Somewhere over the last decade, I became a fan of Wes Anderson movies. I have enjoyed them all but not all of them are great. The previous film from the director, “The French Dispatch” is the least interesting of the films for me. It’s style is elegantly in line with the visual flair of Anderson, but the content just seemed a little too on the nose for me. It was a movie filled with references to language and the way that we use words was the focus of the film. It did at least have that to hold it together. “Asteroid City” does not have these kinds of ambitions. There is a singular story told through multiple levels that will keep us amused and detached simultaneously,  and for me it worked a lot more effectively because I could not detect a point or theme, i only saw an entertainment. 

Once again, if you are not willing to be presented with artifice being passed off as a story, you should skip this, but if you look at the crystal blue sky and the phony desert horizons in the opening part of the film, and they make you laugh, then you are in the right place. This film cruises on the look Anderson can achieve in the circumstances he and his cowriters have conceived. This is a film, conceived as a play, being described by a documentary about the creation of the story. Every step we take leads down a different path and sometimes, just as you are getting involved with something that is happening on screen, the camera pulls back and we see the story from a completely new perspective, although the attitude and the moods remain the same. 

The film is filled with the usual suspects. Anderson has developed a company of players that he wants to have in his movies and when you see how they fit in, you can’t blame him for wanting to keep some consistency. Jeffery Wright returns for what I think is his second Anderson film, and his delivery of General Gibson’s speech is perfection. I’d love to have the laminated version that all of the attendees were promised, I think I could read it everyday and still laugh out loud. Jason Schwartzman is back for his seventh film with Anderson, and he has his biggest role since being the star of “Rushmore” back in 1998. He has mastered the deadpan delivery that is a signature of  Anderson’s words. Even when he is supposed to be reacting strongly to a moment with co-star Scarlett Johansson, he still manages to keep the reaction dulled down to fit with the character. Edward Norton, Bryan Cranston, Adrian Brody and Willem Dafoe all show up for repeat appearances in one of these unusual films. Tom Hanks shows up in his maiden voyage on the good ship Anderson, apparently replacing the usual presence of Bill Murray who is surprisingly not in the film. Although he is in the movie for only a couple of seconds, I really want to believe that Jeff Goldblum was in the alien costume, although it is clearly some of the animation that has been used in Anderson’s two best films, “Isle of Dogs” and “The Fantastic Mr. Fox”. 

I mentioned the production design early on. The black and white sequences are fine, with some effective lighting and clever use of backstage tropes. As usual though, the colorful and cinematically electric visuals in the sequences that are in color are the thing that will hypnotize you. There is a filter on some of the scenes that will make you feel like you are driving through the desert on a summer evening, cruising Route 66 in 1956. There are two or three moments with some blue shading that are subtle but make the actor’s eyes pop on screen. Cinematographer Robert Yeoman has done a fantastic job of bouncing between styles, and evoking moods with the lighting of this film. Also, as usual, the production design team should be given all the awards this year for their fake sandstone towers, two lane blacktops and especially the train that opens the film. This movie is just a visual delight. 

The story dances around grief as a subject, but it also touches on authoritarianism, love, music and family. None of the subjects are really the point of the film. This is a bauble, made to look amazing, with a stack of nesting doll type storytelling that reveals one new thing after another. It is not so much emotionally engaging as it is visually and intellectually evolving. Don’t get caught up in whatever plot you might pick out, just sit back and watch the circus perform. If we are going to get movies that are all about the spectacle of how they look, this is a nice alternative to the CGI worlds of James Cameron. Both can be breathtaking, but one feels warm while the other simple seems to celebrate technology.