“The French Dispatch” had a significantly wider start than Anderson’s prior movies, such as “The Grand Budapest Hotel,” “Isle of Dogs” and “Moonrise Kingdom.” That’s because the pandemic has dramatically shaken up the preferred method for releasing independent movies. Other theaters in which Wes Anderson loyalists bought tickets in droves include The Grove in Los Angeles, BAM in Brooklyn, Alamo Drafthouse in Brooklyn and AMC Lincoln Square in Manhattan. Starring Bill Murray, Timothée Chalamet, Frances McDormand, Benicio del Toro, Tilda Swinton and Adrien Brody, “The French Dispatch” had the biggest turnout at the Angelika in New York City, with the arthouse theater expected to pull in $100,000 in its first three days. We are thrilled that after several delays, moviegoers said it was worth the wait.” What has been doubly encouraging is the crossover results in mainstream theaters hungry for Wes’ 10th film as well.
“These figures show that after a year and a half, arthouse and independent theaters have a superhero of their own in Wes Anderson. Anderson is already shooting his next feature in Spain, currently titled Asteroid City and I hope that one is better.“‘The French Dispatch’ is a jolt of electricity for the specialty box office, delivering record-breaking results in theaters across the country,” said Searchlight Pictures’ senior VP and general sales manager Frank Rodriguez. In addition to the screenplay by Anderson, “story by” credits go to: Wes Anderson, Roman Coppola, Hugo Guinness, and Jason Schwartzman. It felt like he wrote the whole thing in just seven days and had no idea what to do so just threw everything at the wall.
At 52 years of age, Wes Anderson proves that “touchy narcissism” isn’t limited to the young at all. I felt like someone was playing a practical joke on me by calling it a film and at one point I felt the same way about this one too. This screened at Cannes? Are you kidding me? It reminded me of Sofia Coppola’s film Somewhere. In this case, the blot on the screen could have represented this blot on Wes Anderson’s career. It reminded me of when I saw Anderson’s The Royal Tenenbaums at the Regal Hollywood 27 in Nashville and one of the speakers was blown out, which was okay, because the distortion only enhanced the soundtrack. The AMC Theatre where I saw the film had a black spot on the screen which was mainly unnoticeable but very annoying when it was. I didn’t feel that the subtitles appearing in reverse order did anything.
#WES ANDERSON FRENCH DIS SOUNDTRACK MOVIE#
When Juliette (Lyna Khoudri) proclaims that something is “poetic (in a bad way)”, perhaps that could describe the movie at hand, but perhaps that is also being too kind. Timothée Chalamet plays chess (not as well as Anya Taylor-Joy), but he does wear a gas mask. Not even double Academy Award winner Frances McDormand can pick up the pieces. Christoph Waltz “looks like hell” and it’s too bad he’s not in it more. Léa Seydoux is a great model, but so much more. Benicio Del Toro plays Moses Rosenthaler, the tortured and psychotic artist. Tilda Swinton’s deadpan delivery with a northeastern accent and bright red Carol Burnett hair is classic. The saving grace was Wes Anderson’s great cast: It was filmed in Angoulême and perhaps I’d like to go there someday despite not being enamored with the film. What in the world? Later on, Le Sans Blague (without a joke) Café is also featured as a location. I cringed when the film was set in Ennui-sur-Blasé (boredom/apathy).
Some of the dialogue and jokes fall flat as well. When Chantal Goya’s “Tu as trop menti” was featured in the film, the same song used for Jean-Luc Godard’s Masculin féminin trailer, I felt that it was kind of uninspired (despite the fact that it’s a great song). The quirkiness that drew me to Wes Anderson’s filmmaking has grown awfully stale.
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