REVIEW: ASTEROID CITY

4/5

Actually Wes Anderson.

105 Mins. Starring: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan & Jeff Goldblum. Director: Wes Anderson. In: Theatres. 

'Accidentally Wes Anderson' has become one of the good social media trends that have taken over the world. And you don't have to consume detergent to do it. Something no one should ever do, unless you're made of metal with a circular mouth and clean clothes for a living. Click the hashtag, and you can see Instagrammable portraits across the planet that the artistic Anderson would be and is (thanks to his co-sign to the now global exhibition) proud of. From cabins in the Nordic woods, to taxis and trains in Tokyo. AWA came to Japan this spring gone, and now 'The Grand Budapest Hotel', 'Moonrise Kingdom' and 'Rushmore' director returns to screens here in the Far East with 'Asteroid City', many months after its original Stateside and beyond release. Not even two years since his 'The French Dispatch Of The Liberty, Kansas Evening Sun' stopped press and hit sidewalks like knife to string tie. Sandwich boarded between this and his forthcoming short-film collection for Netflix this fall, based on the wonderful work of great Brit Roald Dahl. Now, isn't that a peach, James? 

It's no accident that the pastel perfect 'Asteroid City' has landscape shots worthy of a frame that could add a plaque to Anderson's trophy cabinet, winning his own trendy competition. It's a traditional Wes trademark that makes him one of the best and brightest auteur directors working today in all his decadence. Just like PTA. But here's your PSA, like H.G. Wells 'The War Of The Worlds' radio broadcast that back in the day actually made people believe that aliens had invaded. This 'Asteroid' and the city it hits is entirely a work of fiction. Just let your 'Breaking Bad' and 'Isle Of Dogs' host Bryan Cranston (with the most 'go to the bathroom, and you'll miss it' hilarious moment of the movie) tell it. As a matter of fact the genius here lies in the rub that this is a play within a play. Confused? Well, this is a Wes Anderson film. One that has divided critics like it did Cannes. And it's all there in black and white for those who don't know what to expect. Those in the know, know. It's what they "Accidentally" look for like the classic opening credits and the outstanding, offbeat humour. Not to mention the all-star cast of favourites and new friends that could out-Gunn a Marvel movie. 

Like the 'Black Widow' herself, Scarlett Johansson. The 'Lost In Translation' Star finally found in this Wes Anderson movie, even though Murray is missing. The throwback screen starlet Scarlett playing exactly that with an iconic image that will remain in flashbulbs memory as not only her career best, but the gallery of the greatest, most wonderful work of Wes (see the title card above). It's a perfect portrait of a cinematic icon in her greatest turn since the time she should have done the Oscar double a few years back for Noah Baumbach's 'Marriage Story' and Taika Waititi's 'Jojo Rabbit' (two of those type of directors we were just talking about). Captured perfectly by Jason Schwartzman. At his best in the lead just like he was for Wes in 'The Darjeeling Limited' and it's Parisian Portman prelude. Looking almost unrecognizable in that Che beard. And that's the tea. If that wasn't enough, how about the biggest newcomer to the WA fold? Hold the phone and spilt the screen, because it's only the great Tom Hanks adding to both his and his director's formidable filmography. America's Dad about to get that GILF love in the coolest clothes you've seen since he pulled off Woody's Stetson. With a six-shooter in his waistband, the hallmark Hanks just added a big string to his bow. 

There are so many stars here amongst the asteroids that even the one in the biggest movie of the year is only here in photographic portrait and a breakaway rooftop cameo. But billion-dollar 'Barbie', Margot Robbie shines in classic black and white, bringing back that 'Mary Queen Of Scots' look with a moving monologue. Elsewhere new and veteran Anderson aides make this a masterclass. Like Tilda Swinton, Liev Schreiber, Jeffrey Wright and the Flash of Tony Revolori by his 'Budapest' side did in 'The French Dispatch'. Edward Norton, always at his best with Wes, writes this all perfect. Set for the stage of Adrien Brody's (so slick as Pat Riley in the Lakers 'Winning Time', right now) brilliant production. Nursing the hurt after the 'Downsizing' with the great Hong Chau. There's significant support from new, or relatively newbies to Wes' world Hope Davis and Stephen Park, continuing their cinematic flourish. And stars that seemed born for this type of film, like 'Stranger Things' own Maya Hawke. All to a simply subtle, but beautiful message of falling asleep and waking right back up, off some perfect Pulp from Jarvis Cocker. Especially in this day and age when we aren't allowed to fail and have to get over everything as quick as it happens. Regardless of the time it all took.  No fiction.  

Alas, it's Rupert Friend's cowboy who you may find a last name in like a Cohen Brothers (another pair of directors we were just talking about) 'The Ballad Of Buster Scruggs' chapter. Yet with a 'blink at your popcorn, and you'll miss it' performance from Willem Dafoe, some mechanic scene-stealing from 'Outsider' Matt Dillon, to go with that car chase, and Steve Carell's compelling and charismatic concierge, it's Jake Ryan who spies a breakout role here, Jack. And just you wait until you see who everybody's favourite Jeff Goldblum plays...and how. All in all this weird and wonderful world of Wes Anderson has hit a whole new stratosphere with 'Oppenheimer' atomic bomb testing going on in the background like the deserts of Vegas. Quarantined with some themes that will remind you of the last couple of years in this road stop diner. This metatextual plot conceived with Roman Coppola is a meditation on grief and so much more lying in the wake of our collective bruises and wounds. It's good for the soul and the solar system. This retrofuturistic 'Asteroid City' might have broke up a little as it entered the modern day movie world atmosphere, but it's still a stargazer. TIM DAVID HARVEY. 

Further Filming: 'The French Dispatch Of The Liberty, Kansas Evening Sun', 'The Grand Budapest Hotel', 'Don't Look Up'.