Movie Review The Meyerowitz Stories

The Meyerowitz Stories (2017) 

Directed by Noah Baumbach 

Written by Noah Baumbach 

Starring Ben Stiller, Adam Sandler, Dustin Hoffman, Emma Thompson, Elizabeth Marvel

Release Date October 14th, 2017 

My friends and fellow podcasters on the "Everyone is a Critic" podcast like to joke about my disdain for Adam Sandler. They seem to believe that I harbor some personal grudge against the man. It’s not true but it makes for a funny running gag. In reality, I have a professional grudge against Adam Sandler, nothing personal. I am professionally irritated by Adam Sandler because he continually works so far below his talent.

That’s right, I believe Adam Sandler is talented. In fact, I believe Adam Sandler is remarkably talented. Unfortunately, he chooses to abandon his gifts in favor of a steady, high dollar paycheck and the chance to goof off with his friends. It’s irritating to me as a critic to watch a man I know can act pretending that he can’t. Make no mistake, Adam Sandler can act. When he works with a real director, one with vision and the ability to bend Sandler to his or her will, Sandler can deliver a genuine powerhouse performance. His new film, under the direction of Noah Baumbach, The Meyerowitz Stories, reinforces my point.

In The Meyerowitz Stories, Adam Sandler plays Danny, a single father to a college-bound daughter, Eliza (Grace Van Patten), and the son a respected sculptor and professor, Harold Meyerowitz (Dustin Hoffman). Danny has a wonderful relationship with his daughter and a terribly fraught relationship with his father. Unfortunately for him, Eliza is leaving for college and having recently broken up with Eliza’s mother, Danny is going to stay with his dad and dad’s flighty gal-pal Maureen (Emma Thompson).

Danny has a sister named Jean (Elizabeth Marvel) and a half-brother, Matthew (Ben Stiller), whom his father adores and can’t resist mentioning in front of Danny. Where Danny has never had a job, he was essentially a house husband and father after abandoning his musical aspirations, Matthew has moved to Los Angeles and become a successful financial advisor to celebrities. That Matthew left to escape their father, is something Harold ignores, and Danny is unaware of.

Find my full length review in the Geeks Community on Vocal 

Movie Review Barbie

Barbie (2023)

Directed by Greta Gerwig 

Written by Noah Baumbach, Greta Gerwig 

Starring Margot Robbie, Helen Mirren, Ryan Gosling, Rhea Perlman, Simu Liu, Will Ferrell, America Ferrara 

Release Date July 21st, 2023 

Published July 23rd 2023 

Barbie is some of the most fun that I have had at the movies in 2023. The comedy is rich and thorny and the attitude is all sparkles and pink. It's lively, energetic and innovatively presented by one of our best working storytellers today, Greta Gerwig. I was highly skeptical and a bit perturbed that one of the best directors working today had turned their attention to directing a movie about Barbie. I should not have been. I should have just trusted that Greta Gerwig knew exactly what she was doing. The product of this highly commercial move into blockbuster product placement is a wildly funny meta-comedy about existence, purpose, and the desire to understand oneself. 

If any actress was going to be the right choice to deconstruct and uphold the legend of Barbie, it was Margot Robbie. She's ideal Barbie, an uber-talented, multi-hyphenate, who happens to look like a Barbie doll come to life. She's also among our most talented and versatile actors today so, of course, her take on Barbie is way more complex than anything you are anticipating. And it's that very complexity that brings the biggest laughs as invasive thoughts begin to consume Robbie's 'Stereotypical Barbie,' the version of Barbie you imagine when you think of Barbie Dolls. 

Of course, there have been dozens of different Barbies over the years. Barbies of different ethnicities, body types, and professions as vast and wide as Astronaut, Supreme Court Justice, and President Barbie. Each Barbie is played by a murderer's row of the best supporting players working today including Issa Rae, Hari Neff, Alexandra Shipp, Emma Mackey and Sharon Rooney. All of the Barbie's of this unique movie universe live in Barbieland, a magical place adjacent to the real world where Mattel, headed up by Will Ferrell, keeps pumping out market tested new versions of Barbie, as well as several Ken's. 

