Whether it's Paul Thomas or Wes, it’s a good year to be an Anderson fan.
At their hearts, Boogie Nights and There Will Be Blood share a key notion: your greatest asset (some pun intended) too often ends up being your greatest curse.
When I think about Magnolia, I first think about the cosmic improbability of the relationships featured therein.
Here and now, still a far cry from eviscerating the Barry in me altogether, it’s nice to have Punch-Drunk Love’s happy ending in my pocket.
It’s hard to think of two filmmakers less alike than Wes Anderson and Paul Thomas Anderson. Right?
At its center, Wes Anderson's Bottle Rocket is a coming-of-age story that resolutely does not want to come of age.
The Royal Tenenbaums is, in part, a love letter to an imaginary Manhattan, a fable which lifts liberally from other renditions of the place, a Calvino-esque invention in which the streets extend to infinity.
While a PG-rated stop-motion film based on a childrens’ story is definitely a departure for the filmmaker, Fantastic Mr. Fox is still completely and wholly a Wes Anderson film.
The Grand Budapest Hotel is a live-action cartoon, and I say that with the utmost respect.
Wes Anderson builds worlds that makes us want to live there.
