The Life Aquatic

Directors are a varied bunch. Some just like to tell the story, some try to throw in all sorts of artistic shots and angles, others have distinctive styles that are easily recognizable regardless of the story they are telling. Wes Anderson fits definitively into that third category as one of the true auteurs working today. Starting with his debut film, Bottle Rocket, and working all the way up to last year's Fantastic Mr. Fox, Anderson has continued to hone a unique and inimitable method of storytelling all his own. My favorite example of Mr. Anderson's work is the charming 2004 movie, The Life Aquatic with Steve Zissou.

The Life Aquatic, spoofing famous French oceanographer Jacques Cousteau, follows a group of documentary filmmakers who create art house pictures on exotic marine wildlife. They are led by the depressed and washed up Steve Zissou, fabulously underplayed by Bill Murray. While on a voyage, Steve's best friend Esteban is killed by a large and mysterious shark. Determined to avenge his fallen comrade, Steve takes of on a revenge crusade in a way only Wes Anderson could visualize.

One of the most memorable and original parts of the film is the marine wildlife. Anderson, working with Henry Selick, the man behind the animation in The Nightmare Before Christmas, decided to use relatively low-tech stop-motion animation. The result is never distracting and at times almost magical. A soundtrack overflowing with David Bowie and Bowie covers on acoustic guitar and in Portuguese only add to the atmosphere.

The dialogue and camera work are overflowing with quirk and sarcasm, yet the script, co-written by Noah Baumbach, still manages to engineer moments of true emotional authenticity between its numerous characters. This helped by a spectacular ensemble cast including, Owen Wilson, Willem Dafoe, Angelica Huston, Jeff Goldblum, and Cate Blanchett. All are terrific, with special praise reserved for Wilson and Dafoe, but it is clearly Bill Murray's show and the movie lives or dies with him.

I like to think that Mr. Murray found a bit of himself in Steve Zissou. Though infamously difficult to work with in real life (Zissou is no peach either), Murray has always been able to collaborate successfully with Anderson. The Life Aquatic was their third movie together, and they have gone on to make two more. While all of their efforts are entertaining, none reach the level of sweetness, humor, tragedy, and whimsy that The Life Aquatic achieves.

27/30

Greenberg

What's that, boy?  Greenberg is playing at the Little Theater?  Let's go, quick! 

Greenberg is about a brief period in the life of Roger Greenberg, played wonderfully by Ben Stiller, a socially impaired man just about to turn 41.  Just released from a mental hospital (the reason for his stay is left tantalizingly unknown for the most part), Greenberg moves into his brother's house for a spell to set his life in order.  There he meets Florence (Greta Gerwig), a much younger personal assistant that he engages with in what can barely be called a relationship.

Greenberg's plot is dolled out slowly, but expertly, over the course of the movie.  Hints of Greenberg's past are alluded to at first, but the viewer do not fully understand the emotions driving him until well into the movie.  The immediate satisfaction derived from the film is the interactions between characters.  Far from what I expected, Greenberg is an extremely easy movie to watch.  It is filled with comedy, and cut almost like a Adam McKay film (Anchorman and Talladega Nights), with punchlines ending scenes with a bang and the audience's laughter transitioning Greenberg from one location to the next.

Stiller plays Greenberg fearlessly and unflinchingly; a nearly unlikable protagonist.  Stiller's charisma and the brilliant writing allow you to root for a main character who does everything possible to sabotage his relationship with the one woman in his life who is accommodating, sweet, and attracted to him.  Gerwig's Florence is also well played, understated and yet still bubbly and likable.  Similarly, Noah Baumbach does not draw attention to direction of the movie, allowing the characters to focus the movie behind their personal issues.

If you have the means, see Greenberg.  It is terrific.

25/30