Hotel Chevalier (2007)

Months ago, I watched Wes Anderson's The Darjeeling Limited for the first time and, as I was expecting, I loved it. Thanks to Steven from Surrender to the Void I learnt about Hotel Chevalier, a short film prologue to The Darjeeling Limited. 

In this short, Jack (Jason Schwartzman), one of the Whitman brothers, is lying on a bed, wearing a robe and ordering from room service. His peace is disrupted when he gets a call from his ex-girlfriend (Natalie Portman) who informs him she'll be there in 30 minutes. He tides the room, draws a bath, changes his clothes and puts on Peter Sarstedt's Where Do You Go to My Lovely.

She arrives, looks around, brushes her teeth and exchanges some awkward words with Jack. Someone knocks on the door; it's the waiter with room service. As soon as he leaves, passion takes over. Or does it?

Hotel Chevalier certainly is an important backstory for The Darjeeling Limited, as we get to know more about the relationship between Jack and his ex-girlfriend --we don't learn much but enough to develop a bit further Jack's character and know something about the ex-girlfriend who is only mentioned in the feature-- and there are several elements in here that also appear in the feature film that you won't catch if you haven't seen the short already.

Does it work as a stand-alone film? I'm not sure about that as it is a little confusing at first even though you have seen the film, and you will feel Natalie Portman's character when she asks, what the fuck is going on. Without The Darjeeling Limited, both past and future are left to interpretation/imagination. Also, because the story Anderson tells here is very limited, the drama comes off a little cold. It's that coldness, that lack of emotion that really stuck with me about Hotel Chevalier though.

Fox Searchlight Pictures

That, and the stunning visuals. There's a combination of yellow and dark colours that fits the story and characters to perfection as they portray how they feel around each other, comfortable and yet a little awkward. The background music is a little too loud and, at times, it makes it kinda hard to understand what the characters are saying, but is really beautiful.

The Life Aquatic with Steve Zissou (2004)

I don't know why but The Life Aquatic with Steve Zissou has always been the Wes Anderson movie that appealed me the least. Even though I had never seen it, there was something about it that just didn't click with me. I feel exactly the same now that I've seen it. 

The film follows Steve Zissou (Bill Murray), a famous oceanographer who, after losing his closest friend and colleague, Esteban, to a probably non-existent Jaguar Shark, sets out on a voyage with Team Zissou, which includes his estranged wife, Eleanor (Anjelica Huston), Ned Plimpton (Owen Wilson), a man who may or may not be his son, and a pregnant journalist (Cate Blanchett), to hunt down the mythical creature. 

As you can probably tell, it's another of Anderson's bizarre and quirky stories, only this time it didn't really work for me, the reason being the many confused and unexplained subplots and the pacing that just drags the story and makes the plot kinda boring and uninteresting. Which is a huge shame as The Life Aquatic with Steve Zissou is more plot-driven than your typical Anderson movie. 

As usual, the film is filled with quirky characters, but there's a problem with them too. First, they don't have much of an inner struggle but more of outside complications; second, they aren't even that likeable as they are pretty cruel and cold, and lack of charm. 

In spite of it, the cast still manages to do a pretty good job. Bill Murray is excellent as usual as the washed-up sea adventurer Zissou and makes a very good pair with Owen Wilson who does very good as Zissou's son(?); Cate Blanchett also does a good job as the journalist. The standout, however, is Willem Dafoe as he gives a very funny performance as Zissou's eccentric German servant. 

Buena Vista Pictures

There's also another issue with The Life Aquatic with Steve Zissou. Anderson just doesn't seem to be able to find a balance between tragedy and comedy, and the film kind of fails at both, with the drama barely working and the humour working half of the time.

Ultimately, The Life Aquatic with Steve Zissou is Anderson's weakest film but it's still a good-ish film with stunning visuals and a great soundtrack.

Rushmore (1998)

I've heard a lot of good things about Wes Anderson's Rushmore over the years but, for some reason or another (I can't recall any of those at the moment), I never checked it out. 

The film follows Max Fischer (Jason Schwartzman), a nerdy, precocious 15-year-old kid who earned a scholarship to the exclusive prep school Rushmore, where he is not doing very well in any of his classes as he doesn't bother to study and spends all of his time enjoying (too) many extracurricular activities. His life takes an unexpected turn as he befriends a depressed middle-aged local industrialist, Herman Blume (Bill Murray), and falls for a recently widowed teacher, Ms. Cross (Olivia Williams). 

