It’s easy enough to recognize the distinctive aesthetic of a Wes Anderson film but where it finds itself at its most delightfully tangible, without a doubt, is in The Grand Budapest Hotel. But even by Wes Anderson’s own standards, the elaborate structure of such a work is nearly impossible to match, for this feels like the sort of film that only Wes Anderson could have made. The Grand Budapest Hotel is the most Wes Anderson film that Wes Anderson has ever made, because it’s where each and every one of his most distinctive skills find themselves at their most free. If that alone weren’t enough to amount to what could easily become one of Wes Anderson’s best films, I don’t know what else can – because this may very well be the most Wes Anderson film ever to Wes Anderson.
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Terrence Malick breaks a twenty year hiatus by presenting audiences with The Thin Red Line, a poem set during WWII beautifully detailing the humanity of the soldiers from C Company and their trial amidst the Battle of Mount Austen. Where The Thin Red Line becomes a truly special film to experience arises from how it is no ordinary Hollywood war film, but in some manner, a universal tale that in the end creates a beautiful resonance within one’s mind. At near three hours, Terrence Malick takes his audiences on a journey amidst the lunacy that would be present within the war and in the end, an easy contender for the best WWII film of all time. It may not be my favourite of the sort, but when talking about such, it certainly is not a film that I would leave out. Continue reading →