Wes Anderson Ranked

Recently I had the delightful experience of showing my parents every Wes Anderson film and it really made me appreciate how uniquely interesting every single one of his films are. Up until about three years ago, I had never seen a single one of his films and I all I knew about him as a filmmaker was the fact he did everything symmetrically and his work was bright and colourful, this was my bare-bone knowledge of him and what he often gets reduced to as a filmmaker. Once I actually took the time to go through his films I realised that above his aesthetic genius there was this mesmerising attention to detail in his characters, a lot of his work is quiet and melancholy with some dark and challenging themes hidden underneath. I really appreciate him as a filmmaker because he is drawn to making films that look visually idyllic but full of messy, arrogant and flawed characters trying to find their place in this world. He manages to be simultaneously whimsy and alienating whilst also writing incredibly human stories of failure, redemption and just trying to be happy. I thought in honour of 'The French Dispatch' being delayed, I would go through his work and rank each one of his films from least favourite to my personal favourite, I also want to add a disclaimer that Wes doesn't have a bad film in his filmography and I really love every single one of these making this list extremely difficult.



Bottle Rocket

There's a lot to really love in Wes' debut film 'Bottle Rocket' and it is only last-placed because you can't really shake that amateur debut film feeling off it. It is Wes with training wheels and a product of its time in every single way so I struggle to get the most out of it. A lot of student and debut films have this empty air feeling to most scenes and it becomes a real problem in 'Bottle Rocket' as so many scenes feel a bit cold and distant unintentionally, it lacks the polish and stylistic attention to detail that he is known for. However I really appreciate how impressive it is for a debut film, it has a hilarious script and a real pace to the narrative, so many jokes are so memorable and work perfectly for the characters. Owen and Luke Wilson genuinely make the film as these two possibly insane men who seem to be searching for this unreachable level of satisfaction by committing a heist. The highlight is definitely Robert Musgrave as Bob who steals every scene he is in with his brilliant deadpan delivery. It is fun, energetic yet a bit messy and sometimes takes liberties with its influences and wears them a bit too blatantly on its sleeve.





Fantastic Mr Fox

I think this is going to be a controversially low pick as this is such a highly regarded film and it just didn't quite click with me. First off, it is obviously a film intended for children so Wes can't tackle his usually quite dark themes that make his other work so brilliant and that is what brings it down in my opinion and that isn't the film's fault. He touches on so many interesting ideas but doesn't get to really commit to them and it makes the film feel a bit directionless in places. I do regard it as just about one of the best films you can show to children purely because it is so charming and so funny. When rewatching it I forgot how many perfect jokes that are jammed into this movie, I lose it just about every time Kyle gets his 'crazy eyes'. Of course, it is a technical marvel, the stop-motion is something I never get over and it is so impressive to watch, it is the best example of using animation for comedy (until Isle of Dogs) I have ever seen. I love how the world of 'Fantastic Mr Fox' is developed as feeling tactile and real but it works on its own set of bizarre rules, it makes it feel unpredictable and endearing. I find Clooney's voice to be a bit out of place at times? every other actor disappears into their character (Meryl Streep especially) but he stands out and feels out of place at times. I can take it or leave it when it comes to this film, when I watch it I have a lot of fun but I don't have the same experience as watching his other films which is understandable yet a bit disappointing.





Moonrise Kingdom

I often think of 'Moonrise Kingdom' as the most Wes Anderson of Wes Anderson's films, it kind of includes every trope of his work at once and I don't at all think that is negative. The biggest success of the film is that it gives you this unique sappy happiness no matter how much you resist, Wes knows how to pull you in and create this incredibly endearing love story. It's just a really well-crafted example of creating a story that makes you genuinely care so deeply about a set of characters that might appear to be unlikeable at first. Sam and Suzy are such brilliant portrayals of young love and that is something that is undeniably relatable and incredibly heartfelt, you can always rely on 'Moonrise Kingdom' to make you happy and I think that is a highly underrated power of cinema. At times his style nearly borders on satire and the third act is a bit messy as it tries to create stakes that aren't necessarily needed for these characters. It surprises me that Wes' usual deadpan delivery works so well in character for just about everyone, Sam is charmingly straight-edge and Suzy is melancholic in her quietness but together they feel so effortlessly perfect for each other. It seems strange how underused Bruce Willis, Frances McDormand and Tilda Swinton are but I think it works best to maintain the focus on Sam and Suzy. Just about the most charming and sweet film Wes has done which I don't think is a right to dismiss it but I do think it is really special if a bit one-note.









