Wes Anderson’s cinematic style did not appear fully formed. It took a few movies over five years before Anderson locked in on formal compositions, planimetric framing, cuts along the 90-degree axis, diorama-esque interiors, Richard Scarry-like landscapes, idiosyncratic dialogue, peculiar characters, … Continue reading THE FRENCH DISPATCH
One good turn deserves another, and from yesterday’s Coco to today’s Cars 3, there’s much to find in every Pixar movie. A revisit proves that the underlying story and emotion holds up—enough. McQueen’s decline and Cruz’s rise are unbalanced, and many middle scenes … Continue reading CARS 3
The Academy Awards nominations for achievement in motion pictures arts and sciences have been announced, and the usual hand wringing and naysaying has commenced. The Academy does excellent work throughout the year, but their winter show always attracts the most … Continue reading INHERENT VICE
Michael J. Cinema 