The Skeleton Twins

Directed by Craig Johnson and written by Johnson and Mark Heyman, The Skeleton Twins is the story of two estranged twin siblings who come together following their respective suicide attempts as they deal with the pain of their childhood as well as what went wrong in their life. The film showcases a world where two siblings are at the end of their ropes in their life as they seek to help each other. Starring Bill Hader, Kristen Wiig, Luke Wilson, Boyd Holbrook, Ty Burrell, and Joanna Gleason. The Skeleton Twins is a witty yet somber film from Craig Johnson.

The film explores the lives of two estranged twin siblings as they haven’t seen or spoken to each other in a decade where they come together following their respective suicide attempts. For Milo (Bill Hader) and Maggie (Kristen Wiig), their lives as adults haven’t gone well as they planned where Milo moves back to his small New York town following his suicide attempt to live with Maggie and her husband Lance (Luke Wilson). While Milo and Maggie both deal with the failures of their adult lives, they also wondered where did everything go wrong as they also cope with their father’s passing many years ago. It’s a film that doesn’t just explore the world of siblings but also in how they try to re-forge the bond of their already fragile relationship.

The film’s screenplay doesn’t just explore the lives of their two siblings but also what drove them to not contact each other for a decade as part of that reason is their New Age mother (Joanna Gleason) whom Maggie really dislikes. Especially as Maggie is becoming insecure about the prospect of being a parent as she and Lance are trying to have kids while Maggie embarks into an affair with her scuba diving instructor Billy (Boyd Holbrook). Milo meanwhile, wants to rekindle a relationship with his old high school English teacher Rich (Ty Burrell) whom they had an affair when Milo was 15. The siblings deal with their own issues as they also deal with their own relationship where Milo would befriend Lance whom he realizes that he’s just a good guy as it plays into the question of what Maggie is going through.

Craig Johnson’s direction is quite simple where most of it is shot around parts of Brooklyn in New York City where it has a sense of intimacy that occurs where there’s very little wide shots. Johnson instead uses some medium shots and close-ups to tell the story as it plays into this relationship between estranged twin siblings. Johnson’s compositions in the way he captures conversations as well as some of the film’s humor plays into this relationship where Milo is often very outgoing while Maggie is a bit more introverted and mature. Even in a sequence where Milo tries to cheer Maggie up by lip-syncing to Starship’s Nothing’s Gonna Stop Us Now as it becomes of the film’s highlights. Still, Johnson knows that there has to be some dramatic outcome though the result does make the film a bit uneven. However, it does manage to have a payoff where it plays to the bond between the two no matter how troubled their lives are. Overall, Johnson creates a very engaging and enjoyable film about the troubled lives of twin siblings.

Cinematographer Reed Morano does excellent work with the cinematography from the look of the locations of the small New York town in the daytime during the fall season to some unique lighting schemes at night as well as some scenes in the pool. Editor Jennifer Lee does nice work with the editing as it‘s pretty straightforward for the most part as it does include a few montages of Milo and Maggie as children. Production designer Ola Maslik and set decorator Lauren DeTitta do wonderful work with the set pieces from the home that Maggie and Lance live in to the book store where Rich works at.

Costume designer Mikaela Wohl does fantastic work with the costumes from the casual clothes many of the characters wear to the Halloween costumes Milo and Maggie wear on that day. Sound designers Matt A. Schoenfeld and Ian Stynes do terrific work with the sound from the sparse sounds in the scenes in the pool to the raucous atmosphere in the bar scenes. The film’s music by Nathan Larson is amazing as it is a mix of electronic and indie that plays into the melancholia and humor of the film while music supervisor Meghan Currier creates a fun soundtrack that features a lot of new wave and 80s music from acts like Blondie, OMD, and Starship.

The casting by Avy Kaufman is great as it features some notable small roles from Truck Hudson as a security guard that arrests Milo, Kathleen Rose Perkins as an old schoolmate of Maggie that runs into Maggie at an ice cream shop, Eddie Schweighardt and Sydney Lucas in their respective roles as the young Milo and Maggie, and Joanna Gleason in a wonderful performance as Milo and Maggie’s estranged New Age mother Judy whose attempt to reconnect with her children ends up being a disaster. Boyd Holbrook is superb as the Australian scuba diving instructor Billy whom Maggie would sleep with while Ty Burrell is excellent as Milo’s former English teacher Rich who is reluctant to have an affair with Milo as he has a new life of his own.