Isle of Dogs

Wes' second attempt at stop motion works so much more than his first and I'm not even really sure why it is that effective but you can't really help loving 'Isle of Dogs'. The way this film tells its story is with this self-awareness that is infectiously charming, it makes it feel hilariously unique and incredibly whimsical. It almost comes off as this extravagant stage play, which is where the stop motion aspect benefits as it feels just on that cusp between real and uncanny. I'd describe as the most experimental and creative of his films, consistently breaking the fourth wall and creating an over the top narrative about comradery and friendship is such an endearingly bizarre way. It is a film that works due to every little detail and idea Wes is playing with, whether it be the over the top villainous appearance of the government or the little pieces of identifiable personalities in each and every single dog. The animation is so ridiculously impressive without ever feeling smug or self-gratuitous, he knows when to commit to detail for comedic effect or how much effort goes into making an action believable all comes down to the comedic potential. Like 'Fantastic Mr Fox' he can't tackle some of the more melancholic themes he is known for but he goes for a much more relatable satirical message whilst also creating incredibly emotional moments dedicated to friendship. The cast is just downright perfect but the star is definitely Bryan Cranston, followed closely by everything that comes out of Jeff Goldblum's mouth. One of the most impressively creative films I have ever seen and an absolute treat of a story.





The Grand Budapest Hotel

Everything about 'The Grand Budapest Hotel' is impressive, this is such a colossal and fascinatingly big film that it deserves every recognition it got. It is this high on the list because of how much is going on in this film but I can't help but admit that it doesn't quite have as much going on under the skin as some of his other works. It is insanely gorgeous and such a fun engaging adventure with a cast of characters that are memorable and hilarious but I don't think the film really has that much to say. And that is fine! Not every film needs to be overloaded with ideas but for such a big beautiful film I think it lacks in Wes' signature character-based writing. This is genuinely the only problem that I have with the film, the rest is downright perfect. M. Gustave is still probably one of the funniest characters Wes has ever written and Ralph Fiennes absolutely steals this film as this ridiculously over the top, camp and bizarre man caught in the middle of just about everything. There hasn't really been an ensemble cast like this that I genuinely can't point out a weak link in and it makes this film extremely likeable because the cast and Wes try and make each character feel hilarious and unique. I am still blown away by this film's visual design which is honestly unlike anything I have ever seen before in my life. The hotel itself is vast and brimming with character, every new location we visit feels unique and lived in whilst also in its own world that I would kill to be in. Wes creates his own world aesthetically where no matter how extreme the idea, it always manages to work and I could honestly watch any story that takes place in this world. It's a different breed of Wes and I like that, admittedly I prefer his more character-based stories but this is undeniably an absolute treat that never bores you or outstays its welcome.