If you like your films with a plot, you should probably stay away from Rushmore as its plot is almost non-existent. There are just a lot of events happening kind at random and it's kind of hard to understand why they are happening, but just like any other Wes Anderson movie I've seen (The Life Aquatic with Steve Zissou and Hotel Chevalier, which is a short film, are the only I haven't seen yet), a plot doesn't have to be that complex nor doesn't have to make a lot of sense to be compelling and captivating, and Rushmore is both. 

One of the many reasons for that is the characters. Once again, Anderson, with the help of his co-screenwriter Owen Wilson (fun fact, they wrote the screenplay to Rushmore way before they made their debut with Bottle Rocket, did you know that?), brought to the screen quirky, intriguing and developed characters that may not be realistic and may not be instantly likable, but you'll end up loving anyway despite their many flaws.

Buena Vista Pictures

Max, who is introduced in a very nice way with clips of him in all the many clubs he has either joined or founded at Rushmore, is beautifully delivered by Jason Schwartzman who, in his debut, brings to the character some kind of arrogant, lazy and yet charming presence that fits Max like a glove. His performance may not be Oscar worthy but it's definitely believable. Bill Murray is great as always as Max's adult friend, Herman, a disillusioned man in search of a home, doing a good job both as the good guy and the villain. Olivia Williams too does a really nice job as she probably is the only one who brings to the film a very appreciated human presence.

The humour is great as always. It's dark, witty, subtle and offbeat and Anderson finds a great balance between that and the drama, making of Rushmore a film that is both funny and touching. 

Bottle Rocket (1996)

Having seen all of Wes Anderson most recent films, and having adored every single one of them, I decided to check out the rest of his filmography, starting with Bottle Rocket, his debut.

The film follows a group of friends who decides to rebel against the norms of everyday life to pursue a career of professional criminals. After Dignan (Owen Wilson) rescues Anthony (Luke Wilson) from a voluntary mental hospital, they convince their friend Bob (Robert Musgrave), who has a car, to join them and rob a library. After successfully pulling off the heist, they hide out in a roadside motel where the group of friends eventually breaks down and things take a turn for each one of them.

The plot doesn't have a lot of substance --actually, it's so thin I'm not even sure it's got a point-- and it's a little all over the place, but, as the story unfolded, I was immediately hooked and I could not take my eyes off the screen. I even loved the clichéd, slow and yet rushed romantic subplot involving Anthony and a non-English speaking Mexican maid (Lumi Cavazos) that doesn't go absolutely anywhere.

It's okay though as Bottle Rocket is actually a character study. Just like any other Anderson movie, the film has quirky and dysfunctional characters. They are deep but not complex, they are simple me with simple desires, three men who are just trying to live out their dream. They are unbelievable and believable at the same time; they are three losers but they are so charming and interesting you can't help but love them.

It also helps to have actors who perform very well, and Bottle Rocket has them. Both Luke and Owen Wilson give extraordinary and inspired performances, the first as Anthony, an honest, innocent but not naive man who is searching for himself, the latter as Dignan, a confident wannabe master thief. And the chemistry between the two of them, oh man, it is on fire!

Columbia Pictures

The film also includes strong performances from James Caan as Mr Henry, Dignan's former boss at a landscaping company as well as the leader of a gang of master-thieves, and Lumi Cavazos as Inez, the maid Anthony fall in love with --she is so lovely and has such a nice chemistry with Luke Wilson, you get really sucked into the romance. The standout, however, is Robert Musgrave as Bob, a depressed and quite pathetic rich kid.

At last but not least, the humour. It is so subtle and ironic. I'm pretty sure I missed some of it --not a problem though as I'm planning to rewatch this as soon as I've seen the rest of Anderson's filmography-- and yet it was incredibly hilarious. At times I found myself laughing and I didn't even know why.

Oh, shoot, I almost forgot to mention the cinematography. It is sometimes amateurish and far from the beauty of Anderson's later work, but it's still charming and adds to the story.

Isle of Dogs (2018)

Although I'm yet to see all of his films, I love Wes Anderson's work which is why Isle of Dogs was one of my most anticipated films of the year and I couldn't wait to see it. Unfortunately, I live in a city and country where most people don't care for his movies so I had to wait months to see it. 