Luke Wilson is brilliant as Lance as an all-around nice guy who tries to cheer up Milo by having him work with him while revealing that he just wants what everybody wants which is to be happy. Finally, there’s the duo of Bill Hader and Kristen Wiig in amazing performances in their respective roles as Milo and Maggie. Hader brings this unique mix of comedy and drama as a failed actor who tries to kill himself as he returns home to figure out what to do while also understanding that his own sister is just as fucked up as he is. Wiig brings a more restrained approach to her character as someone who is unhappy in her life as she tries to be the mature one while not knowing how to deal with the idea of being a mother as she becomes more insecure. Hader and Wiig have this natural chemistry in the way they act with one another as well as bringing in a lot of laughs.

The Skeleton Twins is a remarkable from Craig Johnson that features incredible performances from Bill Hader and Kristen Wiig. The film isn’t just a story that is sweet but also very melancholic in the way it explore twin sibling relationships but also in the idea of loss and uncertainty as these two people try to cope with it. In the end, The Skeleton Twins is sensational film from Craig Johnson.

© thevoid99 2014

Idiocracy

Originally Written and Posted at Epinions.com on 9/26/07 w/ Additional Edits & Revisions.

Directed by Mike Judge and written by Judge and Etan Cohen, Idiocracy tells the story of an Army serviceman and a prostitute who both take part in an army experiment where more than 500 years later, they arrive to see that their world has become dumber as the man finds himself to be the smartest person alive. A satire about culture and the de-evolution of the world, Judge's sophomore feature film shows his knack for humor as well as the wittiness of his debut feature. Starring Luke Wilson, Maya Rudolph, Dax Shepard, Terry Crews, Justin Long, and featuring appearances from Judge associates Stephen Root and David Herman. Idiocracy is a witty satire on the world that is ravaged by stupidity.

The film is a satirical comedy set 500 years from the present time where the world has gone completely stupid where an Army serviceman named Joe (Luke Wilson) and a hooker named Rita (Maya Rudolph) are both awaken from a top-secret Army experiment where they supposed to be frozen for a year inside two pods. Instead, a series of unfortunate circumstances has Joe and Rita be the smartest people on Earth as the English language has deteriorated into a mixture of hillbilly, slang, valley girl, and grunts while the world drinks a drink known as Brawndo that claims to have electrolytes. For Joe, he must use his average knowledge to save the world from further stupidity where he would encounter things such as TV shows like Ow! My Balls!, a film called Ass, all brought to you by Carl Jr.'s, Buttfuckers with its big-ass fries, and all sorts of dumb shit.

Mike Judge's concept of the world gone stupid is definitely an ambitious one in comparison to his debut film Office Space. Yet, the story about an average man finding himself in a world where he's the smartest man alive is definitely one that is both downright hilarious and shocking at the same time. The comedy that includes some extremely funny, lowbrow dialogue where people would say "I like money", "Shut up! I'm 'batin", 'You talk like a fag", and "I like money" in a drawl that can be described in a hybrid of Hillbilly, Valley Girl, inner-city slang, and grunts. Another factor that is funny is how corporations are handled where a Costco would end up taking an entire city or Starbucks offering hand-jobs along with other places. Plus, Carl's Jr. would have a slogan that says "Fuck you, I'm eating" and Fuddruckers' had its named changed to Buttfuckers.

The result is a highly original yet funny vision of the future. What's more shocking is that it's also true in some ways. The script that Judge and Etan Cohen creates is filled with hilarious scenes and such yet underneath it is some social commentary on pop culture and people's obsession with it. Now, there's nothing necessarily wrong with watching a guy getting kicked in the nuts or watching a bare-naked ass farting. The problem is that it gets old after a few minutes. Not to the people in this film where the #1 grossing movie for the past few years that also one several Oscars is a movie called Ass. 90 minutes of a bare-naked butt farting maybe funny to some but for someone that has intelligence might find it funny for a while but not for the rest of the film.

Judge's direction of dystopian with CGI-imagery of a town gone horribly bad. Architecture looking very messed up, mountains of trash, and the Washington monument looking very slanted. His vision of the future is actually horrifying to watch because it might actually come true. What happen to the scientists in that film? Well, they end up looking for the cure of hair loss and such. The idea of de-evolution through Judge's camera is very haunting as is the narration by Earl Mann is to remind the audience of how dumb the world has become. Even mentioning that Brawndo has ended up replacing all the food groups and such.

