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Wes Anderson already had two features under his belt whenThe Royal Tenenbaumswas released in 2001.
If you had a taste for his whole thing,Tenenbaumsmarked the point at which you would know.
The artificiality of Andersons work has always been a feature, not a bug.
Arthur grew it into a successful publication, one he nevertheless dictated would end with his passing.
The films format mimics the collection of stories that make up the final issue.
Berensen (Tilda Swinton), is droll and charming.
The French Dispatchflickers betweenvibrant colorand nostalgic black-and-white, with the latter sometimes indicating a look back into the past.
But if his elaborately art-directed universes can be stifling, they can be comforting, too.
There has never been any doubt what Andersons looks like.
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