Love or hate him, it's hard to deny that Wes Anderson know what he's doing when it comes to aesthetically pleasing mis-en-scene and framing. The man never met a scene he couldn't find a way to arrange symmetrically and centrally-focused, nor did ever he encounter a pastel he didn't rush to incorporate into as much of his costuming and scenery as possible. For me, this is what makes him so wonderful. I wouldn't say my Wes Anderson is my anytime go-to filmmaker but there is a certain time and place that cries out into the abyss for the kind of film he makes. And by this point, he makes the film he makes so damn well that even though I can halfway predict what's coming and who's going to show up, the joy is in the HOW and the WHY and not so much the WHAT. I trust him to entertain me with a nesting-doll's worth of story structure, whimsical visuals, overly-earnest delivery of silly dialogue, slightly far-fetched premises and above all else, a slavish devotion to making watching his films feel like reading a J.D. Salinger book.
(Also, I first saw this in theaters when I was living outside of Budapest and even though it holds no actual connection I still enjoyed the connection.)
Also, SO MANY CAMEOS.
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