Asteroid City

The film is, for the most part, a delight. I would never miss a Wes Anderson movie, and I encourage anyone looking for something offbeat and original to go and see Asteroid City.

As usual, I marvelled at the richly furnished nature of Anderson’s imagination, but I couldn’t help looking back on earlier, simpler times in his career.

A meta weird commentary... and at times if you try to figure it out you can get lost in all of it. And I think to a certain extent in terms of the story, Wes Anderson probably got lost a little lost in all of it too.

For all of [ASTEROID CITY'S] artists – including Anderson, of course – the only way to deal with the chaos and uncertainty is to "just keep telling the story."

As ever, the mannered speech and meticulous framing lend a certain unreality to the proceedings — to say nothing of the brightly saturated image — but it's hardly style for style's sake.

A great return to form for Wes Anderson... This feels like his best movie since Moonrise Kingdom.

Asteroid City is a poetic, bright-colored mess, but it’s a mess that attracts people like me, and that’s sufficient.

In a career that now spans nearly 30 years, Anderson's latest film – a carousel of astronomers, aliens and singing cowboys&#59; of mid-century madness, deadpan soul and signature melancholy – might just be one of his finest.

There is romance here. There is joy. There is a deep, terrified uncertainty.

It sometimes feels as if Anderson is trying to tackle a little too much and wade a little too deep, but Asteroid City still manages to find its footing, if not its focus.