Oh, yeah, almost forgot about Ken. Ken is played by Ryan Gosling in a scene-stealing performance. He's stereotypical Ken and thus fated to love Barbie. But what happens if she doesn't love him? Meanwhile, several dozen other Ken's follow the lead of either stereotypical Ken or his nemesis, Ken 2 (Simu Liu). Both appear to be vying for Barbie's attention, much to Ken's dismay. Oh, and Alan (Michael Cera), is kicking around somewhere in the background. Alan is a long-discontinued pal of Ken and Barbie, a real Barbie character variation. The jokes about Alan are all hits throughout Barbie, even as Michael Cera portrays him quite sympathetically. 

Click here for my full length review at Geeks.Media 

Movie Review White Noise

White Noise (2022) 

Directed by Noah Baumbach 

Written by Noah Baumbach 

Starring Adam Driver, Greta Gerwig, Don Cheadle 

Release Date November 25th, 2022

Published November 18th, 2022 

Netflix 

I've never read Don Delillo's much heralded 1985 novel, White Noise. Others have told me it is quite brilliant. I'm told it has a visionary quality that makes it quite worthy of being adapted at any time. From what I know about White Noise, Noah Baumbach, director of intimate dramas about awkward families and spiky characters, would not be the most likely choice to direct this material. The story carries elements of science fiction, high minded satire ala Joseph Heller, and a borderline unfilmable obsession with death. Unfilmable in that most audiences won't find the theme one they want to watch play out in a movie. 

It's rather perfect that an iconoclast like Baumbach would choose something so seemingly impossible as his first big budget directorial effort. It's also kind of perfect that he's taken millions of dollars of Netflix money and made an indie movie on a blockbuster budget. White Noise is filled with showy, dramatic speeches, and wildly strange moments of action fitting of a director of esoteric human drama. White Noise is filled with numerous themes but none of which seems to stand out or find any satisfying resolution.

Adam Driver stars in White Noise as J.A.K or Jack Gladney, father of 5 children from 4 marriages to five different women. His new wife, Babette (Greta Gerwig), shares with Jack a despairing fear of death. What begins as a somewhat romantic, fatalistic conversation about how they can't live without each other and making the case that one should die before the other in order to save them from comparative states of horrific grief. 

Babette's fear of death manifests in her beginning to take an experimental drug that is supposed to relieve her of the fear of death. Instead, the drug just effects Babette's memory in general making her forgetful but still deeply in fear of death. For Jack, he expresses his fear of death through his work as a professor at the fictional College on the Hill, located somewhere in Ohio. Jack has earned fame in Academic circles for his intensive course, Hitler Studies, where he opines on the evils of the dictator and the culture that made him possible. 

At one point, White Noise comes to a complete halt for a dueling speech between Driver's Jack and his best friend, Professor Murray Siskind (Don Cheadle). In an incredible verbal dance, Jack and Murray each pontificate about the area of their expertise. Jack, of course, knows all about Hitler while Murray's unique field of study is Elvis Presley. The pair find strange and fascinating parallels between Hitler and the King of Rock N'Roll in each having attachment issues related to their mothers, their absent fathers, and their incredible ability to draw and compel a crowd. 

Neither Driver and Cheadler nor Jack and Murray are competing here. Rather, the pair is improvising a intricate dance of intellects that dovetail off of one another, building on each others points, coming to the point of interrupting each other but never seeming to steal the attention away. At one moment, Jack recedes into the crowd of gathering professors and students, mesmerized by their tete a tete and then he re-emerges in a different part of the crowd, rising from a crouch to take hold of the scene, and Murray steps back in awe to enjoy his fellow Professor's presentation. 

It's the best scene in White Noise and it is so good that I want to recommend the movie solely based on the quality of Driver and Cheadle's magnificent duet. I want to recommend it but I am not sure that I can. You see, what remains of White Noise following this bravura effort is far too strange, obtuse, and esoteric that I am not sure who the audience for this is meant to be. White Noise has director Baumbach tapping various styles from other directors from Altman to Wes Anderson to Mike Nicholas and Stanley Kubrick. The homage throughout White Noise is fascinating but I am not sure it adds up to anything in the end. 

I'm told that Delillo's novel actually thrives on trainwrecking the narrative into some inescapable place and leaping to a new narrative thread. White Noise, in fact, depicts an actual trainwreck that serves the purpose of shifting the narrative from quirky academic satire to an equally quirky survival thriller. The family is forced to flee from their home after a train is hit by a semi-truck carry flammable chemicals. The train was carrying toxic waste and the result is what the book and film call an 'Airborne Toxic Event.' Jack ends up being exposed to the Toxic Event and assumes that it is going to kill him but that is only used to underline his ongoing obsession with death. 

