The Grand Budapest Hotel

One of the most well-written/presented films I've seen, Wes Anderson's The Grand Budapest Hotel eclectically and photogenically entices his audiences to cerebrally strap themselves in, inexhaustibly affixing literary liaisons to his rambunctious gentleman's club, scriptual guardrails, amphetamines, and incisors distilled then disseminated, meticulously tidy and neat, lead character and director functioning as one, the details, the details, the details, affluence aplombed, in a duty-bound celestial amazement.

To serve is to rectify.

Young love, friendship, greed devotion admiration jealousy deflection prison-breaks swathed in a flame forsworn to its adversaries.

Retreat.

Contours convened on a swollen strap eased into vertical environed retinal eschews.

Pause.

Consented entrapping pursuant cavalcades.

Mentors and mendicants flossed in the grip.

Critical high-level catered expenditures.

Horizons harassed and danubed.

Treachery, intransigence, vertigo.

Withstanding any attempts to halt its progression, The Grand Budapest Hotel epitomizes g(u)ilded prestige, hostages lacking ransom, taste without snobbery.

Envisioned, exercised, and executed, I hesitate to say, it's my favourite Wes Anderson film yet.

Moonrise Kingdom

Stoic particular oddities are seamlessly intertwined with a general reconceptualization of a stilted romantic American summer vacation, framed through recourse to a revitalized instructional capacity, championing the ingenuity of two young outcasts, demanding that those who neglected them altruistically unite, with the aid of Bruce Willis, as the peculiar becomes the pertinent and vice versa, discussion engenders understanding, the resulting text overtly incarnates visceral dialectics, melodramatically idealized by the pursuit of love.

Regardless of the structural impediments firmly bulwarking a sustained historical social reverberation, Suzy (Kara Hayward) and Sam (Jared Gilman) courageously escape to the wilderness which created it, only to find their commitment to one another strengthened all the more, after having been discovered.

Underground authorities are then enlisted to creatively sanctify that which has been forbidden.

And as the heavens thunderously strike back, only s/he whose bravery eclipses his/her intellect can function as saviour.

And the Moonrise Kingdom shines forth.

Having been integrated into the system.

The Fantastic Mr. Fox

Kid movies made for grownups that can be appreciated by both kids and grownups: does it get any better? Wes Anderson's The Fantastic Mr. Fox was recommended to me by my niece and I had nothing to see yesterday evening so I figured I'd check it out. And much to my content surprise did I discover that not only is it the new Wes Anderson film, but it's also my favourite Wes Anderson film since Bottle Rocket. All the trademark Wes Anderson motifs are present: a family experiencing difficulty as they learn and grow together; a cunning, sly, and exceptional traditional patriarch frustrated by the routine trappings of domestic life; a dynamic cast of colourful characters each with their own endearing idiosyncrasies; and a complementary fantasy landscape full of robust depth and life, detail after detail, potentially as envisioned by novelist Roald Dahl. Mr. Fox (George Clooney) suffers a mid-life crisis and decides to once again engage in the act of thievery to overcome his troubled financial situation and regain a taste of the good life. In order to do this he must rob three affluent farmers, Boggis (Robin Hurlstone), Bunce (Hugo Guiness), and Bean (Michael Gambon), while hiding his clandestine nightly activities from the disapproving Mrs. Fox (Meryl Streep). Bean proves to be a formidable adversary and sets out to hunt down the courageous Mr. Fox once and for all. And the only way Mr. Fox's forest community can survive in the aftermath is to objectively support his rash, subjective behaviour.

On the one hand, the film is saying "don't fuck around," for if you do, you're fucked, because the powers that be are going to squash your little rebellion and uproot your traditional order of things. But on the other, it states "give 'em hell," for that's what they do, and the resultant transformed world is accepted enthusiastically (eventually) by its inhabitants. Then again, said inhabitants only enthusiastically accept their newly transformed world because they had no other choice. But they accept it so well and are so happy within that it's tough to criticize Mr. Fox to severely.