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But as the director peels back the layers of his methodology, the viewer observes unpolished glimpses of Anthony setting up shots, prepping subjects for interview and divulging research logs-a technique that shatters the illusion of objectivity altogether. Anthony’s filmic medium appears paradoxical considering his vested interest in critiquing the omission of unbiased truth inherent in camera footage-particularly those recorded by police body cams, covert aerial surveillance programs and panopticonic corporate workplaces. The camera is a gun according to Theo Anthony, director of All Light, Everywhere, a patchwork documentary which blends interviews, archival footage and even scenes from the film’s cutting room floor in order to dissect the omnipresence of video surveillance-particularly in Black communities which have long been over-policed. In this respect, it’s hard to argue that this latent dissolution of character depth is a net negative, when Anderson is clearly interested in, more than anything, growing and evolving as an artist.- Brianna Zigler The question of “What happens next?” is less an inquiry as to the future of a shuttered, fictitious publication than a worrying, real-life prophecy, and The French Dispatch acts as a dialogue with this fear of the future of art. “What happens next?” ends up a proportional sentiment to that of the film’s titular publication, the disappearing town it’s set in and the overall theme within Wes Anderson’s tenth feature: The eternal battle between art and capital. Still, it’s not to say that The French Dispatch’s bones are absent of any meat at all. Fox or most recently, and most effectively, The Grand Budapest Hotel.
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The film becomes a wry showcase for the director’s evolution as a creative who has been refining an unparalleled style for over two decades, with a sharper humor but without the more deeply felt pulse of films like The Darjeeling Limited, Fantastic Mr. The various storytelling gimmicks take center stage, while the characters are forced into the back seat. The precision with which Anderson once effortlessly deployed anguish, familial strife, love, insecurity and, perhaps above all, loss, within his carefully constructed signature filmmaking is largely absent from his newest endeavor. Even minor roles from new Anderson inductees like Elisabeth Moss, Henry Winkler, Christoph Waltz and Rupert Friend are, as could be expected from a perfectionist like Anderson, a snug fit. Timothée Chalamet, Jeffrey Wright and Benicio del Toro, in their respective first collaborations with the director, could not have been more perfectly attuned to Anderson’s highly specified wavelength. Additionally, he trades previous forays in stop-motion animation for an extended 2D animated chase scene, and even briefly swaps his prototypically stationary, symmetrical camerawork for a dinner table sequence in which the camera slowly revolves around the seated characters, creating a novel and striking dimensionality to his cinematography. Here, he challenges himself to a far more intricate means of storytelling, which is occasionally convoluted but fosters an eagerness to return to the film-to revisit and discover something new.
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Frequently rebuked by naysayers for his commitment to his finely-tuned, “quirky” filmmaking style, The French Dispatch proves he is more interested than anything in how to play around with the medium of film and find new ways to tell his stories. Wes Anderson remains a creative force to be reckoned with. Stars: Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray, Owen WilsonĪs was the case with 2014’s The Grand Budapest Hotel, The French Dispatch is a story within a story-or, in this case, multiple stories within a story, and there are stories within those stories as well. Here are the 35 Best New Movies on iTunes: You can also check out our guides to the best movies on Netflix, Amazon Prime, HBO Max, Hulu, Showtime, Cinemax, YouTube, on demand, and at Redbox. We know iTunes has an enormous catalog of movies, but this guide should help you find something brand new to rent or buy that you’ll love. There are genre movies like The Green Knight and Sator abound, but we’re also recommending excellent indie films like Pig and brilliant docs like The Painter and the Thief-as well as films that made our Best of 20 lists. What we give you here is a list of the best new movies on iTunes, which is of paramount importance as VOD rentals become our standard moviegoing option and we all settle in for a new normal.
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A quick look at the top movies on iTunes will tell you that popular doesn’t always equal good.