In a dystopian near-future Japan, in the city of Megasaki, Mayor Kobayashi (Kunichi Nomura) banishes all the dogs to Trash Island after a canine flu has spread through the city. Six months later, a young boy named Atari (Koyu Rankin), the Mayor's nephew, steals a plane and flies to Trash Island and, with the help of five other dogs, Chief (Bryan Cranston), Rex (Edward Norton), King (Bob Balaban), Boss (Bill Murray), and Duke (Jeff Goldblum), he sets out to find his lost dog, Spots (Liev Schreiber). 

The story, written by Anderson himself, Roman Coppola, Jason Schwartzman, and Kunichi Nomura, is simple and rather predictable and yet it is clever, intriguing and charming as the filmmakers were able to elevate it and deliver it in a way that feels fresh and new. 

What I loved the most about the story is that Anderson was able to integrate current issues in our world and use it, the story, to make a commentary on the corruption of society, the fear of the other, and the issue of immigration, not only in America but all over the world. But it's not the themes themselves that make the film interesting, it's the way Anderson handles them, in a light-hearted, ironic and quirky way.

The characters are quirky, sweet and interesting, and each has something that makes them unforgettable. Also, they are so lovable, it's impossible to dislike them or have not a favourite. Some have a very limited screen time, I'll give you that, and Anderson still struggles with writing female characters, but overall they are pretty good. As for the villains, they are as intimidating as they should be. 

Fox Searchlight Pictures

Then there is the voice cast. There are so many talented actors in Isle of Dogs and you can tell as they all give great performances. There are, however, some standouts, them being Bryan Cranston who gives a very strong and emotional-ish performance as Chief, and Edward Norton who is tremendously funny as Rex (my favourite character). Even the Japanese speaking cast does a wonderful job. 

At last but not least, there's the visual aspect of the film. When it comes to Wes Anderson, the visuals are always the most striking part of the film, and Isle of Dogs is no different. We can admire Anderson symmetrical framing, the zooming, and his masterful use of colours --I don't know if you have noticed but in the scenes seen from the perspective of the dogs we never see green and red, two colours dogs can't see as they are partially colour-blind. And the non-stop animation is a blast. Also, the score by Alexandre Desplat fits the tone of the film very well. 

The Darjeeling Limited (2007)

There's still plenty of time since Isle of Dogs hits theatres here (May 17 unless they decide to postpone it for some dumb reason) so I decided to take advantage of this time to watch the Wes Anderson movies I haven't seen yet. The Darjeeling Limited was one of them and it was also the one that had been on my watchlist for at least 10 years (I added to my list because of Natalie Portman but I'm so glad that at the end I didn't watch the movie for her because it would have been a major disappointment since she's barely in the movie). 

A year after the accidental death of their father, three brothers, Francis (Owen Wilson), Peter (Adrien Brody) and Jack (Jason Schwartzman), meet on a train, the Darjeeling Limited, and embark on a journey across India in an attempt to bond with each other. But Francis has something else in mind, visiting their mother (Anjelica Huston) who didn't even show up at their father's funeral. 

It's the typical Wes Anderson story about a dysfunctional family. There's the estranged brothers, the daddy issues, and the shitty parents, basically, who fucked them up. And there isn't much of a plot either, just a lot of things happening that don't really make a story. Also, it unfolds slowly (I totally see why someone may not like this).

And yet, the journey both physical but mostly spiritual of these three brothers is so fascinating, it kept me glued to the screen as if I was watching a thriller. The Darjeeling Limited is about letting things go, leaving the baggage behind --and these three have a lot of them, both literal and figurative ones. 

And it's also very fun to watch. Their journey does not go as planned, of course, and the brothers are forced to cope with many difficult situations --like a poisonous cobra on the loose on the train-- and things get pretty hilarious. The humour is dry and quick, and most jokes rely on characters' traits, but they work. 

Fox Searchlight Pictures

The characters are just as fascinating as the journey. Though Peter and Jack don't have a reason to join the journey in the first place --they complain as if they were forced to do this-- they are quirky and interesting, very flawed and yet likeable, but most important they feel real. And the relationship between them --or siblings in general-- is depicted very well. 

Of course, the actors playing them are important as well. Adrien Brody was the standout for me. His character, Peter, is the one with a wider emotional range, and Brody does a great job delivering that, and some good slapstick too. He also has a beautiful chemistry with Owen Wilson which makes their scenes very enjoyable. Jason Schwartzman is a bit weak though. He just doesn't seem to be able to come out of the shadow of the other two. Anjelica Huston does good as the runaway mother and there's a nice Bill Murray cameo too at the beginning. 

