• it’s Wes Anderson’s weakest screenplay but the visuals are extremely strong—any critic that is talking about how their tastes don’t mesh with Anderson’s humor baffle me—I don’t see how they can’t admire the visuals here. Even with all the flaws (and there quite a few) there aren’t 15 more interest films from 2004
  • Like all his films it’s a film about camaraderie- they all put their hand on him during the climax chase of the shark
  • Of course very weird and whimsical
  • The diorama here with the boat- specifically like a movie set cut into section is reminiscent of Jerry Lewis’ ladies man’s doll house
  • Tati is another comic auteur that comes to mind with his command over every details on set
  • Opening (and closing credits) on massive beautify tapestry
  • Few and far between with the great comic one-liners here- but one favorite is “what would be the scientific purpose of killing it?” – “Revenge” in Murray’s deadpan
  • The script feels very rough drafty— transitions are weak which is odd for an Anderson film
  • Clearly a Altman/Ashby Harold and Maude casting tribute with Bud Cort as the bond stooge
  • In one scene where they watch an old video of the crew- you can see mini-figurines of the crew—telling of Anderson’s future
  • Family/father/mentor like all of his films
  • I totally get those that think that he crawled a little up his own ass in this film—but the flaws and balanced by films’ obvious beauty and style- and the flaws keep it from being a top 5 film of the year- it’s not
  • Murray’s character isn’t as charming as Royal for user
  • For what it’s worth this is Anderson’s last time working with Mark Mothersbaugh the score composer here
  • There’s a tracking shot, 75 minutes in, following them as they move room to room in the ship- sunner
  • The mise-en-scene in the overrun hotel on Ping island is a stunner as well
  • Dog- like many of his films
  • Letters, both written and types back and forth
  • The editing crash montage is the film’s single greatest highlight I believe. It mirrors the suicide attempt of Luke Wilson in Royal and we have a cut to a red blank. It’s impeccable craftsmanship.
  • During the final chase we have great framing and staging of the entire ensemble to get everyone in like a “guess who” game
  • The slow-motion finale—like all his films—this time to “Queen Bitch” by Bowie- excellent
  • Recommend