Despite the film's high concept and commentary, it is flawed due to a few pacing issues when things aren't being funny. Plus, some of the humor isn't as good as Office Space but what Judge does is truly original. Especially since his dystopian vision is starting to come true unfortunately. Even with pop culture. Today, people have no idea who Ingmar Bergman, Marcel Marceau, Robert Altman, Andy Warhol, or even Afrikka Bambatta (he's still alive as of 2014) are or what have they done. Hell, it's amazing that ten years ago, some movies have gotten dumber by the minute.

Instead of people going to see a movie like Grindhouse or maybe something intellectual as Talk to Me, they go see something as dumb as Wild Hogs or Are We Done Yet? Plus, how have we gone from Smells Like Teen Spirit to My Humps? There's a line that Rita says about Albert Einstein, "Do you think Einstein thought the whole world was full of dumb shits?" Joe replies, "Maybe that's why he build the atomic bomb". This is what Judge seems to say about intellectuals and their stance on the world and sadly, it's starting to come true.

Cinematographer Tim Suhrstedt brings a grainy yet saturated look to the film's cinematography to convey the bleakness of the film with its dark, shady colors and sepia imagery. Production designer Darren Gilford and art director William Ladd Skinner do amazing work in some of the film's set designs with dirty-looking buildings and places covered in trash. Costume designer Debra McGuire's futuristic clothing is inspiring and also cheesy with everyone wearing shiny-like t-shirts and baggy pants where the future has also lost it sense of fashion. Editor David Rennie brings a nice, intense look to the film including some of the dramatic reactions to the film's dystopian tone. Sound editor Michael J. Benavente also plays to the atmosphere in bringing noise of explosions and grunts that work very well. Visual effects supervisor Kent Johnson's look of the future is amazing, even a shot of a bridge that's already broken and such. Composer Theodore Shapiro brings a score that's dominated by country-like acoustic guitar to play up the film's humor as well as a mix of music featuring metal and reggae.

The film's cast is unique in playing up to the film's comedy. Small appearances from director Mike Judge as the Army officer Collins, Bottle Rocket's Robert Musgrave as an Army sergeant, rapper Scarface as Rita's pimp Upgrayed, Sara Rue as a bimbo attorney general, Danny Cochran as the idiotic Secretary of Education, and in the roles of the unfortunate yuppie couple in the film's intro, Darlene Hunt and Patrick Fischler are funny. Cameo appearances from Stephen Root, David Herman, Thomas Haden Church, and Justin Long are very funny along with Luke's older brother Andrew in a great cameo as the flame-throwing gladiator Beef Supreme. In the role of the U.S. president, Terry Crews gives a hilarious, energetic performance as President Camacho with his long, heavy-metal wig and exuberance that makes him one of the most overlooked comedy actors.

Dax Shepard is extremely funny as the dim-witted lawyer Frito Pendejo. His last name in Spanish means stupid, which is even funnier. With his hillbilly accent, Shepard makes every moment worth laughing about in how he responds to situations, talk, and all sorts of hijinks. He along with Crews are some of the film's best supporting performances. Maya Rudolph is also funny in her role as Rita, a hooker who finds her old job becoming too easy while becoming aware that she too, is smarter than everyone except Joe. Rudolph does great supporting work as she becomes the only person that Joe can really talk to. Luke Wilson is great in his role as Joe, an average guy who is thrust into a situation as he ends up being the smartest man alive. Wilson's mix of subtle humor and drama proved to be the right tone as his remains one of the most overlooked performances of 2006.

While not as strong or as funny as Mike Judge's debut film Office Space, Idiocracy is still one of the funniest and smartest comedies of 2006 thanks to some great performances from Luke Wilson, Maya Rudolph, Dax Shepard, and Terry Crews along with Judge's high-concept. Fans of Judge's work will no doubt enjoy the film's humor and satire but for a general audience. It might seem too much or rather from their point of view, "very pompous & faggy". Intellectuals might think the film isn't serious enough or rather way too serious yet it's a film that is a mirror in the ways of how people have been dumbed down lately by pop culture such. In the end, Idiocracy is a must-see for anyone who wants smart satire that is also downright hilarious.

Mike Judge Films: (Beavis & Butt-Head Do America) - (Office Space) - (Extract)

© thevoid99 2014

3:10 to Yuma (2007 film)

Originally Written and Posted at Epinions.com on 9/9/07 w/ Additional Edits & Revisions.