At last, The Darjeeling Limited has some pretty striking visuals --fantastic cinematography, surrealistic colours, beautiful composition, gorgeous and interesting locations-- and a great soundtrack that fits the story very well.

Moonrise Kingdom (2012)

Genres

Adventure, Comedy, Drama, Romance

Director

Wes Anderson

Country

USA

Cast

Bruce Willis, Edward Norton, Bill Murray, Francis McDormand, Tilda Swinton, Jared Gilman, Kara Hayward, Jason Schwartzman, Harvey Keitel, Bob Balaban

Storyline

On an island off the coast of New England in the 1960s, a young boy (Jared Gilman) and girl (Kara Hayward) fall in love and run away together, and most of the people of the town mobilize to search for them. 

Opinion

I haven't seen many Wes Anderson's films but I loved those I've seen and I'm getting addicted to his quirky style which is why I finally watched Moonrise Kingdom, easily my favourite from Anderson as it is a wonderful, charming, quirky, sweet and fun film.

Although it sounds quite cheesy, the story is original and very imaginative. It still is pretty basic and yet it's a delight. It has a slow pacing, but the unexpected and very enjoyable subplots and plot turns will definitely keep you interested.

And it features one of the most beautiful love stories ever. It is sweet, pure and innocent. It's a tender love story that will make your heart melt, and Anderson does a wonderful job capturing that kind of love with some memorable scenes, from the young lovers' first kiss to the dance on the beach to the purely symbolic wedding. And you know the best part? It's not sappy at all!

Just like all of Anderson's movies I've seen, Moonrise Kingdom is filled with quirky, colourful and charming characters, especially the two leading kids beautifully portrayed by Jared Gilman and Kara Hayward. The two young actors have a great chemistry both in terms of romance and comedy. In fact, the scenes featuring them are some of the most humourous. The supporting characters are a little less charming, but the great acting from the supporting cast, mostly from Bruce Willis, but also Edward Norton, Bill Murray and Francis McDormand, makes the characters more interesting.

At last but not least, the film is also a visual splendour. The colours are vivid and warm, the shots are incredibly symmetric and they all are pretty much perfect. This film is gorgeous simply from start to finish.

Fantastic Mr. Fox (2009)

Genres

Animation, Adventure, Comedy

Director

Wes Anderson

Country

USA

Voice Cast

George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Willem Dafoe, Owen Wilson, Wallace Wolodarsky, Eric Anderson, Michael Gambon, Jarvis Cocker, Wes Anderson, Karen Duffy, Robin Hurlstone, Hugo Guinness, Helen McCrory, Adrien Brody

Storyline

Many years after giving up the criminal life, Mr. Fox (George Clooney) cannot resist raiding the three nastiest and meanest farmers, but it ends up in a horrible way and the lives of the entire animal community are put at stake.

Opinion

Although I've only seen a couple of Wes Anderson's films, I've always been intrigued and fascinated by his quirky directorial style. So when I found out he was the man behind Fantastic Mr. Fox, a movie that has been on my watchlist for a very long time, I had to watch it. And it was exactly as I was expecting it to be, a brilliant and fun stop-motion animation film. 

I never read Roald Dahl's book upon which the film is based, but to my understanding, the two couldn't be more different. What I do know is that the story Anderson brought to the screen is incredibly gripping, engaging and well developed. Also, despite the short running time, Anderson was able to incorporate several interesting subplots.

The most astonishing aspect of Fantastic Mr. Fox is the characters. The characterisation is impressive. Each character has its own rich personality and an actor/actress giving a great vocal performance, but what makes each one of them truly memorable is that something, that special feature they have thank to the wonderful animation. Let's think of Mr. Fox's grinding his teeth, the rat clicking his fingers, or the opossum's hypnotized eyes. These are the kind of things, in addition to their quirky personalities, that are truly mesmerising.

Which brings me to the fantastic stop-motion animation. It's beautifully crafted and fits Anderson's style and sense of humour to perfection.

Very fascinating is the way Anderson was able to incorporate his typical dysfunctional family in a movie that targets kids. And he delivers also some good messages, like the importance of family, people together are better and stronger.

