The French Dispatch

wow, this movie could be seen multiple times. because each vignette stands on its own. It was only the morning after I realized that each Author had thier own way of "cinematographically narrating their written article.". It makes you think and even act differently, after being immersed in Wes Anderson's brain.

La estética de Wes Anderson es increíble y su cinematografía es muy estética; sin embargo para mi la historia en esta cinta no funciona y no dejan de ser un sinfín de escenas bonitas en una cinta que nunca termina de encontrar su voz

Wes Anderson can go away for a while

What makes filmmaker Wes Anderson so compelling to visit his different works then re-watch if given the chance? He evolved, maintained then slightly evolved more dimensionally. His eccentricity on apathetic characterization, meticulousness on story, very well-connected collaboration of unique star power mixture, and the elemental apparatus in symmetrical framing are his distinguish trademarks over his unique artistic capabilities. Delightful flavors over tonal seriousness being cleverly delivered and executed with purposefully humorous undertone. "The French Dispatch" cycles on that intuitive storytelling, significantly ranking at performative best. The film is an anthology, a collection of stories building up the latest publication of the titular magazine, an American newspaper outpost set in a fictional 20th century French city whereas the writers think back their most impactful reporting. Framed by the staff overseen by editor Arthur Howitzer Jr., then briefly taken on a tour guide over the town's meanings, there are three segments: "The Concrete Masterpiece" is an infamous imprisoned artist encouraged to continue his craft at an art dealer's behest; "Revisions to a Manifesto" is factually based from another added angle via journalistic neutrality reporting on the 1968 student protests while developing a relationship with the leader, exposing him to potential feels amidst the revolution while working on his manifesto; and finally "The Private Dining Room of the Police Commissioner" details a disrupted dinner by a kidnapper derailing those plans and lead into an evening confrontation. Anderson's live-action feat since "The Grand Budapest Hotel" refreshes appreciation over his praiseworthy craft. He peaked then, while "Isle of Dogs" that followed is his second animated feat after "Fantastic Mr. Fox" with a suitable matching style under another medium as one of the most delicately complicated stop-motion pictures. There are a couple more incoming projects under his belt with genuine anticipation. You'd probably think the distant in-between has a secondary purpose in giving us time to check out his latest artwork and start appreciating his unique offering leading towards the next one. That's how "The French Dispatch" serves, with Anderson continuously taking a step forward over the last. It consists of all his fundamental components under picturesque expectations of his usual craft without any falters. Deemed spiritually a love letter to journalism, its conception aligned what Steven Spielberg's "The Post" reminded but Anderson refuted more towards passionate focus on the persisting desire to write unsung portraits. Extensive research got reflected into the film as the setting presented itself as a former memory's smaller mirror and molding the aesthetic further based off some of pinnacle classics from the French New Wave. These sharpens the lenses into enjoying his rejuvenated peak at the same previous level as the production designs and supposable coordination are elegantly flavorful to the eyes backed up by specifically-detailed running scripts showcasing that meticulous form's thoroughness into impressively imagined depths cornered humorously. Furthered by his frequent collaborator score composer Alexandre Desplat (since "Mr. Fox") who drew inspiration also from French musical roots tuning energetic expressions beneath the apathetic, symmetrical scenery. Wide, renowned ensemble, including his frequent cast, and they all exceeded the usually expected tonal delivery with utter brilliance in their focus and exceptional delivery that maintains the mesmerizing unique fun. At times they'd gone a bit further with their own expressions as extents of their statures outside of the collectively maintained demeanor. Adrien Brody and Tilda Swinton proved themselves the funniest to an extent, Live Schrieber's a unique participant as an outer norm, and Bill Murray honestly performed his best when remarkably embracing his character's stance and beliefs. "The French Dispatch" can be best enjoyed by enthusiasts towards his craft, while others with little exposure would either engage over the uniqueness or showcase. Debatable on how to rank this among his other works since he rarely missteps and maintained the constant enjoyment level rather impressively, this is his most recent best alongside "The Grand Budapest Hotel". (A-)

Excellent, in terms of both aestethics and storytelling.

I love Wes Anderson, but it is boring and slow

I watched and rewatched this movie 20ish times to really get it, as with like most of the other wes andersons for me, but Wes is doing new and great things with film and expression (especially in this one) and thats hella.

The dialogue and writing in the third chapter are some of the best of Anderson's career. The comedy of the first act is on par with Zissou. And the second act is just...IDK.

very interesting you will love this

It has an amazing first act, a weak second, and a solid third act culminating in a rather disjointed movie filled to the brim with celebrities that are only there just to work with Wes Anderson. If you're a fan of his work, you'll like this; otherwise, it may be a HARD acquired taste.