The Royal Tenenbaums

I originally didn't really know where to put this film in the list as it feels like his most difficult to get into but the most rewarding if you give it time. It is a film that sits just on that cusp of being perfectly stylised and brilliantly constructed whilst also being wonderfully sad and intricately human. The Tennenbaums are the perfect combination of Wes' messy character writing as every single one of them is at a point in their life where they feel aimless and lost, I think this is my favourite ensemble cast purely due to how well balanced each character is. It is dark and depressing in areas, often feeling like a film with no bright side, yes it has plenty of comedy that relies on some sad character beats, but Wes really leans into how broken and destroyed these characters are. It is a film that I struggle to revisit but I absolutely adore it, occasionally the film just berates the audience with the misfortunes of these characters that I find it a really challenging watch. This is amazingly offset with how Wes writes the moments of levity as they land significantly more powerful, the ending whilst based around a funeral feels incredibly rewarding and emotionally fascinating. There is a lot going on in this film, Wes has to constantly keep your attention with this cast and I honestly don't think one of them is underdeveloped or repetitive. My personal favourite will always be an incredibly challenging performance for Luke Wilson as Wes has a tendency to write his characters monotone but here Wilson has to convey a mentally ill person without blending into the background of Wes' stylistic writing. I think it is his messiest and most rewarding film and that is why I appreciate it the most, I think there is so much to get out of it and whilst it can feel upsetting and cold at times, it is all worth it. I originally didn't really know where to put this film in the list as it feels like his most difficult to get into but the most rewarding if you give it time. It is a film that sits just on that cusp of being perfectly stylised and brilliantly constructed whilst also being wonderfully sad and intricately human. The Tennenbaums are the perfect combination of Wes' messy character writing as every single one of them is at a point in their life where they feel aimless and lost, I think this is my favourite ensemble cast purely due to how well balanced each character is. It is dark and depressing in areas, often feeling like a film with no bright side, yes it has plenty of comedy that relies on some sad character beats, but Wes really leans into how broken and destroyed these characters are. It is a film that I struggle to revisit but I absolutely adore it, occasionally the film just berates the audience with the misfortunes of these characters that I find it a really challenging watch. This is amazingly offset with how Wes writes the moments of levity as they land significantly more powerful, the ending whilst based around a funeral feels incredibly rewarding and emotionally fascinating. There is a lot going on in this film, Wes has to constantly keep your attention with this cast and I honestly don't think one of them is underdeveloped or repetitive. My personal favourite will always be an incredibly challenging performance for Luke Wilson as Wes has a tendency to write his characters monotone but here Wilson has to convey a mentally ill person without blending into the background of Wes' stylistic writing. I think it is his messiest and most rewarding film and that is why I appreciate it the most, I think there is so much to get out of it and whilst it can feel upsetting and cold at times, it is all worth it.

The Life Aquatic with Steve Zissou

This tends to go down as his most decisive film, people tend to see it as a bit inconsequential but I genuinely adore it so much. It is undeniably cold, melancholic and feels like it is full of so many ideas and thoughts that I think are all bubbling just under the surface (pun intended). Steve Zissou is at the end of his rope in this film and I like how it is always uncompromisingly his film and dedicated to this unreachable desire. He is an extremely unlikeable character but that is completely by design, he consistently undervalues and alienates the people around him and seems to have no real care or attention for the consequences for his actions. He is set on this quest for revenge for a crew member he cares about as if he needs to kill it to prove his love for this person, but whilst doing this he forgets about all the things around him that are most important. I think it is quite a frustratingly ambitious film, there is so much going on constantly that it tends to takes its till on the audience but I admire it for taking so many interesting and compelling ideas and trying to fit them as cohesively as possibly. People tend to dismiss it as not as outrightly emotionally engaging as his other work, however, I still think that climactic scene where he sees the Jaguar Shark is one of the most powerful scenes in his whole filmography. It has genuinely engaging action scenes, a fantastic cast, a Portuguese Bowie Soundtrack and one hell of a frontman performance from Bill Murray. It's far from perfect but it always fixates me and I love this world Wes paints and the ideas that are chucked around are disorientingly fascinating.





