Club’s contemporaneous review, which characterized the film as possibly “doomed to wilt in shadow” of the similarly sibling-centric The Royal Tenenbaums. The probable consensus choice for Anderson’s worst is this train trip through India featuring bickering brothers played by Owen Wilson, Adrien Brody, and Jason Schwartzman-reflected in The A.V. (If a filmmaker is “doing” Wes Anderson, they must know they’ll be called out immediately.) But his voice is too singular to inspire the usual rip-offs and poor man’s imitations. Yes, technically that style can be imitated, most often for parodies of his various obsessions, tics, and hang-ups. And there are those who feel that his stop-motion projects are the purest expression of his inimitable style. Still others prefer his more emotionally intimate work. Others marvel at the movies with more intricate, elaborate world-building. It’s easy to accuse Wes Anderson of making the same movie over and over again, endlessly remixing familiar elements in slightly different ratios: symmetrical compositions, absent or inadequate fathers, carefully labeled minutiae, frustrated artists, detail-packed set design, and deadpan dialogue often prefaced with “anyway” or postfaced with “by the way.” But if his movies are so similar, why is there such surprising diversity of opinion about what constitutes his best (or worst) work? Some prefer the more (relatively) stripped-down style of his earlier films.
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