The French Dispatch Review
For a director with a very particular sense of style when it comes to composition, storytelling, and writing, Wes Anderson still finds ways to further mine the depths of his creativity to deliver something that feels new, if still inherently “Wes Anderson.” The French Dispatch plays around with the format more than any Anderson film before it, but that also allows the director and his co-writers Roman Coppola, Jason Schwartzman, and Hugo Guinness to try a lot of different things within the confines of one story.
The French Dispatch uses a unique framing device to tell a series of unique stories. Following the death of its editor, Arthur Howitzer Jr. (Bill Murray), «The French Dispatch of the Liberty Kansas Evening Sun» plans to publish a collection of its most popular articles for one last release.
Some Wes Anderson Movies Would Make Great Games
These stories include a lecture given by J.K.L. Berenson (Tilda Swinton) about famed prisoner turned artist Moses Rosenthaler (Benicio Del Toro), a profile by Lucinda Krementz (Frances McDormand) of a student protest and its young leader, Zeffirelli (Timothée Chalamet), and the story of a private dinner party that turns into a hostage rescue written by Roebuck Wright (Jeffrey Wright).
Anderson uses framing devices within framing devices to tell these stories, and each is equally entertaining as the last. Because each tale is one part of a larger anthology, there is no need to stretch the narrative further than is necessary; Anderson can indulge his creative urges to their fullest extent and then move on to something new.
In typical Wes Anderson fashion, The French Dispatch is steeped in a sense of humor, timing, and rhythm that are inherent to his work. At this point, viewers either
Read more on gamerant.com
