Whip It

In an age where young girls are given to look a certain way and act in a certain way. One of the most daring films to come out in 2009 came from one of American cinema’s most revered actresses in Drew Barrymore. Though known for her days as a child star with films like E.T.: The Extra-Terrestrial and Firestarter and later solidifying herself as one of the top-draw actresses of the late 90s and early 21st Century. Barrymore took a step further into her role outside of acting as made her own directorial debut with a film based on the world of roller-derby called Whip It.

Based on the novel Derby Girl by Shauna Cross, Whip It tells the story of a 17-year old girl from the fictional Bodeen, Texas as she wants to escape a world of beauty pageants that her mother wants to compete in. When she and a friend go to Austin and check out the world of roller-derby, she takes in finding the escape she needed. Directed by Drew Barrymore with Cross writing the screenplay, the film is a tale of a teenage girl finding her own voice while trying to deal with her strict, caring mother. Starring Ellen Page, Alia Shawkat, Daniel Stern, Kristen Wiig, Zoe Bell, Eve, Jimmy Fallon, Carlos Alban, Juliette Lewis, Ari Graynor, Andrew Wilson, Landon Piig, Drew Barrymore, and Marcia Gay Harden. Whip It is an extraordinary yet touching film from Drew Barrymore.

Bliss Cavendar (Ellen Page) is a 17-year old high school student from Bodeen, Texas who is unsure what to do with her life. With her mother Brooke (Marcia Gay Harden) trying to get her to win a local beauty pageant that she won many years ago. Bliss’ attempts at rebellion by dyeing her hair blue has only baffled her mother while her dad Earl (Daniel Stern) wonders what is up with Bliss. When Bliss isn’t at school, she works at a local restaurant with best friend Pash (Alia Shawkat) and their boss Birdman (Carlos Alban). Then one day on a trip to Austin with her mother and younger sister Shania (Eulala Scheel), Bliss finds a flyer for a roller-derby exhibition as she and Pash decide to go without telling their parents.

Bliss’ discovery of the world of roller-derby becomes life-changing as she saw a match between the two-time reigning champions the Holy Rollers led by Iron Maven (Juliette Lewis) against the rag-tag Hurl Scouts. Though the Hurl Scouts lost, Bliss was still impressed by their no-holds-barred attitude as the team consisted of Maggie Mayhem (Kristen Wiig), Rosa Sparks (Eve), Bloody Holly (Zoe Bell), and Smashley Simpson (Drew Barrymore). After Maggie suggests that Bliss should try out, Bliss does though she had to wear her old Barbie doll skates where she manages to impress the Hurl Scouts coach Razor (Andrew Wilson) as she along with the Manson sisters (Kristen Adolfi and Rachel Piplica) to join the team. While Bliss decides to hide her new role as a roller derby girl from her parents, only Pash and Birdman know with Pash helping along.

With Bliss playing her first game as Babe Ruthless, she manages to impress the fans along with her teammates even though they lost. Bliss and Pash goes to a party that included many in the scene. Among them was the game’s announcer “Hot Tub” Johnny Rocket (Jimmy Fallon) and a local musician named Oliver (Landon Piig) who Bliss falls for. While the party was fun, Bliss still had to deal with her mother’s desire for Bliss to succeed at an upcoming beauty pageant. Bliss found escape when Oliver visited as a relationship starts to blossom while realizing that the Hurl Scouts really wanted to win some games. Thanks to Bliss’ speed and Razor’s new plays, the Hurl Scouts start to become winners as things are going great. Even as Bliss becomes the league’s new poster girl. Then one night after a game, the league gets in trouble with the fire marshal as Bliss manages to leave with Oliver though Pash got arrested for carrying alcohol.

