Best Wes Anderson Films? (1 Viewer)

[Klimtology]

I like them in order...

Bottle Rocket

Rushmore

The Royal Tenenbaums

Not really a fan of his later work.

And you?

 

[Ilov80s]

My rankings are

1. Grand Budapest Hotel
2. Rushmore
3. Moonrise Kingdom
4 Bottle Rocket

 

[CletiusMaximus]

1. Rushmore
2. Budapest
3. Bottle Rocket
4. Mr. Fox
5. Tenenbaums

 

[Major]

Rushmore, Bottle Rocket and Fantastic Mr. Fox were all great with Rushmore being the crown jewel. I thought Tenenbaums was solid but didn't grab me like the others.

I was disappointed by most of his later work. Moonrise, Life Aquatic and the one on the train were pretty meh. I stopped following his work after that. Looks like I need to see Budapest and the new one.

 

[rockaction]

Rushmore was the best.

After that, I'll go Bottle Rocket and then The French Dispatch. I enjoyed that way too much. It fit in perfectly with what Anderson tries to do in his movies. I have not really seen The Grand Budapest Hotel, so I can't really comment, it seems.

 

[Mr. Mojo]

The Grand Budapest Hotel and Moonrise Kingdom are the ones that I really liked. Bottle Rocket was also very good.
I think that Rushmore is overrated and The French Dispatch was such a terrible mess, I turned it off about 1/2 way through.

 

[Softballguy]

1. Tenenbaums (see avatar)
2. Grand Budapest
3. Bottle Rocket
4. Mr. Fox
5. Asteroid City
6. Life Aquatic
7. Rushmore
8. French Dispatch
9. Moonrise Kingdom

Didn't care too much for Isle of Dogs or Darjeeling.

I'm still a bit undecided on Asteroid City and French Connection... at moments I think they're fantastic, and at others I feel like it's just a bit too much Wes Anderson.

 

[HellToupee]

1-Grand Budapest
2-Tennebaums
3-Bottle Rocket
4-Fantastic Mr Fox


5-Life Aquatic
6-Darjeeling Limited


7-French Dispatch
8-Moonrise
9-Isle of Dogs
10-Rushmore -just not a fan

Big fan of WA , haven’t seen Asteroid yet

 

[rockaction]

I think a lot of people missed the roles of the journalists in The French Dispatch and how they furthered Anderson's brief history of New Yorker journalism. The storyteller in each episode (journalist) tells the story in increasing amounts of interjecting himself or herself into the story. In the first story we see Tilda Swinton, from back in the fifties/early sixties who observes the artist yet never interjects herself into the story, much as a classical journalist would. In the second story, we get Frances McDormand, a woman who sleeps with the protagonist of her story in the late sixties but still maintains a level of neutrality about the story and subject, and while she admits that a thoroughly objective account of a story is unreachable, she at least tries to attain that objectivity. The third story, set in the early seventies and beyond, sees the male journalist as provocateur and adventurer, and he thrusts himself in the story as if he were the stories' raison d'être, shaping and molding to the story to his own personality.

I found it a brilliant touch that said something about movements within journalism over time.