More French Dispatch reviews from Cannes

Nate Jones, Vulture

“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.”

Peter Debruge, Variety

‘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.”

Friday News Round-Up 6/8/12

  • (Above) Suzy’s earrings have never looked so good than in this artistic poster by Alex Quinn.
  • The Museum of the Moving Image has republished their five-part video series on the Substance of Style for Wes Anderson. The series is extremely detailed, well-researched, and absolutely engrossing. Absolutely recommended.
  • Roman Coppola talks with Interview Magazine regarding his experiences co-writing The Darjeeling Limited and Moonrise Kingdom. (Bonus trivia: In the interview, Roman uses the phrase “a memory of a fantasy,” which was coined by an interviewer during Cannes, which was referenced by Wes in his NPR interview.)
  • Watch the full 40 minute Moonrise Kingdom press conference from Cannes over here.
  • Short List has “alternative” designs for the Moonrise Kingdom poster, some of which we’ve featured here before, but it’s worth taking a look at the whole gallery. Certainly telling that the film inspired so many diverse images.

On-going coverage of Moonrise Kingdom’s premiere at Cannes


(photo credit: Pop Sugar)

Last updated: 16 May 2012, 2:36 pm ET

Reviews

  • Telegraph (UK)“Moonrise Kingdom (the name Sam and Suzy give their secret hideaway) is a worthy addition to Anderson’s canon – his deadpan wit meshes nicely with a generous view of human imperfections. A mood elevator of a movie, it’s an ideal opener to a sunny, blue-skies Cannes.” 4/5 stars
  • Time Out London – “This is an American story but it has an unmistakeable French flavour to it. The 1960s setting, the kids on the run and the wild plotting (a bit too wild in the final third), all give it a nouvelle vague feel. It’s an American ‘Pierrot le Fou’ refashioned in retrospect with Anna Karina and Jean-Paul Belmondo as pre-teens.” 4/5 stars
  • Hollywood Reporter“Wes Anderson’s Cannes opening-night film is a highly idiosyncratic, impeccable made portrait of young love. A blandly inexpressive title is the worst thing about Moonrise Kingdom, a willfully eccentric pubescent love story in which even the most minute detail has been attended to in the manner of the most obsessive maker of 19th century dollhouses.”
  • Variety“What is childhood if not an island cut off from the grown-up world around it, and what is first love if not a secret cove known only to the two parties caught in its spell? While no less twee than Wes Anderson’s earlier pictures, “Moonrise Kingdom” supplies a poignant metaphor for adolescence itself, in which a universally appealing tale of teenage romance cuts through the smug eccentricity and heightened artificiality with which Anderson has allowed himself to be pigeonholed. A prestigious opening-night slot at Cannes lends luster to Focus’ May 25 release, but not enough to grow his audience.”
  • Film Comment – “Key to its magic is the candlelit production of Britten’s opera about Noah’s ark, Noye’s Fludde, which the town is putting on in the wonderfully named Church of St. Jack. Sam first encounters Suzy there while she is costumed as the raven Noah sends off to find dry land, and the film’s giddy denouement unfolds during an actual storm when the community has taken refuge in the church, which stands in for the ark. Children clad as paired animals—in vivid costumes inspired by Camille Saint-Saëns’s Carnival of the Animals—echo the movie’s emphasis on love, friendship, and imagination. Like The Young Person’s Guide to the Orchestra, and like Moonrise Kingdom itself, Noye’s Fludde celebrates beauty in a variety of forms and how it all can come together in a wondrous whole. “
  • IndieWire – “There are diehard Wes Anderson fans and then there’s everyone else. “Moonrise Kingdom,” the idiosyncratic auteur’s seventh feature, eagerly pitches itself toward that first group of audiences and ignores the rest. But those open to Anderson quirks will find a rewarding experience littered with warmth and playful humor.”
  • Film 4 Blog – “It’s doubtful this will win over any outright Anderson sceptics, but as someone who wasn’t sure about a couple of his more recent films, this is an exciting reaffirmation of talent (I’d say it’s his best since Tenenbaums).”
  • Atlantic “He’s still a filmmaker teetering dangerously on the brink of terminal tweeness, but Sam and Suzy bring out Anderson’s sincere side. “Moonrise Kingdom” is about romantic love, but it’s also about love of books, music, nature, and objects—in many regards, a movie that allows Anderson to be himself in a way most of his recent efforts haven’t. It may fade from memory as the festival proceeds, but for now at least, “Moonrise Kingdom” has me reconsidering a filmmaker I had started to write off.”
  • The House Next Door – “Moonrise Kingdom is therefore an unabashed continuation and, what’s more, intensification of the rigorous aesthetic preoccupations and occasionally precious thematic concerns that have long marked Anderson’s films. Since, time and again, adolescent precocity has been his narrative meat and potatoes, he can be given a certain amount of latitude for such indulgences as his obsession with handwritten notes and other kinds of communiqués”
  • Press Play – “Moonrise Kingdom is a great success, both within the context of Wes Anderson’s body of work and as a work unto itself.”
  • Hitfix – “Gilman and Hayward are exquisite as Sam and Suzy, and I like that they don’t look like polished, perfect Disney Channel kids.  They have big personalities that are just starting to come into focus, and they feel like real kids, struggling with the disappointments that are inherent to the maturation process.”
  • Little White Lies – “Yet with Moonrise Kingdom, Anderson has made a film about youth that feels like it was ripped from the overactive imagination of a 12-year-old. It’s like a Prairie Home Companion version of Romeo and Juliet as made by a raffish aesthete. But the biggest coup here is that Anderson has finally managed to anchor his trademark whimsy with a sincere and heady romanticism, and by the end, you may even be reaching for your immaculately embroidered handkerchief (or neck scarf) to wipe away the tears.”
  • Thompson on Hollywood – “It’s fun watching Anderson manipulate this superb cast, who deliver delicious, precisely scripted comic moments surrounded by such archaic 1965 props as walkie-talkies, megaphones and person-to-person split screen phone calls.”