Though Bliss would have a romantic night with Oliver, she comes home where her parents found out what she’s been up to. Bliss leaves home as she tries to call Oliver while Iron Maven finds out that Bliss lied about her age to the league as she threatens to reveal the truth. With things starting to fall apart and the championship game is underway, Bliss tries to mend fences with her mother and Pash. Even as Earl discovers more about Bliss’ role in the roller-derby circuit as he goes to the Hurl Scouts for help about the upcoming game.

While the film is a mixture of a sports comedy as well as a light mother-daughter drama, it’s really about a young girl trying to find her place in the world while seeking the approval of her mother. Still, screenwriter Shauna Cross goes deep into the world of roller-derby and why it was able to attract someone as out of place as Bliss is. For Bliss, it’s not that she despises the world of beauty pageant entirely. She’s just trying to find some escape not just from well-meaning but demanding mother but also from the dull world that is Bodeen, Texas.

Another reason for Bliss to enter this rough-and-tumble world of roller derby is to find an outlet where she can be tough and deal with whatever people she has to deal with at home like a fellow pageant contestant/cheerleader or Iron Maven, the roller-derby queen. Though Maven isn’t a traditional antagonist, she is someone who feels a bit threatened by Bliss’ arrival while would be the one who discovers her true age. Bliss also discovers first love in a young rock musician named Oliver who would be the one to help get out of her shell but also put her in reckless situations that would nearly cost her friendship with Pash.

Cross’ screenplay is wonderful not just for its structure but also in character development. It’s not just Bliss that starts off as a nerdy outsider who turns into a badass, confident young woman. It’s also her mother Brooke who is this woman that has aspirations for her daughter to have a much better life than she had. Though she works as a mail carrier and likes to put Bliss into the world of beauty pageants, she always had the best intentions though not in the right way. Even though her husband Earl gets a bit smothered by Brooke, he is still able to be by her side when Bliss’ secret is revealed. Yet when she finds Bliss wallowing over Oliver, Brooke becomes the kind of woman that everyone expects in a mother and more as she also loosens up a bit.

Cross’ screenplay succeeds in not just fleshing out characters and create some funny and inspiring moments. It also gives Drew Barrymore a chance to create a film that brings Cross’ story to life. Barrymore’s direction is mostly straightforward with her presentation towards comedy and light-drama. Yet, she makes sure that the story the audience is telling is about not just Bliss but also the relationship with her mother and her friends. Barrymore always keeps the camera moving though still when it comes to conversation scenes with the Hurl Scouts. The scenes where the roller-derby is taking place definitely is one of the film’s highlights as she always has the camera following the action. Whether it’s from the viewpoint an audience member watching from the nose-bleed seats or inside the roller-derby stage.

Barrymore also allows the audience to relax and enjoy a few sequences and the scenery of where the film takes place. Notably Austin for some scenes as it was mostly shot in suburbs of Detroit. Still, Barrymore was able to give the idea that it could’ve been shot anywhere near Austin since it’s a lively place. While the film does play up to a few formulas expected in a coming-of-age film, Barrymore is able to play around with it while maintaining the heart of the story of a young girl finding her own identity. Overall, this is definitely a solid yet entertaining directorial debut for Drew Barrymore.

Helping Barrymore with her vision is famed Wes Anderson cinematographer Robert Yeomen. Yeomen’s photography is filled with an amazing array of colorful shots for many of the film’s exterior settings along with wonderful steadicam shots for the roller derby scenes. While it may not have the blaring looks that he did for Wes Anderson, Yeomen does create some inspiring work. Notably the pool scene where blue lights and dark shading around the pool is truly inspiring as Yeomen really captures something magical with that scene.

Editor Dylan Tichenor does a very good job with the film’s editing by maintaining a leisured pace for the film. Even as he create some great sequences which includes Bliss’ training montage set to the .38 Special song Caught Up In You. It’s definitely masterful in what is expected for a genre-bending coming-of-age comedy while it also plays up to the intensity of the roller-derby scenes.

