“Asteroid City” is a visual feat of a movie with little in the way of substance, in fact, this might be the most contrived Wes Anderson film I've watched. Scarlett Johansson, Tom Hanks, Liev Schreiber and Adrien Brody star in it, which adds heft but the photography is helliciously rendered in saturated pastels and so it's weird.

This film brought a sense of emptiness in me. During its two hours’ running time

Wes Anderson turns fifty today. 50 is a big deal. If you've come this far it probably means one, or both, of two things: (1) you've got awesome survival skills and (2) you're the type of person who looks forward to whatever comes next. I wonder how the passage of time has affected Wes Anderson, our great American filmmaker. Does the spark to create more easily? Or, rather, do he fall into a new project a lot more easily than he did before?

Intimacy and sex are essential elements to finding happiness in life, a theme found in this year's winning film. "Touch Me Not,” by Adina Pintilie, has won the Golden Bear prize at this year's Berlinale. The festival opened on February 15th and closed today and included around 400 films. Of those, nineteen were competing for the top Golden Bear prize. Romanian director Adina Pintilie said she had not expected to win the award for her film

Thanks (or not) to the Nacho Punch Youtube channel we now know what a Wes-Anderson-turned-porn-helmer would look like. The nacho network ripped some scenes from "Moonrise Kingdom" to great comedic effect. Watch until the very end for one of the best Owen Wilson imitations we've seen in a while.

Wes Anderson’s "The Grand Budapest Hotel" is the cinematic equivalent of a pastry: beautiful, exquisitely-crafted and so immensely enjoyable that it seems too good to be real. Part-homage to pre-World War II Europe, part-tribute to memory and the passage of time and part-ridiculous slapstick, "The Grand Budapest"'s greatest achievement is not in its visual perfection but its literary sensibility. It’s what would

Wes Anderson’s "Moonrise Kingdom" is not only a story of the power of first love but also the way that children create the mythology of adulthood through the fabric of stories. The world approaches us first wrapped as tales, and we handle its mysteries with imagination. The largest part of reality, even as we age, remains a contradictory act of abstraction. This has been a quietly placed theme in the films of Terrence Malick, including

If Standard & Poor’s assessed film production values Wes Anderson would remain a AAA-rated cineaste year in and year out. The level of detail that went into every square inch of “Moonrise Kingdom,” which had its premiere here in Cannes a few hours ago, is above perfection. But “Moonrise” fails on other levels. Adult characters wretchedly watch as their kids go about resolving the problems of their day (only to finally prevail, at the very

American cinema has always been prominent in the Cannes Festival’s programming, thanks to Gilles Jacob and Thierry Frémaux, president and programming director respectively, both of whom give our cinema ample screen time (the festival will take place May 11-May 22. Italy’s Nanni Moretti will be president of the jury). Last year, Cannes was the launchpad for two American productions, The Artist, which went on to win the Oscar, and Tree

Smart. Witty. Cool. Hip. Imaginative. Different. And, like any good […]