But Robocop! And some blather about Wes Anderson

A note to blurb writers: For those of us who read your movie or book blurbs, the opening phrase “In a dystopian Detroit” no longer really comes across as an instantly and universally recognizable description of A Future Setting. Just letting you know.

A. and I went to see The Grand Budapest Hotel and it was wonderful, just glorious. I enjoyed how no one put a stupid fake we’re-from-this-made-up-Eastern-European-country-accent-that-sounds-Macedonian-but-really-just-fake accent, and just went with their own voices. But honestly, I’d been having some trouble with Wes Anderson movies. I described it once to A. as WA being more into the set dressing and the little dollhouse manipulation of design and the absolute incredibly controlled detail of it all, rather than the story. I remember feeling this way about The Life Aquatic mostly, and skipping Darjeeling Limited because of that. And I really, really disliked Fantastic Mr. Fox. However, that last can be blamed on my love for the book, which germinated in second grade when I read it over and over and even wrote Roald Dahl a dorky fan letter about it and James and the Giant Peach and Charlie and the Chocolate Factory, since I would not find out what a dickhead he was until in college when I read Patricia Neal’s biography. But what can you do?

And then I watched Moonrise Kingdom. And I have changed my tune. I don’t see him as a grown dude playing with obsessive dolls and doll costumes and dollhouses, but someone who is having a blast doing what he loves down to the last detail–with the kind help of a bunch of all those awesome actors he knows. Lucky guy.

Anyhoo, here’s Mark Kermode talking about the movie in a podcast from a while ago. He hit on pretty closely what I like and dislike about Wes Anderson movies. And I’d recommend you go see GBH, but you probably already have–we got it late because our town is teeny.


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