Production designer Kevin Kavanaugh and set decorator Meg Everist do an amazing job with the look of the Roller Derby rink as well as the restaurant that Bliss works in which includes a large pig on top of the building. Costume designer Catherine Marie Thomas does excellent work with the costumes including the pageant dresses and the costumes that the roller derby girls wear. Sound editor Christopher Scarabosio does some fantastic work with the sound that includes the intense atmosphere of the roller derby with the crowd roaring along with the sounds of roller skates driving through the rink. It’s definitely something that is expected in a rousing yet fun film with that kind of sound.

The film’s score by the Section Quartet is mostly a low-key score with serene string quartet pieces to play up a bit of the film‘s light-drama. Helping with the film’s soundtrack is music supervisor Randall Poster as he creates a truly diverse soundtrack filled with all kinds of music. From old-school acts like the Ramones, Dolly Parton, .38 Special, and the Breeders to indie acts like MGMT, Jens Lekman, the Raveonettes, the Go Team!, Peaches, Har Mar Superstar, and many others. It’s definitely a killer soundtrack that has something for everyone.

The casting by Justine Baddeley and Kim Davis-Wagner is definitely a real highlight as there are numerous standouts in various small roles. Whether its Sarah Habel as the bitchy high school queen Corbi, Shannon Eagen as the friendly pageant contestant Amber, Doug Minckiewicz as Corbi’s boyfriend Colby, and indie music performer Har Mar Superstar as a rival coach. They all bring something memorable to their roles. Other notable small roles include Carlos Alban as Bliss and Pash’s restaurant manager Birdman, Eulala Scheel as Bliss’ younger sister Shania, Kristin Adolfi and Rachel Piplica as the Manson Sisters, Ari Graynor as roller derby queen Eva Destruction, and Jimmy Fallon as the very funny roller derby MC “Hot Tub” Johnny Rocket.

Andrew Wilson is very good as the Hurl Scouts coach Razor with his silly jean-shorts look and his ability to create excellent plays. Landon Piig is pretty good as Oliver, Bliss’ rocker love interest who helps Bliss explore more of herself though would play a part into her own individuality. Zoe Bell is wonderful as the tough Bloody Holly while Eve rocks as the no-nonsense Rosa Sparks. Drew Barrymore is hilarious as Smashley Simpson who acts like a ditz and often does silly things on and off the rink. Kristen Wiig is great as Maggie Mayhem, the straight person of the Hurl Scouts who gives Bliss some advice about what mothers go through in raising kids. Juliette Lewis is also great as Bliss’ roller-derby rival Iron Maven as a tough woman who feels threatened by Bliss’ arrival while wanting to be a funny sort of bully.

Daniel Stern is phenomenal as Earl, Bliss’ dad who has to deal with his neighbor and his football-playing sons while wanting to escape his wife’s strict world. Stern hasn’t had a big major role in years as it’s definitely a reminder of what a great actor he is as he also delivers some of the film’s funniest one-liners. Alia Shawkat is superb as Pash, Bliss’ best friend who helps her become a roller-derby player only to feel slighted when Bliss goes further into the world of roller-derby and Oliver. It’s definitely a fantastic supporting performance as Shawkat can be funny and also serious in a role that could’ve been clichéd.

Marcia Gay Harden is amazing as Brooke, Bliss’ strict though well-meaning mother. Harden exudes all of the motherly traits that her character needed as she is someone who wants the best things for Bliss that she never had as a child. Harden even gets a chance to be funny while allowing her character to break away from her strict shell as it’s definitely one of her best performances to date. Finally, there’s Ellen Page in what is certainly a remarkable performance. While she doesn’t spew quirky lines or act in a stylized manner that she did in her breakthrough role in 2007’s Juno. It’s definitely a much more interesting performance as she plays a more realistic girl trying to find her place in the world. Page brings some humor to the role along with some drama as she makes Bliss Cavendar into a real, lively character. Even as it allows Page to play sexy in a non-conventional manner. It’s definitely one of Page’s finest performances yet.