Based on Elmore Leonard's short story, 3:10 to Yuma is the story about an ex-Civil War sharpshooter who is asked to accompany a vicious criminal to a prison train as he and various men are being followed by the criminal's gang. Directed by James Mangold with a screenplay by Stuart Beattie, Michael Brandt, and Derek Haas with elements of the 1957 adapted script by Halstead Welles for Delmer Daves' version of the film. The film explores the world of temptation as a farmer and a criminal try to outwit each other. Starring Russell Crowe, Christian Bale, Gretchen Mol, Logan Lerman, Alan Tudyk, Ben Foster, Vinessa Shaw, Dallas Roberts, and Peter Fonda. 3:10 to Yuma is a sprawling yet adventurous film from James Mangold.

The film explores a rancher named Dan Evans (Christian Bale) whose life hasn't been great as his ranch is suffering from a drought while he's in debt as well as getting threatened by a man named Hollander (Lennie Lofton) who wants Evans' land for the railroad. When the criminal known as Ben Wade (Russell Crowe) has been captured after stealing money from the railroad barron Grayson Butterfield (Dallad Roberts), Evans volunteers to help the Pinkerton officer Byron McElroy (Peter Fonda) to accompany Wade to the prison train to Yuma along with Doc Potter (Alan Tudyk), Butterfield, and Evans' 14-year old son William (Logan Lerman). Yet, the party is being pursued by Wade's right-hand man Charlie Prince (Ben Foster)and the rest of Wade's gang as a battle of wits emerge between Evans and Wade about what to do where Wade tempts Evans into helping him while Wade isn't sure if he can take Wade's offer.

The original film version of 3:10 to Yuma was essentially a western that was part character-study, part suspense where it's about these two men trying to play a game of wits in seeing how far they'll go in dealing with their own morals. Director James Mangold, obviously a fan of the original, doesn't tinker with the film's old formulas very much. Instead, he helps expand the story, add a few new characters, and take the western genre back to form with some new methods. The film's script that was written by Stuart Beattie, Michael Brandt, and Derek Haas definitely brings back some of the original dialogue that was written by the film's original scribe Halstead Wells. What is very surprising is that the dialogue that is used again manages to be as relevant as it was heard back in the original 1957 version.

The script also works as a device of character study where it's really about both Ben Wade and Dan Evans. Wade, a sadistic man who can be very charming and witty while is also a ruthless killer who is even willing to kill one of his own men for gain. Yet, part of his redeeming qualities is how he reminds someone like William that he's not a good man despite the growth of respect he has for Dan for his bravey. Dan Evans is just as complex as a man who is forced to swallow a lot of his pride in order to maintain the survival of his family. Yet, he too has a dark side that he doesn't like to show that Wade manages to discover. What's surprising is that both men have similar morals, characteristics, and pride. It's where the film's script succeeds in.

The direction of James Mangold is very solid throughout the entire film in how he maintains the faithfulness to the original film. While the female characters like Alice Evans (Gretchen Mol) and Emmy (Vinessa Shaw) aren't as big as they were in the original film, they still play to what's expected in the plot. More importantly, the plot is expanded where the original film is 95 minutes and this version adding thirty more. While the violence and language is more confrontational in the original, it's definitely because Mangold adds elements of directors like Sergio Leone and in a lesser extent, Sam Peckinpah. There, he still manages to bring that quality that is expected in the genre in terms of the idea of men running lose, doing wild things, shootouts, and such. One complaint that might be understandable in comparison to the original film is the ending.

Probably because of what Mangold is trying to convey in terms of where the genre was then and now. It might work on some aspects but might not work with some audiences. Still, Mangold brings the genre right back to its essential that makes not just purists satisfied but also people new to the genre to be excited about.

Cinematographer Phedon Papamichael brings a wonderful look to the film with its gorgeous, epic-like photography with the film's inspiring location shot in New Mexico. The film's nighttime scenes from the outside with the blue sky is mesmerizing as is some of the daylight exteriors that manages to maintain its grittiness. It's definitely a highlight of the film. The location in New Mexico and with a $50 million budget definitely gives the production with the saloons, farms, and towns created by production designer Andrew Menzies and art directors Greg Berry and Jay Hart a look that is authentic and a reminder of what was great in that genre.

Costume designer Ariane Phillips definitely create some nice suits for Dallas Roberts while the cowboy clothing for the rest of the actors maintains its grittiness. The makeup also works since a lot of them wear beards or a mustache whether it's the clean, handlebar mustache look Roberts have to the dirtier, grimy look that both Ben Foster and Peter Fonda have.

