performance from the chameleon-like Gary Oldman.
7. Moonrise Kingdom (Wes Anderson)
Moonrise Kingdom is a Wes Anderson film through and through, which means some people will love it and others will hate it. Many of his usual collaborators are back with the key additions of Bruce Willis and Edward Norton. Anderson’s films are always deadpan and contain a touch of darkness, but this ups the ante on that. As always, the use of music, in this case Benjamin Britten and Hank Williams, is very clever. But for me, the sight of Harvey Keitel in shorts alone makes this film noteworthy.
8. The Muppets (James Bobin)
This may look like a strange pick alongside the other films on this list but The Muppets was a hard film not to love. No other film this year projected pure joy the way The Muppets did, and that should be celebrated. Jason Segel and Nicholas Stoller’s screenplay showed a real love for these classic characters and, along with Bret McKenzie’s songs, found the perfect balance between nostalgia and contemporary comedy.
9. Looper (Rian Johnson)
There is nothing better than being genuinely surprised (in a positive way) by a film, and for mine Rian Johnson’s Looper was the surprise movie of the year. I saw it on a whim, expecting it to be a reasonably run of the mill sci-fi romp but what I got was the most original and interesting science fiction movie since District 9. The story of an assassin from two different periods in time going head to head with himself also engaged with that moral conundrum “If you could go back in time to when Hitler/Stalin/Pol Pot was a baby, would you kill them to save the world future suffering?”
10. Seven Psychopaths (Martin McDonagh)
Martin McDonagh’s comedy isn’t going to appear on a lot of Top 10 lists but this is my list, dammit, so I’m including it. This sharply written comedy about a screenwriter who finds himself in a tough situation after his friend kidnaps the beloved dog of a local crime boss is a strong follow-up to McDonagh’s 2008 debut In Bruges. Yes there are some holes and some problems, but there are also some big laughs, with terrific comic performances from the always brilliant Sam Rockwell and the always quirky Christopher Walken carrying the film.
Not far off: The Master (Paul Thomas Anderson), The Dark Knight Rises (Christopher Nolan), Shame (Steve McQueen), The Girl with the Dragon Tattoo (David Fincher), The Avengers (Joss Whedon)
The Worst Movie of the Year: Act of Valor (Mike McCoy, Scott Waugh). Not even close really. This military propaganda film in disguise (and not much of a disguise at that) proudly trumpeted the fact that all the major characters were played by real life Marines as though that were a good thing. It wasn’t.
Cinematic Highlight of the Year: Getting to see Steven Spielberg’s Jaws on the big screen as part of its high definition re-release. It was the movie which started the whole blockbuster movement, and which launched Spielberg into stardom, and it still holds up. Similarly, it was good to see Titanic on the big screen again. While the 3D transfer didn’t do much for me it was interesting to see that enough time has passed that we are all over our anti-Titanic bias and can accept that, while it has its faults, it is actually a very good film.
AFI’s Top Ten of 2012
As the end of the year draws closer the top ten lists from different critics, magazines and institutions are coming thick and fast. Today the American Film Institute named its top ten for the year and there were a couple of surprises. The list was unranked, and looks like this:
Argo (Ben Affleck)
Beasts of the Southern Wild (Benh Zeitlin)
The Dark Knight Rises (Christopher Nolan)
Django Unchained (Quentin Tarantino)
Les Misérables (Tom Hooper)
The Life of Pi (Ang Lee)
Lincoln (Steven Spielberg)
Moonrise Kingdom (Wes Anderson)
The Silver Linings Playbook (David O. Russell)
Zero Dark Thirty (Kathryn Bigelow)
There are two major surprises for mine, one an inclusion and one an exclusion. The Dark Knight Rises making the list was a bit of a shock. It was undoubtedly one of the most anticipated and most ambitious films of the year, but it didn’t quite reach the heights a lot of people were hoping for and has been absent from most of the other top tens that I’ve seen.
The big absence is Paul Thomas Anderson’s The Master. An intensely interesting film, whose links to Scientology guaranteed a level of controversy and exposure a film of this kind would not otherwise have received, The Master has been a bit of a critical darling. It won gongs at the Venice Film Festival (Best Director for Anderson and shared Best Actor between Juaquin Phoenix and Philip Seymour Hoffman) and is talked about as a big time Oscar contender, and has appeared in a lot of top ten lists already, including topping that of the prestigious British film journal Sight and Sound. So it’s failure to rate a mention from the AFI is notable.
The other thing about this list that is exciting for myself and other movie lovers on this side of the world is that so many of these films haven’t come out yet. With Django Unchained, Les Misérables, The Life of Pi, Lincoln, The Silver Linings Playbook and Zero Dark Thirty all due to hit screens in the next couple of months, we have a quality summer of movies to look forward to.
You must be logged in to post a comment.