The Oscars! / Final Anderson Thoughts

Hello, Weirdos. I’d like to invite you to check out my new review for Annihilation. Recently, the Academy Awards Ceremony aired. We had a viewing party where we dressed up, ate nominee named food & drinks, and played Oscar themed games. The biggest game of the night is the Oscar Challenge , where we guess who the winner will be in each category. Whomever gets the most correct receives an Oscar-esq trophy we’ve titled the Emmeline Sacheen Gaynor Award   (after Brooke Shields’ character that won her the first Razzie, Sacheen Littlefeather-the woman who gave Brando’s speech, and Janet Gaynor-first best actress winner, respectively) . Below are pictures from our event followed by my thoughts on the final films of Wes Anderson. 

 

We played a textless/minimalist poster game, a bad plot description game, and of course the ballot game. It was a blast.  Here is what I thought of the end of the Anderson movies: 

  • Moonrise Kingdom: A fantastic film filled with humor and melancholy throughout. Anderson hits all his conventions with this one: yellow tint, children acting as adults and the reverse, a love triangle, eccentricity, the pans, the zooms, etc. and it all works. This film is also whimsical. What it does best is balances and mixes comedy and tragedy. Anderson doesn’t say which is which, leading to it often becoming both. It is sad, but also warming. Underneath the surface there is deep rooted tragedy. It can be seen in Mr. Bishop thought, but specially when he is in bed talking to his wife; you can see it in Sam when he’s alone in the boat; and you can see it with Suzy when she’s having a bath. Anderson does ask you to suspend your disbelief but it’s easy to do because the picture is so damn inviting. 
  • The Grand Budapest Hotel: Another great movie from Anderson. Budapest hits the same beats as his other films. Anderson asks us to suspend our disbelief more for this picture. Full of quirkiness, and at times, a bit indulgent. There is a dark humor throughout. Anderson doesn't stray from using dialogue as other films might. For example, with the current climate people might shy from using "faggot" in a script, but Anderson goes for it. It doesn't come off as offensive. I think it makes the scene feel authentic, because people do speak that way, and it isn't meant to be derogatory toward homosexuals. There's a small scene with Willem Dafoe and Jeff Goldblum that is slightly scary—especially for an Anderson film. It reminded me of that short from a few years ago about a Wes Anderson horror film called The Midnight Coterie of Sinister IntrudersBudapest doesn't have the as much heart to it as Moonrise, but it is an entertaining, well crafted picture.

That is it for Wes Anderson. Thanks for checking out this installment of the Director Selective Series. Look for an update when Isle is Dogs comes out later this month. If you have suggestions for a new director please comment below. Keep on Creepin’ .