A few years ago I got into a discussion with a bearded film bro who, much to my surprise, was unimpressed by Wes Anderson.
How can you not like Wes Anderson? What's not to like?
He pinpointed the moment in Moonrise Kingdom, Anderson's seventh film, in which the young, on-the-lam lovers Sam and Suzy finally have a moment to dig into their heretofore epistolary relationship. Suzy grabs her suitcase and, eliciting snide chuckles from my anti-Anderson acquaintance, she "literally unpacks a load of quirky signifiers meant to represent her character. It's as if Wes Anderson finally gave up on writing a scene."
I had no retort. In fact, I still don't. I mean, he isn't wrong. The thing is: Who cares?
As part of my due diligence to rank Wes Anderson's CV in the order of my personal taste (and, therefore, their empirical greatness) I mass-dosed on the man's work over the course of a few days. (Not too difficult, he's only made nine features, and all of them are streamable except the latest.) My primary takeaway: more so than any other major director of our time, Wes Anderson's films are the same damn movie over and over.