The great illustrator Adrian Tomine provides this fantastic Moonrise Kingdom illustration that was used to accompany Anthony Lane’s review in this week’s New Yorker. (Click below for full size)
I think you just found your new iPhone wallpaper.
(via CriterionCast)
It’s here, it’s finally here! It’s opening day! Buy your tickets early and often to support Wes and luxuriate in his newest cinematic masterpiece (and confidentially, as few of our editors have already seen the film, we can confirm it’s as wonderful as you had hoped.)
With that said, it’s time to get down to brass tacks, here’s your Friday Round-up:
- Slate’s Wes Anderson Bingo cards will be a fun addition to your (many, many) viewings of Moonrise.
- Wes Anderson’s list of 10 favorite New York movies has a few surprises. (Hannah and Her Sisters over Manhattan or Annie Hall? Blasphemy!)
- Jason Schwartzman is still a charmer in his brief Guardian interview, discussing his role in Moonrise.
- The New York Observer’s extremely negative review (click if you dare) is thankfully an outlier. Moonrise Kingdom is currently at 96% on Rotten Tomatoes.
- Forbes has an interesting article, What Wes Anderson Can Teach Us About Advertising, that espouses the power of successful branding.
- In honor of opening day, Skull and Stripe did a Moonrise-inspired fashion round-up.
- For something a bit sweeter, Green Wedding Shoes did a Moonrise-styled elopement photoshoot, including a reenactment of the romantic, “I will meet you in the meadow” scene.
- Finally, we fully endorse the New Yorker’s headline: What To See This Weekend: “Moonrise Kingdom,” Twice. The glowing review isn’t bad, either.
Jason Schwartman and his cousin/Darjeeling co-writer Roman Coppola have made an ad for The New Yorker‘s new iPad app.
The ad was directed by Coppola, and appears to have been shot in Schwartman’s home, like a previous music video of Coppola’s for Coconut Records.
From Richard Brody’s blog at the New Yorker:
I remembered this passage from the F. Scott Fitzgerald story “The Freshest Boy”:
He had contributed to the events by which another boy was saved from the army of the bitter, the selfish, the neurasthenic and the unhappy. It isn’t given to us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world. They will not be cured by our most efficacious drugs or slain with our sharpest swords.
—and it occurred to me that more than everything else—more than all the things in his stories that I have been inspired by and imitated and stolen to the best of my abilities—THIS describes my experience of the works of J. D. Salinger.
From Richard Brody’s New Yorker blog, where he ranked TDL the second best film of the 00s:
As ever with the films of Wes Anderson—the best new American director of the last twenty years—love and death, comedy and tragedy, comfort and adventure, understanding and opacity, style and substance fuse in a modernism of personal and reflexive cinema and a classicism of grand and subtle literary emotion.
Richard Brody profiled Wes a few weeks ago for the New Yorker. On Brody’s excellent film blog for the New Yorker, Front Row, he added some additional commentary (and praise) for “The Darjeeling Limited”:
I’ve seen it many, many times since that press screening two years ago. It has not only held up but gotten richer; each viewing yields fresh wonders.
As we mentioned yesterday on Twitter, there’s a great new profile on Wes in this week’s New Yorker by Richard Brody. Click on the thumbnails below to read the article and let us know what you think in the comments.
adverts
