Comedy is tragedy seen from a distance. So why does Wes Anderson shoot most of his comedies in close-up? Critics have complained that he’s obsessed with style as a director, that there’s no heart to his movies… everything’s arch. But people wouldn’t love movies like Rushmore and The Royal Tenenbaums if they were only window-dressing. It’s true enough that Anderson has an eye for composition, but it’s the heart of his movies that draws people in. The Darjeeling Limited is beautiful to look at, full of wit and wry, subtle humour, but again (and, as always) you’ll fall for it because it’s a funny/sad movie. Adjectives, like tragedy, come closer when Wes Anderson is in the director’s chair.
Ocean’s Thirteen is a movie about how sweet it is to be a movie star.
Is that wrong? Do movies owe us more than star-struck voyeurism? Can a story be told just for the sake of watching thirteen famous people stroll through it?