In seventeen years, Wes Anderson’s body of work has come to be identified by a specific, recurring set of the thematic interests and stylistic proclivities. His films contain deep-rooted traces of discontent and anger; his characters, whether they’re principal or secondary, carry parental (often paternal) chips on their shoulders and hail from families so dysfunctional that the label scarcely does them justice; he stages his mis-en-scene with the curated whimsy of a stage play. Yet despite his notoriety for maintaining a consistent aesthetic throughout his career and exploring the same concepts from picture to picture (but through different facets), it has taken Anderson nearly two decades to make a film…
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G-S-T Year in Review – Andrew’s 2012 Wrap Up
I’m willing to admit that last year, I talked 2011 a bit more than necessary. Not that my feelings on the year were dishonest; contrary to many, I thought well of 2011, a year that didn’t contain a plethora of lasting classics but still offered a lot of excellent cinema for our viewing pleasure. But to call it a “great” year may have been a stretch, and I’m willing to admit that now in light of the fact that 2012 has, in fact, been a great year. How can you trust me on this one? Simple: I’ve written my top ten list, re-written it, scrapped that, started over from the…