The French Dispatch

[wilberfan]

https://youtu.be/TcPk2p0Zaw4

Nine minute Standing O at Cannes.   

(My mileage may vary.)

[Alethia]

I tend to defend Wes - I'll still go to bat for Moonrise Kingdom any day of the week, and I consider Grand Budapest a masterpiece - but this I just couldn't stick. Visually inventive in all the usual ways, but there's almost nothing to grab onto emotionally. I've never felt more at a remove from his characters.

I'm sorry, what am I missing re Chalamet? What are people responding to? I just don't see it.

[Drenk]

Chalamet is a nightmare.

Not very hyped by this Anderson. Seems even more all over the place with nothing much to say/feel—I'll be there for the little fun tricks.

[Robyn]

I think Chalamet could be perfect given the right role, but he hasn't had much to do since Call Me By You're Name. He's either playing the pretty boy or are just there due to his hype (haven't watched Dune yet, tho)

[Jeremy Blackman]

Dune has single-handedly made me a Chalamet fan, for what it's worth.

[Yes]

Chalamet is good in CMBYN and the Greta Gerwig movies. Prob because she recognizes his fuckboi theater kid energy and gives him loose dialogue

I haven't liked a Wes since Fox but I'm still curious about this. Tenenbaums is so formative to me I'll always give  him benefit of doubt

[Yes]

So I saw this.

That's my review.

Not sure what else I can add. I know he'll never make another Tenebaums (he was 30 then compared to 50 now). I suppose the movie is expressing the loneliness of writing but also the simultaneous sensual thrill of it/the adventure? The first story would work without tilda's interjections. I have no understanding of the May 68 to comment on the poltics of 2nd story but Chalamet/MCdormand were fun even if the female journalist sleeping with male subject... is a no-no. The third was most frustrating, no wonder it erupts into an animated segment

[AntiDumbFrogQuestion]

I liked this movie in so much as Anderson's aesthetic and storytelling devices hit me in a unique spot.
However, some of the smaller parts didn't need to have any major stars cast for them. I guess maybe it's like...taking the piss out of how big people THINK they should be?

Spoiler: ShowHide

like Edward Norton or Saoirse Ronan....or even Bill Murray...or Hey, was Henry Winkler even given a line???

While we have complaints about professional voice actors losing roles to A-Listers, do we think the same should be done for Wes Anderson movies??...whatever....maybe they all had to be cut for time *shrug*....doubtful for an auteur or whatever you want to call him these days.

Still glad to see Anderson following his instincts after all this time, despite mixed results in terms of resonance.

Does this count as a review? *Shrug*

[Alethia]

Such underuse of Elizabeth Moss is a crime that shouldn't go unpunished.

[Robyn]

Such underuse of Elizabeth Moss is a crime that shouldn't go unpunished.

Was fantasizing about Moss in a PTA film the other day. Somehow I had forgotten she was in this. The list is too long!

[Jeremy Blackman]

Was fantasizing about Moss in a PTA film the other day.

She should have been in The Master.

[Alethia]

OMG yes

[AntiDumbFrogQuestion]

Such underuse of Elizabeth Moss is a crime that shouldn't go unpunished.

Right?!  and I recall being excited that she was going to "be" in this movie.

How about Griffin Dunne?
I didn't even recognize him...don't remember him having any lines, just a guy sitting next to Fisher Stevens with a beard...GRIFFIN F**KIN' "AFTER HOURS" DUNNE!
A lot of talented actors simply came across as set dressing...

[WorldForgot]

Where words will warrant a measure for measure remembrance;
in Tip-Top shape we sharpen an appetite of ample spirit.

Oh, form; the order of chaos wherein we interpret the tempo of our heart.
When I sing it iz with the genetic material I cannot shirk off. Just how the sparks in my noodle know only themselves.
Until I know you. And how I hope to.

Wes adores art - and here he's created a thesis as to why his form iz the way it iz. Funny how this gave Léa Seydoux a better role than No Time to Die. This film asks us to endear ourselves to singular passions. And to find empathy in anyone's personal pursuit, granted that they allow you likewise. Its editor asks of The Dispatch's writers what Wes Anderson is asking of any audience willing to listen. There will be oversights and mistakes in our work, and that's why we share and collaborate. When you write what you must, just try to make it sound like you wrote it that way on purpose