Whip It is an extraordinary, fun debut film from Drew Barrymore that features a radiant performance from Ellen Page. Armed with a great ensemble cast that includes Marcia Gay Harden, Daniel Stern, Juliette Lewis, and Alia Shawkat. It’s the kind of film that brings laughs, real situations, and lots of roller-derby action that audiences can cheer for. It’s also the kind of film that brings a lot of girl-power that is lacking in today’s world of overly-beautiful women that not many could relate to. In the end, Whip It is a phenomenal debut film from Drew Barrymore and company.

© thevoid99 2011

Bottle Rocket

Originally Written on 12/23/04 at Epinions.com w/ Additional Edits & Expanded Content.

The heist film genre came back in a big way thanks to Quentin Tarantino's 1992 indie-landmark film Reservoir Dogs. In 1995, Bryan Singer released The Usual Suspects to great reviews as films of crime capers and heists came back to the forefront. Often using catchy one-liners, kinetic editing, and dramatic suspense, the genre was breaking new ground with some old rules. Around the same year when The Usual Suspects came out, another heist film of sorts was in the works but unlike the character study of Singer's landmark film, this little-known heist film was more humorous with a sense of charm and optimism. From an unknown filmmaker from Austin, Texas named Wes Anderson and his college roommate and actor Owen Wilson came a hilarious, quirky caper film called Bottle Rocket.

Written by Wes Anderson and Owen Wilson with Anderson serving as a director, Bottle Rocket is about three guys from Texas who try to build their way up after a little heist into the big times. While hiding in a hotel, problems emerge along with personal directions while it leads up to an even bigger heist with help from a local crime boss. Starring Owen Wilson and his siblings, younger brother Luke and older brother Andrew along with Robert Musgrave, and the legendary James Caan, Bottle Rocket is a funny, heartwarming crime caper film that hits all the right notes while marking the debut of one of the premier new American auteur filmmakers for the next several years.

In a voluntary, psychiatric hospital, a young man named Anthony (Luke Wilson) is set to leave the hospital where his friend Dignan (Owen Wilson) is waiting outside for him to escape. Since Dignan doesn’t know that Anthony is free to leave, Anthony tells his doctor that he's sneaking out just so Dignan can see. The two leave on bus where Dignan tells his plans for a small robbery he wants to do so he can work with big time local crime boss Mr. Henry (James Caan). Dignan has a huge plan while they meet with their friend Bob Mapplethorpe (Robert Musgrave) to plan the heist. Anthony stops by only to meet up with his little sister Grace (Shea Fowler) who is disgusted with her brother's involvement with Dignan. After stopping at Bob’s house where they got harassed by his brother John aka Future Man (Andrew Wilson) and his friend Clay (Brian Tenenbaum) while Anthony talks to Future Man's girlfriend Stacy Sinclair (Jenni Tooley) about Anthony's hospital stay.

With Dignan leading the charge and Bob being the driver, Dignan and Andrew make their first heist in a bookstore where they steal a lot of cash, which was enough to pull a successful heist. The trio drives all the way to a small motel in the middle of Texas to lay low where Anthony falls for a Paraguay-born maid named Inez (Lumi Cavazos). Bob meanwhile, has learned that his brother has been arrested for being accused of a drug dealer even though he and his brother do have a marijuana field grown in their backyard. Bob secretly leaves to Dignan's surprise while he and Anthony continue to lay low while Anthony's romance with Inez blossoms. With the police still trying to find out what’s going on, Anthony and Dignan decides to leave but not before Anthony leaves something for Inez while Inez through a translator wanted to tell Dignan that she loves Anthony.