Editor Michael McCusker definitely goes against the current fast-cut, fast-paced editing style of today's films that would've hurt this film. Instead, he goes for a more traditional, intense style that manages to keep the film's pacing while the action is definitely attentive for the audience. During the more suspenseful moments, the cuts are definitely slow but engaging to maintain the tension between the main characters. Sound editor Donald Sylvester also adds atmosphere by using the sounds of the wind, horses, whistles, and such to play true to the film and its genre in terms of its suspense.  Music composer Marco Beltrami adds a bit of symphonic orchestra to the genre but uses it in a low-key approach with the rest of the score performed on acoustic guitars and string instruments to play to that old-school atmosphere of the western.

Finally, there's the film's cast and what a hell of a cast does it have. Smaller performances from the likes of Sean Hennigan as the Contention City marshal, Rio Alexander and Johnny Whitworth as two of Wade's men, Forest Fyre, Luce Rains, and a un-credited cameo from Luke Wilson who gives a great performance as one of Boles' posse. Benjamin Petry is good as the little Mark Evans who has a great line that comes from the original film while Lennie Lofton is sleazy as the land-grabbing Hollander. Vinessa Shaw, playing the Felicia Farr role, is good as the sexy Emmy who is charmed by Wade. Kevin Durand is funny as the annoying Tucker, who manages to hate both Wade and Evans for different reasons while having a scene where he sings a song that angers Wade.

Alan Tudyk of Firefly/Serenity fame manages to give an excellent, yet funny performance as Doc Potter who manages to have some funny one-liners while admitting to not carrying a gun very much. Gretchen Mol is wonderful as the caring Alice Evans who loves Dan but also despises him a bit for his choices as she tries to maintain the household. Mol, who shows a more hardened maturity than in previous roles, is only a few scenes which is a shame since her performance really stands out by not playing a conventional farmer's wife.

Dallas Roberts from Walk the Line is great as the money-hungry Butterfield who thinks he has control only to realize that money can't buy everything while eventually becoming a tool for Evans' own pursuits. Logan Lerman is excellent as William Evans, a boy who seems to idolize Wade while losing respect for his own father. His development in the film is handled very realistically as he learns about sacrifice and why his father makes choices that sometimes aren&#146t right as he plays the character with maturity and energy.

Peter Fonda is brilliant in his small but mesmerizing role as the old, gruff Byron McElroy who manages to have a lot of hatred for Wade as Fonda's exchanges with Crowe are just fun to watch. Fonda, who has done westerns in the past, manages to bring that old school attitude that shows he's been there before and his performance is truly memorable that even his late, legendary father Henry would've been proud. Ben Foster is the film's sole scene-stealer as the psychotic Charlie Prince. Foster, sporting a beard and marks around his eyes, is a force that has to be seen where though he's a more sadistic, traditional villain. He has his loyalties and wit as he tries to save the man he's admired so much. It's a great performance from the young actor who proves he can act with the likes of Fonda, Crowe, and Bale.

Christian Bale gives one of his best performances as the troubled, prideful Dan Evans who was played by Van Heflin fifty years before. Bale's intense, layered performance shows the actor bringing a subtlety and grit that isn't seen very often but only expanding his range following his work in recent years. Though his character doesn't have a lot of humor, he still manages to have some wit and charm while maintaining his own stance against someone like Russell Crowe. Russell Crowe, in the role of Ben Wade that was played by Glenn Ford, is brilliant. Though Crowe didn't manage to play a great western character in Sam Raimi's The Quick & the Dead, this film proves he was born to be in a western.

Crowe's mix of charm, sadism, and antagonist attitude proves to be right as he plays the Wade character to the hilt. More importantly, he makes the audience to either love or hate him in whatever he's doing. The comradery between two great actors like Crowe and Bale are just amazing to watch and what's really great to see in those performances is how much fun they're having. Bottom line, both Crowe and Bale bring the kind of performances that purists of the genre will surely love.

The 20007 remake of 3:10 to Yuma is a marvelous film from James Mangold thanks to its cast led by Christian Bale and Russell Crowe as well as its devotion to pay true to the western genre. The film isn't just a faithful remake to Delmer Daves' 1957 film but also ensures the vitality of the western genre as both films would make a great double-feature. In the end, 3:10 to Yuma is an exciting and enthralling film from James Mangold.

