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 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,
A year after the accidental death of their father, three brothers -- each suffering from depression - meet for a train trip across India. Francis, the eldest, has organized it. The brothers argue, sulk, resent each other, and fight. The youngest, Jack, estranged from his girlfriend, is attracted to one of the train's attendants. Peter has left his pregnant wife at home, and he buys a venomous snake. After a few days, Francis discloses their surprising and disconcerting destination. Amid foreign surroundings, can the brothers sort out their differences? A funeral, a meditation, a hilltop ritual, and the Bengal Lancer figure in the reconciliation. Written by
I admit that arrogance is in the atmosphere of all of Wes Anderson's films and his style will probably never change, but I LOVE every single one of them (even the overblown "The Life Aquatic" gets me giddy). He knows how to push my emotional buttons and entertain the hell out of me, something that I find rare in most movies I watch. Usually if I want to be entertained, I feel the movie has to compromise the emotional value and vice versa. With Wes, I'm laughing, being entertained by the characters AND caring for them. The second that Adrien Brody ran past Bill Murray in slow motion running toward the train as The Kinks' "This Time Tomorrow" kicked in, my heart started racing at the idea that I was about to watch a new film by Wes, which I look at as something special that comes every few years. Wes' detractors complain that he is a pretentious one-trick pony, a true statement, but to me, not a negative one because I love his universe and I love being invited into it in every one of his films. While I love both of them, I occasionally wish that Tim Burton would make a film that wasn't some kind of Gothic fairy tale, or that Paul Thomas Anderson would make a film that didn't star his own ego. With Wes, I want him to just continue what he's been doing: keep using his same awesome style while taking baby steps of progress. The writing, acting, directing, soundtrack, production design and cinematography (okay, EVERYTHING) are top-notch in "The Darjeeling Limited". Hell, if "Rushmore" wasn't such a damn masterpiece, I'd say Wes has made his best film yet.
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