The Airborne Toxic Event portion of White Noise includes a chase scene and chaotic, end of the world preaching and then just peters out into the family returning home and going on with their lives. It's weirdly clever and provides yet another narrative trainwreck into another story, though slightly less successful than the actual trainwreck scene. The final act then becomes a domestic drama as Jack investigates Babette's experimental drug. I doubt that I can spoil the movie but I am nevertheless going to end my description there. 

White Noise is a particularly unsatisfying experience. On one hand, I love some of the ambition that Baumbach demonstrates. The stuff with Driver and Don Cheadle and Hitler and Elvis is genuinely riveting. Driver's performance is weird, as is Cheadle and Greta Gerwig's performances but they are entertainingly weird, they match the weird tone of White Noise. The acting is really first rate in terms of how it marries with the wild ideas of White Noise. That said, I can see where a more mainstream audience than myself, might be put off by the theatrics, the showiness, and the un-ironic bigness of these performances. 

I also love the film credits which encompasses the final scene of the movie to the very end of the last credit on screen. It's essentially a music video reminiscent of the wildly anarchic and inventive style of a Spike Jonze video. The lengthy choreographed sequence marries dancers and non-dancers a like in a series of coordinated movements that mimic and mock the daily mannered pleasantries of grocery stores in our obsessive consumer culture. Actual dancers glide amid the coordinated movements of shoppers, smiling, everyday consumers, going about the business of selecting their varieties of brands and filling carts to overflow with item after item. 

Consumer culture is among the many broad targets of White Noise though what point is being made about consumer culture is far too broad to determine. That really is the defining quality of the movie White Noise, it's a scattershot blast of vague commentary on modern life, some of it quite interesting and entertaining and quite a lot of it presented without much insight, humor, or meaning. I could excuse that as being just like life where not everything has a deeper meaning but that feels like a cop out by both me as a writer and critic and by the movie which appears incapable of settling on any kind of point. 

Click here for my full length review at Geeks.Media. 

Movie Review Greenberg

Greenberg (2010) 

Directed by Noah Baumbach

Written by Noah Baumbach

Starring Ben Stiller, Greta Gerwig, Rhys Ifans 

Release Date March 19th, 2010 

Published May 12th, 2010 

Dear Roger Greenberg

Unlike you I rarely write complaint letters but having spent time with you, courtesy of writer-director Noah Baumbach, I felt compelled to write to you. My complaint is that I feel I am far too like you and I aim to change that. I guess this isn't so much a complaint, maybe even more of a thank you. Wanting to not become like you may change the very course of my life.

Sincerely,

Sean Patrick Kernan

The movie Greenberg may have honestly changed my life. Heretofore a misanthrope with an honest distaste for most other people I am compelled by the example of Ben Stiller's performance in Greenberg that this is the path of a lonely, pathetic and desperate existence where even those you do connect with will be dealt the blow of your worldview eventually.

Roger Greenberg is 41 years old and staying at his millionaire brother's mansion for several weeks while his brother is on a family vacation, his aim is to actively do nothing. What nothing entails is unclear as Roger seems to hate everyone and everything but desperately calls old friends and acquaintances begging for some company. This would require him to do things and there you have his conundrum.

Among the things for Roger to do is spend time with his brother's assistant Florence (Greta Gerwig) who reveals herself to be one of the rare people who can tolerate his constant bad attitude. An aspiring musician, Florence speaks to Roger's own longings; he once was in a band that came up short of the big time because of him.

Music is not a big part of Roger and Florence's relationship. The dominant theme is Roger pushing and pulling and Florence finding his anger and mood swings to be a mask for a vulnerability that she finds irresistible. These two people would be meant for each other in any other movie but in the complex web of character conflict woven by writer-director Noah Baumbach, their personalities provide realistic roadblocks to happiness.

This is the finest work in Noah Baumbach's previously overrated career. Greenberg irons out the issues with his Margot at the Wedding in which all of the characters were mini-Greenberg's and thus intolerable. With no one to point out what jerks they all were, the characters sprayed venom in all directions until the movie could not sustain the momentum of their irksomeness.