James Mangold Films: (Heavy) - (Cop Land) - (Girl, Interrupted) - (Kate & Leopold) - (Identity (2003 film)) - (Walk the Line) - 3:10 to Yuma (2007 film) - (Knight and Day) - The Wolverine - Logan - Ford v Ferrari - (Indiana Jones 5)

© thevoid99 2013

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

The Royal Tenenbaums

Originally Written and Posted at Epinions.com on 10/6/04.

Since arriving onto the independent film scene in 1996 with the quirky caper film Bottle Rocket, Austin, Texas filmmaker Wes Anderson has been known for his hilarious, sentimental views on the world and life in general. Co-written with actor Owen Wilson, Bottle Rocket became a cult hit as it earned Anderson the Best New Filmmaker award at the 1996 MTV Movie Awards. In 1998, Anderson helmed his sophomore feature, Rushmore about a young high school kid who begins to compete with a millionaire over the affections of a grade school teacher. Written with Owen Wilson, Rushmore was hailed as a landmark film for its absurd views on life and ambitions from an underachieving kid that also gave Anderson the prestigious New Generation Award from the L.A. Critics Association while comedian Bill Murray was receiving numerous acclaim for his role as the eccentric millionaire. In 2001, Anderson returned with a more ambitious ensemble film about a family crumbing from its own failures with the father desperately trying to save them for his own reasons until he realizes his own faults.

Entitled The Royal Tenenbaums based on a script from Anderson and Owen Wilson, it's a multi-layered story of the scheming, cruel Royal Tenenbaum trying to scam his family while seeing their own failures after 20 years of problems. Inspired by the works of J.D. Salinger, the film is Anderson's most offbeat project to date that features sentimental references and ideas that drives the dysfunctional Tenenbaum family. Starring Anderson regulars Owen and Luke Wilson, Kumar Pallana, Seymour Cassel, and Bill Murray along with Gene Hackman, Anjelica Huston, Ben Stiller, Gwyneth Paltrow, Danny Glover, and Alec Baldwin as the narrator. The Royal Tenenbaums is a stark, funny tale of healing and redemption.

The story begins where after years of marriage, Royal Tenenbaum (Gene Hackman) and wife Etheline (Anjelica Huston) are separating with Royal leaving the house. With Royal gone from the house though he frequently visits the children, Etheline chose to raise them herself. The eldest Tenenbaum child Chas (Aram Aslanian-Perisco) had become a successful real estate agent when he was very young while creating a breed of Dalmatian mice. Their adopted child Margot (Irene Gorovaia) graduated high school at an early age and became a successful playwright where she received a Braverman Grant of $50,000 in the ninth grade. The youngest, Richie (Amedeo Turturro, son of actor John Turturro) was a junior tennis player champion and eventually won the U.S. nationals three years in a row while trying to develop as a painter. Yet, the brilliance of the young Tenenbaum children would be erased by 20 years of betrayal, failure, and disaster.

22 years since Royal's separation from Etheline, the Tenenbaum family is all but estranged. Royal had become a litigator till the mid-1980s while staying at the Lindbergh hotel. Etheline had become an archeologist while being around numerous suitors before she finally considers one in an accountant named Henry Sherman (Danny Glover). Richie (Luke Wilson) had since retired from tennis after a public breakdown where he is sailing across the oceans where he only contacts his old childhood friend-turned-successful novelist Eli Cash (Owen Wilson) through telegram. Margot (Gwyneth Paltrow) did more plays but for years, she hadn't done one while being married to neurologist Raleigh St. Clair (Bill Murray), who is working on a project for his new book. Chas (Ben Stiller) has become paranoid about safety after the death of his wife in a plane crash where he's raising his two sons Ari (Grant Rosenmeyer) and Uzi (Jonah Meyerson). Chas chooses to move back into the old Tenenbaum home with his children to the surprise of Etheline.

Margot also decides to move in as her marriage to Raleigh is disintegrating and at the same time after the doctor, Royal tells Etheline he's got six weeks to live while suffering from stomach cancer. Etheline tells the news to the family including Richie via telegram where he comes home and Royal tells the kids about the news. He also learns from the family's longtime servant Pagoda (Kumar Pallana) about Henry, who is in pursuit of having a serious relationship with Etheline. Royal later gets kicked out of the Lindbergh hotel where with help from bellhop Dusty (Seymour Cassel), he gets a chance to move back to the Tenenbaum house to the disgust of Chas, who sued his father years earlier over money. For a week, Royal tries to connect with his family where he would often go into recklessness with Ari and Uzi while visiting the grave of Chas' wife and Royal's mother. Then Royal notices that Margot is having an affair with Eli, while Raleigh is seeking Richie's help in finding out about the affair.