Dignan learns that Anthony left some money to Inez as he is angry that their plans to go into the big time heist business is shattered and he might not work for Mr. Henry. Dignan and Anthony go their separate ways where Anthony reunites with Bob as the two worked on several jobs while helping to pay Future Man's legal fees. Then one day, Anthony sees Dignan who offers his old friend for a job. The job is to work directly with Mr. Henry for a huge heist with a couple of Henry's associates, Applejack (Jim Ponds) and Kumar (Kumar Pallana). Anthony isn't sure until Mr. Henry tells him a story and after a while, Anthony is officially in if Bob is involved and Dignan organizes the heist. With planning for the heist with Dignan leading the charge with Anthony, Bob, Applejack, and Kumar involved, everyone gets ready but something goes wrong where Dignan wonders what happens and who screwed up?

While some of the film's quirkiness and eccentric characters might be odd to caper-film purists, Bottle Rocket succeeds in its charm and optimism. The credit goes to director Wes Anderson for his slacker-like approach about a few dreamers wanting to have what everyone wants. The film's directing style is often filled with great tracking shots and hand-held camera shots for certain movements, especially in the running scenes that would become a trademark with many of Anderson's film work. Complemented by the colorful cinematography of Robert Yeoman and production designer David Wasco for giving the film a unique, quirky look. Anderson's script that was written with Owen Wilson is filled with great one liners and a hilarious structure of how a heist is build up while in the second act, we see more of the humanity of Dignan and Anthony, notably the romance of Anthony of Inez. The structure works thanks to a nicely paced editing style from David Mortiz. The film also has a wonderful approach to music thanks to some jazz-like numbers and score pieces from Marks Mothersbaugh of Devo and a soundtrack filled with Mexican songs and tracks by Love and the Rolling Stones.

Then there's the film's wonderful cast that is filled with great small, standout performances like Jenni Tooley as flirty Stacy Sinclair, Jim Ponds as crime honcho Applejack, and Shea Fowler as Anthony's cynical little sister. Even some of the Anderson small company regulars like Brian Tenenbaum, Dipak Pallana, Stephen Dignan, and Andrew Wilson (who also serves as associate producer) each make a memorable performance in their brief time but no one brought more laughs than Kumar Pallana as a dim-witted safecracker. Lumi Cavazos is a real standout as the shy, beautiful Inez in an understated performance even though she didn't have to speak English throughout the film as she has wonderful, heartwarming scenes with the Wilson brothers.

James Caan is hilarious as Mr. Henry with his wisecracks and wisdom on heists and crime while having a great scene with Andrew Wilson proving that he's still a bad*ss. Robert Musgrave gives a wonderful performance as the cautious Bob Mapplethorpe who is often at odds with Dignan while having some great comedic scenes as he serves as the conscience of sorts of the trio. Luke Wilson is the film's most charming and likeable performance as the anguished Anthony with his hopes for a better life while trying to have something for people in his family to be proud of. Luke is the film's heart while his older brother Owen is the movie's best performance. Owen brings a charm and optimism that is so refreshing as a dreamer who doesn't quit even though he is naive and somewhat of an idiot. Yet, Owen's intense performance proves to be so entrancing, you can't help but root for him in a performance that serves as a breakthrough for him and his brother as they carry a natural chemistry together.

***The Following is Additional Content Relating to the Criterion DVD written on 8/8/10***

When Bottle Rocket came out in the new DVD format in 1998, it was the only film of Wes Anderson that was released just as a DVD with no extras. In the years since, films like Rushmore, The Royal Tenenbaums, and The Life Aquatic with Steve Zissou were released with Anderson having full control of the DVD material. Through the Criterion Collection distribution company, those three films were released with loads of extras and commentary from Anderson and associates as they were very popular with fans of the director. Yet, Bottle Rocket remained as a DVD with no extras until 2008 after years of fans wanting a proper DVD release of Anderson’s first film.

The Region 1 2-disc Criterion DVD for Bottle Rocket presents the film in the 1:85:1 widescreen aspect ratio format with a restored high-definition transfer and remixed Dolby Digital 5.1 soundtrack all supervised by Wes Anderson and cinematographer Robert Yeomen. The transfer is truly exquisite in its look as the colors look sharper and more pristine. The only special feature, aside from the film, that appears in the first disc of the DVD is a full-length audio commentary track from Anderson and the film’s co-writer/actor Owen Wilson.