In Greenberg only Roger is bitter, sad, hateful and desperate and it's easier to tolerate. Everyone else in the movie reveals Roger's character and forces him to confront himself. This allows the character to evolve and if not change, at least check the attitude to the point where other people can tolerate him.

Ben Stiller's performance in Greenberg is a stunner, especially considering his remarkably awful turns in not one but TWO Night at the Museum movies. One could fairly wonder if he could ever be taken seriously after repeated slap fights with a monkey but Greenberg shows there is still talent there. 

Greta Gerwig is wonderful as the often wilting but wily Florence and just as good is Rhys Ifans who plays Roger's best friend Ivan. Years ago Roger and Ivan were in a band together and naturally Roger blew the whole thing with his bad vibes. To his astonishing credit, especially for a Baumbach character, he doesn't hold it against him and what Ifans plays so well are the unspoken reasons why he doesn't hold it against him.

Greenberg is filled with all of the subtlety and wit that Noah Baumbach always thought he had but has never really demonstrated. The characters are flawed, intelligent and achingly normal creatures that are not defined by their wounded psyches, aside from Greenberg that is. It's almost anti-Baumbach in that way.

Most important for me is the performance of Ben Stiller who reveals portions of Roger that I'm sure many people like me recognized far too well in our own lives. Like him I am an angry, self sabotaging misanthrope who mistakes edgy self involvement for wit and loathing of humanity as insight. Yes, I do those things and after seeing the result in Greenberg I aim to be different. What more can one ask of a great work of art but to have it reveal something of them.

For that, for me, Greenberg is a revelation.

Movie Review Marriage Story

Marriage Story (2019) 

Directed by Noah Baumbach

Written by Noah Baumbach

Starring Adam Driver, Scarlett Johansson, Laura Dern, Alan Alda, Ray Liotta

Release Date December 6th, 2019 

Published December 2nd, 2019 

Only Noah Baumbach could make his least cynical movie about divorce. Cynicism about other people, about relationships, romantic or parental, is at the core of Baumbach’s work. Baumbach has always had a sharp ear for dialogue that cuts to the heart of intimate conflict and in movies such as Greenberg or Margot at the Wedding, he’s used that sharpness to darkly humorous effect. His films are often very insightful even as they are especially bitter. 

Thus we arrive at Marriage Story, Baumbach’s most mature and thoughtful movie that finds places of deep, ugly, honesty and yet manages to end on a note that doesn’t leave you feeling that he loathes the rest of humanity. Marriage Story may be about the desperately sad end of what appeared to be a happy and fulfilling marriage but somehow, Baumbach turns that ugliness into something beautiful and bordering on hopeful. 

Marriage Story stars Adam Driver as Charlie and Scarlett Johannson as Nicole. Together, they are the parents of Henry (Azhy Robertson) and are part of a successful theater company where Charlie is a rising star director and Nicole is the star. They’re friends believed they were a perfect couple but now, they are getting a divorce. Nicole is moving to Los Angeles for a television job and Henry is going with her. 

The plan is for Charlie and Nicole to work out their divorce together with no lawyers. That lasts about a day or so until Nicole accepts some advice to visit with Nora (Laura Dern). Nora helps Nicole see the challenges ahead of her in trying to establish herself in Los Angeles while Charlie pressures her to move back to New York City. Nicole wants Charlie to recognize that she wants things as much as he wants particular things. Eventually, Nicole agrees that hiring Nora is her only choice. 

Blindsided, Charlie is forced to get his own lawyer, first turning to a high powered, expensive brawler, Jay Marrotta (Ray Liotta) before settling on the less expensive and more fatherly, Burt (Alan Alda). Burt urges Charlie to settle and even consider moving to Los Angeles as his case for living in New York appears weak compared to Nicole’s case for living in Los Angeles. Both Charlie and Nicole have strong reasons for wanting what they want and the movie is fair to both sides.

There isn’t much more of a plot to describe in Marriage Story. The movie isn’t about plot, it’s about characters and in Charlie and Nicole, we have some of the most indelible characters that Noah Baumbach has created in a career filled with great characters. In Adam Driver and Scarlett Johannson, Baumbach has a pair of actors who are magnetic personalities. No matter what kind of nasty or thoughtless words Baumbach puts in their mouths, Driver and Johannson remain people we care for deeply. 