After Henry exposes Royal's scam, Royal leaves the house with Pagoda where his departure would mark tragic consequences. After learning about Margot's secret life including her first marriage and her numerous affairs including Eli, Raleigh is distraught and Richie attempts suicide after being found by Raleigh's current subject Dudley (Stephen Lea Sheppard). Margot, who broke off her affair with Eli, was exposed where the family is in shock and after Richie escapes from the hospital where he briefly decides to have a secret affair with Margot, he turns to his father for help. Royal, who now works as an elevator operator at the Lindbergh hotel, realizes the problems his family is suffering and decides to try and help them all, even Eli, who is suffering from a drug problem after the failure of his recent book.

What makes The Royal Tenenbaums such an interesting, fascinating film is its mix of humor and melancholy through Wes Anderson's offbeat world. While the movie echoes the works of Hal Ashby and Louis Malle along with references to the late Charles Schultz Peanuts comics, it's a film that really explores the dysfunction of families. Though some had complained the film was too strange to get into, it's a film that really has no clear genre but Anderson is truly a storyteller who brings in sentimental moments of life. Directing-wise, Anderson really captures a different New York City that doesn't feature any landmarks while showing some strange, idiosyncratic moments that involve family or quirks. Anderson's script that was co-written with Owen Wilson is part character study kind of film while it reveals what drives the family into failure and the resentments they have brought upon each other. It's a very smart, intricate kind of film.

Anderson's directing style is truly captured visually by the work of cinematographer Robert D. Yeoman, who brings in a bleak but colorful look of New York City and the quirky world of the Tenenbaum home on 111 Archer Avenue. Helping Yeoman visually is production designer David Wasco and art director Carl Sprague for the look of the colorful, wooden world of the Tenenbaum house that also features artwork from Wes's brother Eric who does the paintings of Richie's room and the paintings of Margot. Wasco also provides the strange set designs of Margot's early plays while in Eli's room, we see strange paintings from Mexican artist Miguel Calderon. With Yeoman using a blue filter for the disturbing scene of Richie attempting suicide, there's a fine use of the jump cut editing from Daniel R. Padgett and Dylan Tichenor, who brings a more traditional, straightforward approach to editing that helps the story moves. Also giving credit with the film's look is costume designer Karen Patch for her look on the Tenenbaum family's look from Richie tennis player look, Margot's long dress, and Chas's Adidas sports suit.

If there's another Wes Anderson has done great with all of his films, it's his choice of music with a wonderful, melancholic score from Devo co-founder Mark Mothersbaugh for its mix of jazz and traditional orchestra. With music supervisor Randall Poster on the helm, the film's soundtrack is a mix of lush jazz scores of the Vince Guaraldi trio and orchestral work from Ysaye Quartet to more rock stuff from the Clash, the Ramones, the Velvet Underground, Nico, Elliot Smith, Nick Drake, Bob Dylan, Emitt Rhodes, Van Morrison, John Lennon, the Rolling Stones, and a wonderful orchestral version of the Beatles'"Hey Jude" in the film's opening prologue.

With the film featuring a diverse cast of actors that includes small parts from Anderson regulars, leading the pack in the cast are the children. The performances of the young Tenenbaum children by Aram Aslanian-Persico, Irene Gorovaia, Amedeo Turturro, and James Fitzgerald as the young Eli Cash are all naturally performed with Grant Rosenmeyer and Jonah Meyerson both having wonderful moments in their gracious performances as Ari and Uzi Tenenbaum, respectively. Stephen Lea Sheppard brings a quirky performance as Raleigh's strange subject Dudley with his off-color performance while Anderson regular Seymour Cassel is great as Dusty. Kumar Pallana brings a great performance as Pagoda in his scenes with Gene Hackman and even steals the show in a scene where he stabs him after the two get kicked out the Tenenbaum home. Danny Glover meanwhile, is the film's straight man where he gives the most normal and straightforward performance of the film with his disciplined, clean-cut manner and sensitive portrayal of Etheline's suitor who proves to have more than what is expected, especially from her troubled marriage to Royal.

