With a plan to exact revenge on a mythical shark that killed his partner, oceanographer Steve Zissou rallies a crew that includes his estranged wife, a journalist, and a man who may or may not be his son.
The banality of crime. Two young men, Dignan and Anthony, walk along talking about "Starsky and Hutch." They're on their way to burglarize a house. After, they go to a café, play some ... See full summary »
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
F. Murray Abraham,
Upon his release from a mental hospital following a nervous breakdown, the directionless Anthony joins his friend Dignan, who seems far less sane than the former. Dignan has hatched a hare-brained scheme for an as-yet-unspecified crime spree that somehow involves his former boss, the (supposedly) legendary Mr. Henry. With the help of their pathetic neighbor and pal Bob, Anthony and Dignan pull a job and hit the road, where Anthony finds love with motel maid Inez. When our boys finally hook up with Mr. Henry, the ensuing escapade turns out to be far from what anyone expected. Written by
Marty Cassady <email@example.com>
This tale of three aspiring thieves has as much heart as any Wes Anderson film. As usual, Anderson presents flawed characters for whom you will feel compassion. But this comedy does not attempt to make you cry. Filled with dry humor, this script was the first of three to have been co-written by Owen Wilson and Wes Anderson. If you are in the camp that prefers Rushmore and Royal Tenenbaums, you will find that this script feels more like those films than Anderson's more recent work.
Although this movie has a smaller budget than Anderson's other films, the director is able to put together a fun film. Anderson compiles one of his great soundtracks despite being unable to afford royalty-heavy songs.
Perhaps not yet confident enough to take risks, Anderson does not engage in the visual experimentation found in his other films. Although you might miss the liberal use of vivid colors found in all other Anderson films, I think the fantastic sets and props (such as the submarine or the helicopter in Life Aquatic) are best left out of this simpler, more realistic film.
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