Ominous, awash in blue, and unexpectedly epic-looking, Alejandro González Iñárritu‘s upcoming Birdman has an heir of something special from the looks of its first trailer. With a star-studded cast lead by Michael Keaton, Birdman follows a washed-up actor (Keaton), known for playing the titular superhero, who launches an attempted career comeback with a Broadway play. From the looks of this trailer Keaton butts heads with his Broadway co-star (played by Edward Norton) and causes a very concerned-looking Zach Galifianakis stress. Emma Stone, Naomi Watts, Andrea Riseborough, and Amy Ryan also star in the film shot by recent Oscar-winner Emmanuel Lubezki, who is responsible for the beautifully orchestrated long-takes on display in the trailer. Lubezki fans will remember his gripping long-take cinematography from 2006’s Children of Men.

Birdman is set for its domestic release on October 17th of this year, watch Michael Keaton walk through Times Square in his tightey whiteys set to a remix of Gnarls Barkley’s “Crazy” in the trailer below:

Watch trailer for Birdman

Partway through The Grand Budapest Hotel, there’s an argument between Dmitri (Adrien Brody, looking brilliantly evil) and his deceased mother’s lawyer (Jeff Goldblum). The lawyer refuses to hand the dead woman’s fortune over to her son as the details of her murder haven’t been cleared up. Dmitri angrily leaves, and his henchman (Willem Dafoe) casually tosses the lawyer’s cat out of a window on his way out. It’s a cruel act, and a funny visual gag, until the lawyer peers out his window and the camera cuts to his cat’s splattered body below.

Writer/director Wes Anderson uses these shock moments of sudden violence more than once throughout the film. The dead woman (Tilda Swinton, unrecognizable with pounds of old age makeup) is Madame D., an old rich countess who frequented the titular hotel. Located in the mountains of the Republic of Zubrowka, a made up European nation, the hotel is a gorgeous and highly popular establishment. Gustave H. (Ralph Fiennes) is the hotel’s concierge, a charming man who was also taking Madame D. to bed during her visits (one of Gustave’s many duties as concierge included sexually satisfying the rich old ladies who visited). When it’s revealed that she put Gustave in her will as the recipient of a priceless painting, Madame D.’s family frames him for her murder.

Gustave receives help from Zero Moustafa (Tony Revolori), a young lobby boy that Gustave has taken a shine to. The story, taking place in 1932 during some unnamed war ravaging the country, is narrated to us by an older Moustafa (F. Murray Abraham) in the 1960s. He’s telling his tale to a young author (Jude Law) over dinner at the hotel, now well past its glory days. Law narrates the 1960s segments, which are actually from a novel being read to viewers in the 1980s by (presumably) a now much-older author (Tom Wilkinson). The nesting-doll structure may seem frivolous, but Wes Anderson’s films thrive on frivolity.

The multi-layered narrative also establishes Anderson’s attempts to comment on memory and nostalgia. Moustafa’s story in the 1930s, shot gorgeously in 1.33:1, is stylistically Anderson’s best work to date. The set design, meticulous framing, whip pans, quick zooms, and use of animation and miniatures, among Anderson’s other visual trademarks, operate at a level that more than matches his story’s large scale. Anderson and cinematographer Robert D. Yeoman are clearly having a field day, and it shows. The charming style also shows Moustafa’s nostalgia for this period of his life, as if these “good ol’ days” represent something that’s never to return.

Anderson is aware of how dangerous this way of looking at the past with rose-coloured glasses is, which is why he throws in scenes like the one with Goldblum’s cat. He is purposely breaking the spell his film casts, reminding viewers that the time period was still a tumultuous one. The hotel is not so much a shining example of long-lost civility and politeness as it is an escape from the harsh realities of wartime and poverty. These two worlds of fantasy and reality eventually come together, but through Anderson’s lens the stylistic flourishes still remain. The final scene of the ‘30s timeline, also the bleakest part of Moustafa’s story, switches to black and white, showing how Anderson still finds a way to fill his heavier moments with aesthetic quirks.

While Anderson’s toying with memory and nostalgia is interesting, it fails to make any impact to the film overall. The handling of violence makes for an awkward juxtaposition, one that’s more admirable in its intent than execution (I never thought I’d say this, but Anderson should take some tips from Quentin Tarantino in this area). The war going on in the film’s background is wiped of any details, save for some vague allusions to the SS. The obscuring of these elements only muddy the water, and the dense plotting of Anderson’s screenplay make his thematic points get swallowed up by the film’s aesthetics.

Not that the aesthetics are a bad thing; The Grand Budapest Hotel is still a treat to watch. Fiennes is perfect as Gustave, and Anderson’s script is filled with plenty of hilarious moments. The massive ensemble, where seemingly every role is filled with a well-known actor (supporting cast includes Edward Norton, Harvey Keitel, Saorise Ronan, Jason Schwartzman and Owen Wilson just to name a few), work together perfectly. While The Grand Budapest Hotel works well, it only does up to a certain point. What the film amounts to is nothing more than a well-done and admirable piece of fluff.

