A winding homage to the New Yorker told a set of verbose monologues. Wes Anderson seems to be in a Wes Anderson positive feedback loop. The score, set, costumes, and screen play are somehow more Wes Anderson than anything before.
Plenty of laughs. Lots of excellent shots. Chalamet has a unibrow. Del Toro speaks in an fumbled voice that begs my sympathy.
Don’t watch it hungry, there’s too much good food.
A daydream summer that’s confusing and heart wrenching.
There’s a tacit depth to their connection that just kinda works.
Ellio’s parents are both great.
I enjoyed this but was also a bit underwhelmed. I laughed frequently at the dialogue between Ripper and Mandrake. The war room scenes really leveraged the absurdity of nuclear war to make good comedy.
I think this highlighted my disconnect from the cultural condition of nuclear terror.
Watched on the airplane to Van.
La Haine’s slow start just feels right. There is frequent allusion to building conflict in a way that is not at all overbearing. I felt the agitation of the characters in the sometimes mundane scenes. These scenes, paired with the time stamps gave the effect of natural passage of time. I often found myself inhereting the subtle discomforts of vintz.
There are some shots that most definitely go hard. There is one huge focal length…
