Owen Gleiberman Chief Film Critic As much as any filmmaker alive, Wes Anderson has a canon of movies that look and feel all of a piece.
The diorama design, which extends from his life-size-dollhouse sets to his graphic lettering; the acting so stylized it’s like postmodern jokey-music-video kabuki; the fable-within-a-fable structure that can seem the cinematic equivalent of nested Russian dolls; the heavy frosting of ironic whimsicality.
Most of his movies share these elements, yet the truth is that not all Wes Anderson film are alike. A few, like “The Royal Tenenbaums” and “Fantastic Mr.
Fox,” spin finely wrought tales beneath the filigree. One, “The Grand Budapest Hotel,” is an exhilarating caper — as well as (to me) his finest work, ironically because it isn’t pretending to be about anything.
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