In an age where narratives of superheroes, animation and science fiction rule the box office, there is one fossil amongst the great big box office contenders that audience just can’t quite enough of. In Jurassic World: Fallen Kingdom, the park may be gone, but dinosaurs are definitely here to stay.
Audiences around the world go to see a Wes Anderson film for many reasons; imagination, creativity, wonder and most of all, amazement. A man who has crafted and added to, not only a branch of the film industry within the independent market, but an individual who arguable has his own genre of film, proves with his latest that you are able to make an independent success, commercial darling and fading animation style feature film revolutionary. After eight feature films which enrich the medium as a whole, Wes Anderson delved, for a second time, into the stop-motion foray with his ninth future film, and quite possibly his best yet with Isle of Dogs.
Oh Paris, je t’aime!
What do you get when you mix the influence of French new wave director Jean-Luc Godard, the acting talents of Jim Broadbent and Lindsay Duncan, the sturdy direction of Roger Michell and poised writing of Hanif Kureishi? What feels like the unofficial fourth entry to the Before Sunrise independent film trilogy, Le Week-End is a film that could easily be mistaken as the extended look at the lives of Jesse and Celine, years after their fateful meeting in Vienna.
“You see, there are still faint glimmers of civilization left in this barbaric slaughter house that was once known as humanity”. If there was ever a quote to sum up the films of Wes Anderson, this would be high on the list. Highly inventive, absurd, and at times, narratively incoherent, Anderson’s eighth feature film is a grand, accommodating feature whose self is probably not as grand as the cast it has rounded out.