“Unfortunately, [those who booed as the credits rolled at the press screening] led into the dark before I could debate them on the essential role imagination plays in Anderson’s filmography, which would surely have been an exciting time for us both.”
“What’s more interesting, I think, are the increasingly dark tones at the edges of Anderson’s Technicolor dream. This is a director whose last live-action film ended with fascism descending on Central Europe, so it’s not exactly new, but still, it’s striking how much of The French Dispatch, which began shooting way back in the fall of 2018, turns out to mirror the cultural flash points of the past 14 months — somehow, Hollywood’s least-contemporary filmmaker has made a movie all about prison, protests, police. Perhaps all those boos were merely an expression of dismay: If even Wes Anderson is picking up on this stuff, we’re fucked.”
Hannah Strong, Little White Lies
“This is also arguably the director’s his most detail-oriented work; the runtime flies by as we become immersed in the meticulously constructed world. Anderson isn’t just a filmmaker, he’s an architect, crafting intricate worlds for viewers to get lost in. This one requires a little concentration to follow all the dialogue and storylines, but it’s a pleasure to be in the hands of a storyteller who cares so deeply about every aspect of his work.”
Robbie Collin, Daily Telegraph UK 5/5
The film “is the cinematic equivalent of a brakeless freewheel through a teeming bazaar – if said bazaar was stacked with beautiful vintage artefacts, all meticulously arranged.”
“The film is a hymn to human curiosity and compulsions – Anderson is clearly besotted with the style of journalism that hammers away at niche pet topics over thousands of words. But it’s also about the necessary incompleteness of a curious life.”
“Like his latest menagerie of rovers, visionaries and outsiders, Anderson does nothing by halves.”
‘It’s a significant breakthrough to see the director engaging with sexuality and violence as aspects of real life. Yes, there’s still an ironic distance between such elements and the audience, but ‘The French Dispatch’ feels less safe than Anderson’s earlier work, and that’s a good thing.”
“Apart from Ernst Lubitsch or Jacques Tati, it’s hard to imagine another director who has put this level of effort into crafting a comedy, where every costume, prop and casting choice has been made with such a reverential sense of absurdity. If that sounds airless or exhausting, think again: Sure, it takes work to unpack, but the ensemble ensures that Anderson’s humorous creations feel human.”
