‘Asteroid City,' in theaters now, is Wes Anderson's best film since 2014’s 'The Grand Budapest Hotel,' it's a thoroughly hilarious piece that coalesces into something almost haunting. Read beastobsessed's review:
During a nighttime event where the Asteroid City tourists are encouraged to put a cardboard box on their heads to observe an astral phenomenon, the group is visited by a spindly alien with enormous eyes and lizard skin, who somewhat nervously tiptoes out of his spacecraft, steals the town's asteroid and flies away. Alexandre Desplat’s score swells as this impish creature enacts his heist under the green light of his vessel.
Anderson divides up the “Asteroid City” sections by acts and scenes, a constant reminder that what is unfolding is fake within the world of the film. The documentary sections, meanwhile, introduce the audience to the actors playing the likes of Midge and Augie as well as the production’s director , a tortured creative going through a divorce.as just more Andersonian quirk, but there’s something intentionally unsettling about the way the film unfolds.
The screenplay is one of Anderson’s funniest, and yet a darker thread courses through it. That’s in part thanks to the exploration of death that comes with the Augie-Woodrow plotline, but there's also something more existential at play.
What none of the Anderson parodies get right is that despite all of his aesthetic tendencies, that style is always in service of something greater. Inhis love of artifice is on full display, but that artifice is the point. Anderson has meticulously built a layered world. Peel back the constructs and you’ll find a melancholy that’s hard to shake.
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