The commentary is mostly a loose conversation between Anderson and Wilson as they’re both taking a break from the projects they were working. The two reminisce about the making of the film as well as some of the things that went on when they were trying to make the film. They also talk about the people that helped them like James L. Brooks and Polly Platt who discovered them through the short film they prior to the feature film. Wilson talks about not wanting to watch the film on TV because he would end up watching and do a running commentary of his own.

The two also talk about the collaborators they would work in Robert Yeomen, who they love for his work in Gus Van Sant’s Drugstore Cowboy, and David Wasco. The latter of which, they met when they were invited to the set of Pulp Fiction were they also met Quentin Tarantino. Anderson and Wilson also talked about how they wanted Bottle Rocket to be different from the other heist/crime films of the time. Notably because they wanted to have the characters be innocent individuals who are dreamers.

Anderson also reflects on his hatred for test screenings which led to him re-shooting Bottle Rocket where some of the film’s early scenes were material that was re-shot. Anderson and Wilson talked about the test-screening in Santa Monica where they first met Mark Mothersbaugh, who would become one of their key collaborators. The commentary overall is fun to hear as the two reflect on the film and are often surprised at how popular it’s become. Notably with Martin Scorsese who listed it as one of his favorite films of the 1990s.

The second disc of the DVD includes loads of supplements relating to the film. The first of which, is a making of film with new interviews by Wes Anderson, Owen Wilson, other cast members, crew, and producer James L. Brooks. The near 26-minute special shot by Barry Braverman, who was one of the original cinematographers of the Bottle Rocket short, has Anderson, Owen Wilson, and everyone else including Luke and Andrew Wilson discussing the development of the film. The doc also include some deleted scenes that didn’t make it to the original short along with a rare footage of Kumar Pallana’s audition with Luke Wilson and Stephen Dignan, a friend of Wes and Owen who later appeared in the first three films of Anderson.

The script development for the feature took two years were Wes and Owen lived at an office run by James L. Brooks with Polly Platt helping along as a producer. By the time the film started to get into production, it was rough at first but Brooks and Platt let Wes Anderson try to maintain his vision. Then there was the story about the infamous test screening that Mark Mothersbaugh attended. People left during the screening as Luke recalls comments about the film from other people. Making things worse when the film was being re-worked after the disastrous screening was when Brooks tried to get the film submitted for the 1996 Sundance Film Festival where it got rejected. The film did come out where it was Kenneth Turan’s review for the L.A. Times that not only praised the film but called out Sundance for rejecting it.

The documentary overall is fun as the cast and crew also talk about how shocking the film has done well over the years. Yet, it ends with James Caan not happy over not getting a call from Wes to appear in another film which was a very funny moment.

The other big special feature in the second disc is the original 1992 short film for Bottle Rocket that made its premiere at the 1993 Sundance Film festival. Shot in black-and-white in 16mm, the short features early versions of a few key scenes. Notably the scene where Dignan and Anthony steal items from Anthony‘s home along with the gun scenes with Temple Nash Jr. as the gun salesman, and the scene of Dignan planning the robbery where Bob looks over the gun. The short also includes a different ending and jazz music as the score that features a couple of pieces by the Vince Guaraldi trio. The short is truly incredible of what it aims for and what would become later on in the feature film version. The section for the short also includes loads of pictures and storyboards created by Anderson.

Eleven deleted scenes that includes Bob washing his car and another of him talking to Anthony about the job so he can get away from his brother. Other scenes including Dignan, Anthony, and Bob talking about the crop of marijuana that Bob is growing along a scene of Dignan wanting to talk to a girl while he’s in the car with Bob and Anthony. Another deleted scene is a recreation of the gun salesman talking that was from the short where the gun salesman talking about guns. One big scene that got cut which is a scene where cops stop at Bob’s neighborhood where Dignan talks with a cop that eventually leads to Dignan, Bob, and Anthony leaving. That leads to another deleted scene of the trio leaving on a car during the day time with Dignan trying to get everyone to be positive.

