I’ve always been shy when it comes to writing about Wes Anderson, because he’s a filmmaker I rarely connect with. When I watch one of his movies, I can’t help but see his talent (the visual wizardr…
, because he’s a filmmaker I rarely connect with. When I watch one of his movies, I can’t help but see his talent , but I feel like I’m experiencing something that was made on a different planet from the one I live on. I have felt that way from his very first feature, “Bottle Rocket” , and Ifelt it at the Toronto Film Festival in 1998 when I saw “Rushmore” — because everyone there did a backflip of ecstasy, already hailing Anderson as the filmmaker of his generation, and I didn’t get it.
My hysteria calmed down reasonably quickly. Three years later, when I saw Anderson’s big follow-up, “,” I recognized that he was actually a wily storyteller who, though he staged a film like a demented museum curator, could devise a character as rich as Gene Hackman’s Royal Tenenbaum, who gave the movie a rueful spiky emotional center. I still wasn’t exactly an Anderson aficionado, but my hater days were behind me.
I was, with caution, almost willing to call myself one. But it’s precisely as a Wes Anderson skeptic-turned-born-again-admirer that I now want to issue a warning. Namely: For the first time since the middle-aught days of “The Life Aquatic with Steve Zissou” and “The Darjeeling Limited,” Anderson seems to be disappearing down a rabbit hole. A rabbit hole of pure insular Wes Anderson minutiae passing itself off as art.
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