Bill Murray delivers a wonderfully deadpan performance as the neurologist Raleigh St. Clair with his sad, devastating role as Margot's neglected husband while Murray got to show a bit of his quirks in his scene with Sheppard. It's truly one of Murray's best performances where he can do so little and be touching at the same time. Owen Wilson is hilarious as the paranoid, quirky Eli Cash with his strange theories about General Custer and the world while we see that he's filled with sadness to since he always wants to be a member of the Tenenbaum family and is yearning for their approval by sending Etheline his grades and clippings.

Luke Wilson gives a wonderful performance as Richie who seems to be the only one close to Royal while he learns why his siblings aren't where he tries to save the family at first but his own problems and his feelings for Margot get in the way as Luke brings in his most complex performance to date. Gwyneth Paltrow gives a wonderfully restrained, troubled performance as Margot who is lost in her own depression and we learn why she smokes and have affairs along with the story of her finger and the neglect she suffered from Royal. Paltrow brings in a lovely, subtle tone to a character that is deeply troubled and someone we feel for.

Ben Stiller is funny and sad in his role as Chas with his sense of paranoia and fear while we see him go out of control when things go wrong. Stiller, who is often funny in several of his films, goes for a more dramatic approach and it works very well here since he's just playing a man who lost his wife and is frustrated by the lack of love he gets from his father. Anjelica Huston is amazing as Etheline Tenenbaum with her complex feelings of love where she's still in love with Royal even though she despises him at the same time while she realizes there's love from Henry. Huston proves herself to be more than just a wife and mother by playing a woman who is independent yet is trying to find answers.

Gene Hackman is truly the film's best performance with his role as Royal Tenenbaum with his scheming ways and macho-like ways. Hackman brings sympathy to a character we're not really supposed to like but we end up loving him because he's a man that's trying to do right for himself and his family. Hackman has wonderful scenes with not just the children but also with Huston, Paltrow, and Glover, the Wilson brothers, and Stiller while he's truly in charge in a role that allows him to be funny, sad, and wise at the same time. Hackman is truly an actor who continually brings in performances that actors should be giving, as he gets better and more eccentric with each performance.

From the film's 2002 Criterion DVD release, The Royal Tenenbaums features a 2-DVD set filled with extras and the actual movie. The first disc only includes the movie with a widescreen digital transfer supervised by Wes Anderson along with Dolby Digital and DTS 5.1 Surround Sound. The only other feature that appears in the first disc is an audio commentary from Wes Anderson who gives in some great insight to the film and its references including the dog Buckley that was named after Jeff Buckley and was a tribute to Snoopy. The film's commentary is Anderson being a bit funny but also insightful in the inspiration behind the characters including Etheline, which is partly inspired by his mother.

The film's second disc is filled with many features including a 30-minute IFC-produced special that shows Wes Anderson making The Royal Tenenbaums where it's an insightful special on how the film is being made while we see Anderson work closely with his collaborators. Also featured are interviews with the film's main cast that gives great insight from the actor's perspective on their characters with Bill Murray being the more eccentric with his answers while being more straightforward while Danny Glover was actually a bit funnier on the set. The film also includes a few outtakes that included a dangerous scene involving Anjelica Huston's hair nearly being burnt by a birthday cake candle and Bill Murray talking about the Dalmatian mice and Kumar doing his tricks.

One of the strangest features is a fake interview with Peter Bradley (Larry Pine) who talks to Kumar Pallana and his son Dipak plus Stephen Dignan, Sanjay Mathew, and Brian Tenenbaum who aside from Kumar played smaller roles while Brian is awaiting the arrival of the third Wilson brother, Andrew. Along with theatrical trailers and TV spots, the film also includes a collection of Eric Anderson's drawings, a photo gallery from set photographer James Hamilton, and designs from the movie plus the works of Miguel Calderon including a radio interview from the painter on Studio 360. This DVD is clearly one of the best works from the Criterion Collection and a must-have for Anderson fans.

Overall, The Royal Tenenbaums is a majestic, sprawling film from Wes Anderson with a great cast and crew on the helm. Though some might be turned off by its offbeat tones and quirkiness, Anderson has helmed a sentimental yet funny story that is filled with depth-driven characters and multi-layered storylines that is wonderfully narrated by Alec Baldwin. With a great soundtrack, evocative cinematography and look, it's a movie that makes Wes Anderson one of the most creative and eccentric directors of his generations. While films like Rushmore and Bottle Rocket delivers more laughs, The Royal Tenenbaums at least can give you something more to cheer about.

Wes Anderson Films: Bottle Rocket - Rushmore - 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 Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

© thevoid99 2010