A scene of Bob feeling frustrated about Dignan is a funny moment because of Dignan overhearing a part of the conversation that is followed by a scene of Bob talking to Dignan about bailing out Futureman. One cut scene has Anthony professing his love for Inez to Dignan while Dignan talks to Mr. Henry on the phone. The last scene is Dignan and Applejack looking out at Bob’s house just before Dignan would talk to Anthony. A lot of the scenes are shown in rough versions but are fun to watch though it’s obvious why they got cut. Another deleted scene that’s shown in the making-of feature is a scene of Kumar doing his plates trick.

One notable special feature is the Anamorphic test scene where Wes Anderson and cinematographer Robert Yeoman make a test scene at a motel during pre-production to get an idea of how Anderson envisioned the scene. It’s a great little deleted scene that gets an idea of how Anderson frames his scenes with some parts shot very roughly. Another special short is The Shafrazi Lectures, No. 1: BOTTLE ROCKET where Tony Shafrazi discusses about seeing the film for the first time while displaying the movie through an art-like presentation in various forms. It’s definitely one of the most interesting lectures about a film as he also discusses how it’s framed while putting the film on a wall and other objects to display it.

Another short that appears in the second disc is a 1978 short film by Barry Braverman called Murita Cycles that was an inspiration to the people involved during the making of the Bottle Rocket short. The 30-minute short is essentially a portrait of Barry’s eccentric father Murray, a laborer who likes to collect objects while running an old bike shop. The short also has interviews with people talking about Murray along with old family footage. It’s a strange short but one that is certainly interesting about a man and his eccentricities. Two other special features are in the form of galleries. First is a storyboard gallery of storyboards by Wes Anderson in how he wants to frame the film. The second gallery is a collection of photos and behind the scenes shots from Laura Wilson, the mother of Luke, Owen, and Andrew Wilson. The photos date back to 1992 from the early rehearsals at the Wilson home to the editing of the film in 1995.

Along with artwork packaging by Ian Dingman for the sleeve and cover of the DVD is a booklet that features Dignan’s 75-year plan and two essays. The first is from Martin Scorsese that originally appeared in the March 2000 issue of Esquire. In the essay, Scorsese talks about his love for Bottle Rocket and Wes Anderson as he also discusses about Rushmore and its ending. It’s a short piece but certainly one of the best praise about a film from one of cinema’s finest directors. The second is from producer James L. Brooks from the Rushmore screenplay book in 1999 that served as an introduction to that book. Brooks talks about his first meeting with Wes Anderson and Owen Wilson as well as what went on production including the infamous test screening it had. Brooks also praises Kenneth Turan for his review and championing Bottle Rocket. It’s a wonderful little piece that exemplify the importance of the film. The DVD overall is one of the best of the Criterion Collection and a must-have for fans of Anderson.

***End of DVD Content***

While Bottle Rocket didn't get great reviews or good box office numbers when it came out in 1996, the film did receive a great word-of-mouth commentary from a small group of filmgoers as the film became a hit on video. The movie helped gain Wes Anderson a Best New Filmmaker award at the 1996 MTV Movie Awards while Luke and Owen Wilson became big time actors. Since its release and the recent success of Anderson's later films, 1998's Rushmore and 2001's The Royal Tenenbaums, Bottle Rocket has remained a cult favorite with fans. Anyone who enjoys a caper film with loads of laughs and a lot of heart will find Bottle Rocket enjoyable while it's a nice introduction into the world of Wes Anderson.

Wes Anderson Reviews: Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - The Grand Budapest Hotel - Isle of Dogs - The French Dispatch - Asteroid City - The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison - The Phoenician Scheme - The Auteurs #8: Wes Anderson

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

© thevoid99 2010