The Darjeeling Limited

I can't believe how underrated and dismissed 'The Darjeeling Limited' is, so many people tend to ignore it as the forgettable dark horse of his filmography but I think it is a quietly devastating masterpiece. I understand people find it irritating and vague, the film revels in its loaded metaphors and symbolic dialogue that almost underplays its actual narrative. There are several moments that narratively are insignificant but do so much for the film's message and thought process, I appreciate his dedication to making this film as blatantly enigmatic as it is. He signals this during a really interesting opening where we follow Bill Murray chasing a train before being overtaken by Schwartzman, Wilson and Brody signifying a passing of the torch and a new direction for Wes as Murray is left behind. It constantly challenges our expectations and goes to lengths to make it feel like a uniquely different cinematic experience to his film, the world is more grounded in reality and our it is significantly less whimsical and overwhelmingly more melancholy than his other words. From the opening our three protagonists are introduced as characters going on this 'spiritual journey' and they are all insufferably arrogant and with no genuine bone between the three of them and the film revels in exposing this. They are dealing with grief by subscribing to this notion that they require a spiritual journey but never truly committing to finding this, throughout they seem to be living in this own closed-off world that undermines the purpose of this journey. They are lost, wandering broken people and I adore their performances and how Wes writes these characters, it is his most emotional and dark film in places with elements that seem alienating on paper but work perfectly in context. I adore this film, but understand it isn't for everyone, it has this overbearing tone of angst that is all purposeful but can feel exhausting in places, I personally think it is well worth every second. I can't believe how underrated and dismissed 'The Darjeeling Limited' is, so many people tend to ignore it as the forgettable dark horse of his filmography but I think it is a quietly devastating masterpiece. I understand people find it irritating and vague, the film revels in its loaded metaphors and symbolic dialogue that almost underplays its actual narrative. There are several moments that narratively are insignificant but do so much for the film's message and thought process, I appreciate his dedication to making this film as blatantly enigmatic as it is. He signals this during a really interesting opening where we follow Bill Murray chasing a train before being overtaken by Schwartzman, Wilson and Brody signifying a passing of the torch and a new direction for Wes as Murray is left behind. It constantly challenges our expectations and goes to lengths to make it feel like a uniquely different cinematic experience to his film, the world is more grounded in reality and our it is significantly less whimsical and overwhelmingly more melancholy than his other words. From the opening our three protagonists are introduced as characters going on this 'spiritual journey' and they are all insufferably arrogant and with no genuine bone between the three of them and the film revels in exposing this. They are dealing with grief by subscribing to this notion that they require a spiritual journey but never truly committing to finding this, throughout they seem to be living in this own closed-off world that undermines the purpose of this journey. They are lost, wandering broken people and I adore their performances and how Wes writes these characters, it is his most emotional and dark film in places with elements that seem alienating on paper but work perfectly in context. I adore this film, but understand it isn't for everyone, it has this overbearing tone of angst that is all purposeful but can feel exhausting in places, I personally think it is well worth every second.





Rushmore

This is my favourite Wes film by a hair and I don't even know where to start with Rushmore, this is often regarded as not only one of Wes' best films but one of the best coming of age films ever made. There is such a unique feeling and drive to 'Rushmore' that I can't watch it without getting lost in it. The film operates with Max Fischer front and centre, it does a wonderful job at uniquely portraying a character that can't find his place in this world. I have never seen a character quite as fascinatingly well done as Max Fischer, he is consistently striving to be the best in his own eyes as if he is reaching to impress constantly and lives on his own plane of existence. There is something so relatable about Max's consistent searching for something, he seems to act twice his age at times but sometimes he is annoyingly childish, I just find him so complex and brilliant that he honestly makes this film. Wes could have just shown two hours of Max striving to find his place but instead, he uses an almost impossible love triangle to extend this brutally honest thematic throughline about the messiness of people. Bill Murray plays Herman Blume, a millionaire who is decidedly unhappy, his wife doesn't love him, he doesn't like his kids and he floats in this air of melancholy as he doesn't quite know where he fits in. Olivia Williams plays Rosemary Cross, someone who is clearly still grieving the loss of her partner but finds solitude in education and helping others. These three characters seem drawn to each other and Wes spends the duration of the film letting them interact in this honest and fascinating way. The film is full of character and energy, every scene feels dedicated and polished, his creative flourishes seem earned and Wes knows when to pull back and deliver a quieter subtler moment or when to go full out insane. I can't express how special 'Rushmore' is, it is an ode to that glorious feeling of being lost that we all feel yet with an emphasis of listening and caring for those around you, accepting their flaws and enjoying their strengths.



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