Since Marriage Story isn’t a movie that is about plot, we are forced to rely on moments and Driver and Johannson are incredible at creating moments with these characters. The standout moment is an argument that is verbally violent. It’s a scene of remarkable energy and intensity deepened by how real it feels. The going for the jugular in this scene is not showy, not over the top, it has an organic, earnest, and angry quality that is raw and real. 

In a movie filled with great moments, another that stands out is a musical performance. Marriage Story is not a musical and the two musical scenes are not fourth wall breaking moments of experimental cinema. Rather, both scenes are organic to the performative nature of these two wonderful characters. The one that stayed with me was the performance of a Gershwin song by Adam Driver. He may not be a natural singer but his manner carries the song, an almost accidental confession of his vulnerability. Driver’s acting sells the performance in ways a trained singer might not be able to achieve.  

Marriage Story is Noah Baumbach’s first visual masterpiece. The direction is flawless with the sets and the compositions adding depth and beauty to the complex emotions of this story. Some visuals are a little on the nose such as a scene where Charlie and Nicole are on opposite sides of a gate they are helping each other to close but for the most part, the look of Marriage Story with its bright, spare spaces filled with visual dividers is a lovely reflection of the divisions growing between Charlie and Nicole. 

The ways in which Baumbach and his crew visually divide Charlie and Nicole is subtle yet striking when you do notice it. My favorite moment is in Nora’s expensive law office. A pair of overhead lights act as a visual dividing line with Nicole on one side and Charlie on the other as the camera slowly recedes from the scene. It’s a gorgeous use of setting to underline the story being told. 

The script for Marriage Story is the best of Baumbach’s career, a lacerating yet lovely script that establishes why Charlie and Nicole can’t remain married while making neither one the villain. That’s quite a trick to pull off. Movies like this tend to rely on one side being the villain but not Marriage Story. Both Charlie and Nicole have done things that they regret and Charlie has been openly neglectful of Nicole’s desires but for the most part, both sides are treated fairly. 

There are no illusions about Nicole and Charlie’s future, no hints that a simple resolution is coming that will make everything okay and yet, the movie has a hopeful quality. The message appears to be that there is life after divorce and recriminations are like small cuts that eventually heal. Forgiveness is part of loving someone, even if it isn't the kind of love that keeps a marriage together. 

I mentioned at the start that Marriage Story is Noah Baumbach’s least cynical movie and it is. You will need to see the movie to find out why. That’s not to say that there is a spoiler per se, I don’t think I could spoil this movie, but there are emotional elements that you need to access for yourself to understand what I mean when I say the movie is less cynical than movies like The Squid and the Whale or Mistress America or his previous Netflix effort, The Meyerowitz Stories. 

Movie Review Margot at the Wedding

Margot at the Wedding (2007) 

Directed by Noah Baumbach

Written by Noah Baumbach

Starring Nicole Kidman, Jennifer Jason Leigh, Jack Black, John Turturro 

Release Date November 16th, 2007 

Published November 30th, 2007 

Pauline (Jennifer Jason Leigh) is getting married and her sister Margot (Nicole Kidman) has relented to come in Noah Baumbach's latest ponderous wade into the world of the over-educated and under-socialized Margot At the Wedding. This oddball little movie about horrible people torturing each other over their shared ugly pasts is one of the more unpleasant movies I've seen in a while, and I've seen two Martin Lawrence comedies in recent weeks. It's not that Baumbach is not talented. Rather it's his use of his gift with words for evil. By evil I mean his characters are constantly manipulative, backbiting. Their whiney self involvement and their constant state of fucked upness.

As he did with his debut picture The Squid and The Whale Baumbach abuses another teenager, young Lane Pais plays Claude the son of the evil Margot and throughout Margot at the Wedding he is treated to abuse after abuse from his mother to a strange neighbor boy to having to hear far too much of Pauline and her fiance Malcolm's (Jack Black) business. This is the kind of mother-son relationship from which serial killers are born. It's a shame because Pais' performance has great potential. That potential is stifled unfortunately by Baumbach's fascination with Kidman's Margot.

