Asteroid City will touch down in select U.S. theaters on June 16.
Wes Anderson’s film is an often fascinating, wondrous exercise in complex narration and visual composition.
The disc perhaps definitively contextualizes the moral urgency of the film’s intricate aesthetic.
This “new piece” is no doubt an homage to Nick Park’s iconic Creature Comforts from 1989.
The innate imperfection of canine hair gives Wes Anderson’s lovingly crafted dioramas the illusion of life.
The influence of Akira Kurosawa is very much evident in the ornate clip from Wes Anderson’s new film.
A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
Criterion stalwartly continues to ensure that one of America’s finest directors is properly recognized for the master artist that he’s become.
In what’s become an annual tradition, last weekend’s Writers Guild Awards weren’t much of a trial heat for the Oscars.
Even as Boyhood steamrolled the critics groups, even as it dominated the Golden Globes, we had our doubts about its frontrunner status here and in best picture.
This time, Anderson comes to play from the outset, with a sense of openness, and of shared intimacy with Seitz, that might be somewhat misleading, but is nevertheless revealing.
This release is almost certainly a placeholder for a more illuminative future Criterion edition.
Criterion’s upgrade of Anderson’s ambitious The Life Aquatic with Steve Zissou is one of the label’s finest packages.
The Grand Budapest Hotel director obliged us by sharing his fascination with making movie storybooks.
As always, Wes Anderson places his trademark precision in direct confrontation with the chaos and confusion menacing his characters.
Fantastic Mr. Fox is one of Wes Anderson’s funniest, wisest, and most beautiful explorations of lost dreams.
A film about history that avoids it entirely. Not out of cowardice or lack of nerve, but because the head-on acknowledgement of Europe’s long 20th century is quite simply too painful.
Wes Anderson has become a master of the fetching teaser poster.
Seitz coaxes perception-altering sentiments out of Anderson by pointedly playing right into his persona of the wounded naïf intellectual.
Writer-director Andy Gillies’s film is extremely self-conscious, but in a fashion that generally serves the material.