The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
F. Murray Abraham,
With a plan to exact revenge on a mythical shark that killed his partner, oceanographer Steve Zissou rallies a crew that includes his estranged wife, a journalist, and a man who may or may not be his son.
Set on an island off the coast of New England in the 1960s, as a young boy and girl fall in love they are moved to run away together. Various factions of the town mobilize to search for them and the town is turned upside down -- which might not be such a bad thing. Written by
During the closing credits, the voice of a young person introduces various instruments as they join in playing a song - an obvious reference to the records played in the Hayward home. This method of spoken introduction has however also been used outside of education recordings, such as in the obscure 1967 song "Intro and Outro" by The Bonzo Dog Doo-Dah Band where atypical and strange instruments are introduced as played by unusual and unlikely musicians (such as John Wayne and Adolf Hitler), and in Mike Oldfield's seminal 1973 work "Tubular Bells" where Part One is concluded by Vivian Stanshall as "Master of Ceremonies" crediting one by one the instruments used earlier in the piece. Also, tubular bells are listed as part of the deconstruction of the Alexandre Desplat piece. See more »
In the sailboat scene the sail itself has a Quantum Sails badge. Quantum wasn't founded until 1996. See more »
Wait. Just in case this is a suicide or they capture us and we never see each other again anymore, I just want to say: Thank you for marrying me. I'm glad I got to know you, Suzy.
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When the credits for the book cover artists appear on screen, they are also accompanied by the book covers they drew for the film. See more »
An ambitious film which for the most part delivers spectacularly
Saw this just now in a small indie cinema in Heidelberg, Germany and I have to say, it was a romp. In my humble opinion this film manages to be both Wes Anderson's funniest picture so far and his most melancholic. The utter uncompromising stylishness of his other work is also present here, perhaps even heightened, but in contrast to The Life Aquatic (and to a certain degree The Darjeeling Limited), the emphasis here is firmly on plot. The brave and often odd visuals never overwhelm the story and the audience never feels like they are not quite in on the joke, like in The Life Aquatic. The tone does tend to become a bit erratic, especially in the last third of the film when Anderson seems to want to pack so much into every frame that the film becomes a bit cartoonish at times (hence the not-perfect score from me). All in all, though, the plot is very balanced and the pacing is great. The two young leads are superb and the brave move by Anderson to place unknown actors front and centre pays off beautifully. The rest of the cast is on paper even more star-studded than The Royal Tenenbaums and yet Anderson never steers into unnecessary character development just to accommodate his stars. A touch here and a touch there are more than enough to paint a picture of a group of people who are eerily similar in their dissatisfaction with their lives and yet react quite differently to the two young lovers' dash (literally) for happiness. In conclusion, a must-see for Anderson fans and highly recommended for everyone else.
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