Margot and Pauline were abused by their father, abuse that their unseen sister Becky never recovered from allegedly and thus still lives with their unseen mother. Naturally, Margot and Pauline delight in their sisters' misery. Then again, they seem to delight in each other's misery just as much. Margot doesn't just delight in hearing of misery however, she likes to instigate it and watch it unfold. With her own marriage faltering, John Turturro appears briefly as her masochist husband, Margot immediately sets to finding fault with Pauline's soon to be husband.

There is plenty to find fault with. Malcolm is a manchild, quick to bursts of impotent rage. He has no job, music is now his hobby we are told, he's a painter now. Malcolm has zero social skills and tells embarrassing stories. It's actually quite well played by Jack Black who rages in various directions, we assume looking to make us laugh, and occasionally finds a truly funny moment. These moments are rare, squeezed as they are between the palace intrigue of two sisters trying to emotionally decapitate one another. Then you have the poor children thrust into the middle of all of this. Pauline has a younger daughter named Ingrid who somehow manages to remain on the periphery of all of the evil.

There are laughs in Margot at the Wedding and even what passes for insight among these disturbing characters. Unfortunately, the whole thing is so damn repugnant to those who have the will to search for the good in it. Noah Baumbach is a talented writer who has gone over to the dark side. He simply doesn't like people and demonstrates that by crafting characters that reflect how awful he thinks they are. He uses children in his films to reflect that evil and how it is passed on generation to generation. There may be a valuable lesson to be learned there but I can't stand his characters long enough to figure out what that lesson is.

Movie Review: Fantastic Mr. Fox

Fantastic Mr. Fox (2009) 

Directed by Wes Anderson

Written by Wes Anderson, Noah Baumbach

Starring George Clooney, Meryl Streep, Jason Schwartzman, Wallace Wolodarsky, 

Release Date November 25th, 2009 

Published November 24th, 2009 

Is the Wes Anderson genius wearing thin? After loving Rushmore and, the even more brilliant The Royal Tenenbaums, I seem to have lost my taste for Mr. Anderson's low key, off-kilter charm. The Life Aquatic with Steve Zissou was strong on production design and short on story. Darjeeling Limited was a patience testing observation of exceedingly low key, mannered behavior. Now, for Mr. Anderson's latest overly precious, affectedly quiet effort he has turned to stop motion animation. The result is elegant in production, eye popping even, but yet again a test of the patience of those tiring of Wes Anderson's brand of twee storytelling.

Based on the Children's book by the legendary Roald Dahl, The Fantastic Mr. Fox tells the story of Mr Fox (Voice of George Clooney), a chicken thief turned newspaper man. Mr. Fox gave up his animal nature, stealing chickens, to focus on raising a family with Mrs. Fox (voice of Meryl Streep). Together they have a son (Voice of Jason Schwartzman) who is quite odd and for a time the family is joined by a cousin named Kristofferson (Eric Chase Anderson). 

The story hinges on Mr. Fox's covert move back into the stealing biz, against Mrs. Fox's wishes. Enlisting the help of his pal Kylie, an opossum voiced by Wallace Wolodarsky, Mr. Fox intends to steal from the three meanest, nastiest farmers in the land; Boggis, Bunce, and Bean. He's quite successful at first, but it doesn't take long for the evil farmers to find about the thieving Mr. Fox and when they do, it's war.

The old fashioned, stop motion animated style of Fantastic Mr. Fox is warm and inviting and at the same time a technical marvel. These creatures have astonishing life in their exaggerated features, right down to the shine on Mr. and Mrs. Fox's coats. The production design is flawless and really steals the show from director Anderson's exceptionally low key storytelling.

With his characters modulated to just over a whisper, Wes Anderson turns Fantastic Mr. Fox from a child's adventure story into one of his monotone, pretentious character observations. In the past I have enjoyed observing the behavior of Mr. Anderson's just left of center characters but as his style has aged, it hasn't evolved. Fantastic Mr. Fox is the same blend of absurd quietude and quirky characters as was his Rushmore only without the charm of being something new.

Where Rushmore had an indie, hipster edge and Royal Tenenbaums had airy refinement bordering on arrogance, Mr. Anderson's three succeeding features have become cute and overly precious. His style has become an affectation, an artificial exercise in style. It's an eye catching, often well produced style but with each picture there is less and less substance to back it up. Though the production design is first rate in Fantatic Mr. Fox, the movie as a whole comes up short as little more than an exercise in style. Wes Anderson's ever more affected filmmaking is taking his career in the wrong direction.