The innate imperfection of canine hair gives Wes Anderson’s lovingly crafted dioramas the illusion of life.
Disney’s exceptional, gorgeous update of Rudyard Kipling’s adventure classic is one of the studio’s best films in a generation.
Favreau draws heavily on his film’s animated predecessor for plot, characterizations, and more, but doesn’t know how to fit these familiar elements into his own coherent vision.
In one ill-conceived decree, Coppola transformed himself from cinema’s godfather into cinema’s helicopter parent.
It addresses a fundamentally deeper range of feeling than most Christmas specials are prescribed to explore.
The film quickly settles into a depressingly one-note groove as a culture-clashing circus act.
Criterion stalwartly continues to ensure that one of America’s finest directors is properly recognized for the master artist that he’s become.
It asks us to immediately bond with and root for these criminals as the good guys despite knowing almost nothing about their motivations.
After a while, the film’s sing-a-song-for-the-world vibe, so buoyantly optimistic at first, becomes grating and smug.
It serves as one of the definitive American explorations of the weird and precarious relationship that exists between actor and director.
There’s much more plot floating around during the sequel, all leading up to a climax at the “KEN Conference” that suffers in comparison to Silicon Valley’s mockery of the same milieu.
The actors create emotionally coherent and sympathetic characters from a collection of often contradictory, monumentally irresponsible, or just plain improbable actions.
Theodore Melfi’s debut feature, St. Vincent, is a heartwarmer that never insults.
This release of Anderson’s despairing and subtle comic masterpiece is almost certainly a placeholder for a more illuminative future Criterion edition.
Criterion’s upgrade of Wes Anderson’s ambitious The Life Aquatic with Steve Zissou is one of the label’s finest packages.
One of Wes Anderson’s funniest, wisest, and most beautiful explorations of lost dreams, and Criterion affords it the respect it fully deserves.