Long awaited in the wake of his 2005 debut Brick, Rian Johnson’s The Brothers Bloom is a magic trick of a film; the second it’s over, you want to see it again so you can try to catch how you were tricked, but you also want to see it again so you can return to the joy and wonder of being wrapped up in the nimble, deck-shuffling hands of a born showman. Watching it at first, some of The Brothers Bloom‘s creative and thematic elements seem like they’re on loan from Paul Thomas Anderson (opening narration by Ricky Jay, pop-whiz-bang camera work, the troubled-but-tender relationship between the two brothers) while others feel as if they’ve been cribbed from Wes Anderson (deadpan confessions, whimsical set design, a parallel-universe setting where people still travel to Europe by steamship). The truth is, as much as The Brothers Bloom may feel like it’s cribbing from other films at first, this is Rian Johnson’s movie, and even if my more dreary and discerning critical faculties told me the final act goes on, perhaps, a beat too long, my inner moviegoer was sitting bolt upright, smiling, bright-eyed and carried away.
NME has a great tribute to Bill Murray:
Wes Bill – ‘Rushmore’ (1998)
In Wes Anderson, Bill found a director whose phonecall he actually wanted to return. As well as this, the best ‘high school film not about high school’ he went on to accept invitations to ‘The Royal Tenenbaums’, ‘The Life Aquatic’ and even popped up (all too briefly) in ‘The Darjeeling Limited’. So that’ll be every film (bar his debut) that Wes has ever made. What a lucky bugger. See also – Those films I just listed above and this year’s ‘Fantastic Mr. Fox’.