Spoiler Warning: This discussion contains some spoilers. It could be an entire gag from a comedy or in-depth conversation concerning events in the second act.
















Rating: 4.5 out of 5.

"I'm shy about my new muscles."

Wes Anderson's latest live-action cinematic venture comes a full seven years after The Grand Budapest Hotel and still three years after the animated Isle of Dogs. Needless to say, that's far too long for my liking - I've missed that Andersonian je nais se quois in my life (hence the constant reviewing of The Royal Tenenbaums). The French Dispatch is an outstanding adventure and is a true delight to see on the cinema screen. It's the 100 minutes that you've been waiting for to get you back in a theatre; the small screen won't do this the justice it deserves.

It starts at optimum Wes Anderson, not daring to ease you into the pastel symmetry and rhythmic pacing that has become synonymous with Anderson. Indeed, the single shot of a revolving tea tray having different breakfast delicacies placed on it may as well have his signature in the corner. It's really great to have that visual trademark, though, especially if it's appealing to you. It's like coming home and finding your favourite dish on the dinner table, freshly prepared for you. How could you say no? The general introduction to The French Dispatch itself is a wonderfully amusing and tantalising watch with instantly likeable performances by the likes of Bill Murray, plus quirky dialogue left, right, and centre.

The opening section with Owen Wilson's Herbsaint Sazerac is a nice little introduction to the fictional French town of Ennui that allows Anderson to play with split-screen, direct address to camera and vibrant, colourful locations. It's a noteworthy opening and sets the mood for the magazine format of the film as certain sections run far longer than others. On that note, it is where my most formidable gripe with the film comes from, as the anthology like format means that you don't get the connection with any one character you would usually get from an Anderson picture. There is no possibility for an "it's been a rough year" moment because we never spend enough time with one person to gain that kind of emotional relationship. It also doesn't help that the intention is to make each section feel like it's from a different writer because the film's overall vision is very much that of Anderson and his distinct visuality. However, do not let this distract from the fact that it doesn't take much away from the overall product - it's still a beautiful time.

The first segment, entitled The Concrete Masterpiece, is perhaps my favourite of the three larger stories. Benicio del Toro puts in a relatively insane performance that you can't look away from, and Adrien Brody makes the most of a pretty small role - maybe the best in the entire film. I also have to mention Léa Seydoux as she is just as excellent as the others here. Most of all, though, this benefits from the screenplay by Anderson, which is full of amusing dialogue playfully entwined with the cinematography and editing. Entire sequences in this segment have more energy and innovation than entire movies. It's thoroughly enjoyable and digestible, as almost all of Anderson's work is. I adore the playfulness with colour that persists throughout the film, but it is at its very best here. The brief glimpses of the artwork in colour are glorious, and Anderson knows exactly when to cut to a different angle and introduce colour. It's a really careful skill that is executed to the highest quality here.

I also love the second section with Frances McDormand and Timothée Chalamet about a French revolution in Ennui. The chessboard visuals are very Andersonian, and the general visual style is also pretty fantastic. There's a lot less to this narratively; it's just a pleasure to look at and listen to, with some of the best segments of soundtrack and score I have heard in a film this year. The third segment, despite being the one I liked least is a delight for the eyes. Anderson gets a little more colourful here and integrates a substantial animated segment that gets one of the loudest laughs in the entire film. It is, again, everything you want from a light comedy-drama, and I could watch it tomorrow without any complaints.

The French Dispatch is perhaps the most Andersonian Wes Anderson film, if you catch my drift. There isn't a shot in there that you might mistake for someone else. I can understand why people might think that's not so fun and that they may not like this film generally. However, my opinion is that it is always nice to see a filmmaker with personality. You like a person; you're always happy to see them. Wes Anderson movies are like a close friend, and seeing The French Dispatch in cinemas is like catching up with someone you haven't seen in years and having a perfect couple of hours with them. This is magic. It's worth it for Robert Yeoman's cinematography alone, but if not for that, then the laundry list of your favourite actors. Maybe you'll wish there was more Willem Dafoe, but it may just convince you to watch The Life Aquatic. The same goes for almost everyone in here. I loved it.

Check out the soundtrack here:
https://open.spotify.com/album/0UxHJhb3iWfYxofVDE0eec
This free site is ad-supported. Learn more
​