March Expiration Watch: Hitting Where It Hurts

Welcome to the blog's 100th post. Combined with next month's 2nd anniversary and the recently added Amazon Prime page, these are celebratory times at What's On NETFLIX Now? (Cut to: David dozing off at his keyboard). Would that Netflix itself provided greater cause for celebration: unless original series are your be-all/end-all, pretty much every category takes a sock to the jaw this month, from classic Hollywood's biggest stars to underappreciated comedies, cult indies, and, in a big blow to the kid in all of us, nearly the entire stable of Cartoon Network and Adult Swim programs. But let's start with the classics...

Goodbye, Norma Jeane

It's a rough month if you happen to be a Marilyn Monroe fan. On March 31, three of MM's more flamboyant 1950s productions are getting the hook: Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953), and There's No Business Like Show Business (1954). Over the last couple of years we've seen these titles come and go, but my faith in their return isn't terribly strong now that Netflix seems to have lost interest in maintaining its back catalog. In fact, at this rate I may need to rename this blog What's NOT on NETFLIX Now?.

These colorful, over-the-top spectaculars (two are musicals) marked an unofficial coming-out party for the former Norma Jeane, who emerged from half a decade of supporting parts, prurient publicity, and a couple of low-profile dramatic leads (Don't Bother to Knock, Niagara) to fully cement her blonde bombshell status and create an iconic persona for the Hollywood ages. So if you've ever wondered what the fuss was about, this trio of films�filled to bursting with star power and production value�makes a pretty good argument for Monroe's status as a larger-than-life sex symbol who could sing, dance, and play the dumb blonde to comic perfection. She was much more than that, of course, as a number of her more dramatic roles would prove (particularly Bus Stop and The Misfits). But these early flowerings of stardom are how a majority still remember her, before her personal and professional problems overtook the headlines and lent a lasting aura of sadness to the woman whose show-stopping performance of "Diamonds Are a Girl's Best Friend" (in Howard Hawks' Gentleman Prefer Blondes) remains a joyful pop-culture touchstone.

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The Grand Budapest Hotel (2014)

Genres

Comedy, Drama

Director

Wes Anderson

Countries

UK, Germany, USA

Cast

Ralph Fiennes, Tony Revolori, Adrien Brody, Willem Dafoe, Jeff Goldblum, Saoirse Ronan, Edward Norton, F. Murray Abraham, Matthieu Amalric, Jude Law, Harvey Keitel, Bill Murray, Léa Seydoux, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson, Bob Balaban

Plot

1985, a young woman approaches a writer's monument in a cemetery and she starts reading a chapter from The Author's (Tom Wilkinson) book. The Author begins narrating the tale about a trip he made to the Grand Budapest Hotel in 1968. The young writer (Jude Law) encounters Zero Moustafa (F. Murray Abraham), the hotel's owner. Over dinner, Mr. Moustafa tells him the tale of how he took ownership of the hotel and why he doesn't want to close it down.

Opinion

The Grand Budapest Hotel, eighth by Wes Anderson, is an example of great cinema, refined and intelligent. The story loses its importance in front of the charm of colours, costumes and elegant humour. Loved the fact that the film was shot in three aspect ratios, one for each timeline.

Quotes

Monsieur Gustave: You see, there are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed that's what we provide in our own modest, humble, insignificant... oh, fuck it.

October Expiration Watch (2013)

As with every month, it's time to say goodbye to some exceptional titles that will no longer be streaming on Netflix. This time around, those among the fallen include Wes Anderson, the Coen Brothers, Woody Allen (again), Sam Raimi, a Best Picture winner, a sci-fi sleeper, and two of Francis Ford Coppola's most interesting, least-seen films (along with one of his best). Oh, and Jack Nicholson playing faux Jimi Hendrix in a ponytail.

The Evil Dead (1981)

If this wasn't the first of the "cabin-in-the-woods"-type horror films (it wasn't), then it certainly helped codify the rules for such movies, igniting a mini-franchise for first-time director Sam Raimi, a cult following for star Bruce Campbell, and a subgenre that's been exploited to the point of post-modern excess (see: Joss Whedon's giddily entertaining The Cabin in the Woods). Sure, Raimi's budgets and technique would improve exponentially in the years to come, but there's no mistaking his ghoulish glee at mixing horror, humor and gore with founts of foul, unidentifiable fluids. We'll consider it a sick joke on Netflix's part that this movie expires at midnight on Halloween. Meanwhile, Evil Dead 2 remains available if you're still looking for something gooey and dangerous to lock in your cellar. Trivia note: We all know the heights to which Raimi's career eventually reached (can you say Spider-Man?)�but did you know The Evil Dead's young assistant editor was none other than Joel Coen? Speaking of whom...
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