The Grand Budapest Hotel trailer

Moonrise Kingdom is unmistakably a Wes Anderson film. It features presumptuous children who seem to be more intelligent and mature than the adults and a simple but whimsical storyline that is completely overshadowed by its presentation. Everything is exaggerated and deadpan humor is in abundance. That is what often makes his films so fascinating to watch and Moonrise Kingdom is no exception. It is a fun adventurous fantasy that only he is able to create.

In the opening sequence, the camera paces through the house of the Bishop’s, introducing us to the three young boys listening to their precious record player and their older sister Suzy (Kara Hayward) who always has a pair of binoculars around her neck. Their mother Laura (Frances McDormand) is always yelling into a megaphone to call after the children and sometimes even her husband Walt (Bill Murray).

Also located on the fictitious island of New Penzance is a camp belonging to Khaki Scout Group Number 55. On what seems to be a routine morning, Scout Master Ward (Edward Norton) emerges from his tent then proceeds to do his daily check-ins to make sure his troop members are doing their duties. Finally he notices at the dinner table that one of its members is absent. He rushes to 12 year old Sam Shakusky’s (Jared Gilman) tent to find out that he has “flown the coop”.

Through a flashback a year earlier we see how Sam and Suzy met. During a play of Noah’s Ark Sam wonders around the building and stumbles into a dressing room full of girls dressed as birds. One of the birds catches his eye, the raven, which was played by Suzy. Soon after that run in, they exchanged many love letters back and forth over the course of a year. In their last letters, which brings us to the present time, they agree to run away together.

It is not long before the island’s local policeman Captain Share (Bruce Willis) receives a call from Suzy’s parents that puts the entire island on a manhunt to find the two. Due to Sam’s survival skills learned from being a Khaki Scout, the two young lovers are prepared and seem to not be in any harm. Suzy did bring several reading materials and a battery operated record player after all.

Our narrator (Bob Balaban) informs us that this is set in September of 1965. He also lets us know that in three days time there will be a massive rainstorm that will result in a flood unlike one the island has seen in hundreds of years. This information adds to the urgency of finding Suzy and Sam.

Each scene is meticulously designed with props and a matching color scheme which is a very common feature for a Wes Anderson film. I noticed it early on in Moonrise Kingdom when we see a primary yellow toned kitchen, in the very back of the shot there is a fan that even its blades we’re yellow to match. The little things like those that are often overlooked in other films that are done to perfection.

In addition to the amazing visual style, the other key element in Moonrise Kingdom is the fantastic cast. First you have Bill Murray, who seems to be born to play Wes Anderson films with his deadpan tone (he has been in five of his last six films). Another Anderson veteran is Jason Schwartzman whose sarcasm fits perfectly with his role as one of the Scout Leaders.

Then you have Anderson newcomers such as Bruce Willis, who I was concerned may stick out like a sore thumb in this role but was proven wrong. Edward Norton as the always serious and enthusiastic leader did not miss a beat either. Last but not least, the two young lovers played by Kara Hayward and Jared Gilman were outstanding together.

It is hard to walk away from a Wes Anderson film with a firm opinion, you must first let it soak in for a bit. It does not help that there is not as much substance in his films. But what Moonrise Kingdom lacks in substance it more than makes up for with plenty of style and quirky but lovable characters.

Moonrise Kingdom, for better or for worse, totally has Wes Anderson written all over it. If you were a fan of his films before, you will love Moonrise Kingdom. On the flip side, if you were not a fan of his work before, I do not think this will change your mind on the matter. Over the years I have come to accept the fact that the plot in his films does not seem to matter as much as the picturesque scenery and development of his quirky characters. It is hard to deny that he is one of the most original American filmmakers in the field today.

In order to celebrate the release of Wes Anderson’s latest film Moonrise Kingdom in theaters this Friday, Way Too Indie is giving away two special “Moonrise Kingdom Survival Packages”. It is undoubtedly one the most anticipated indie films of the summer as it has been three long years since Wes Anderson has put out a new film.

We are giving away two (2) “Moonrise Kingdom Survival Packages” which include:

How do you enter the giveaway?

• Leave a comment below and Like our Facebook page. Tell us what your favorite Wes Anderson movie is in comments below. Then click here to Like Way Too Indie on Facebook. Simple as that.
• Winners will be selected at random. Two (2) winners will win one (1) “Survival Package”.
• If you are chosen, you will be notified by email. Winners must respond within three days of being contacted. If you do not respond within that period, another winner will be chosen. Must be in the United States to win.
• Entries can be submmited until May 27th, 2012 at 11:59PM CT. Good luck!
• Giveaway closed, winners were notified.

Moonrise Kingdom is in select cities May 25th. Wide release is June 29th.

Official trailer for Moonrise Kingdom:

Wes Anderson’s latest film Moonrise Kingdom will open the 65th Cannes Film Festival on May 16 2012. Some of the cast members in the film should come as no surprise such as Billy Murray, Jason Schwartzman, and Bruce Willis who have all appeared in Wes Anderson film’s previously. Joining them are other big names; Tilda Swinton, Edward Norton, and Frances McDormand.

Synopsis from the official site:

“Set on an island off the coast of New England in the summer of 1965, MOONRISE KINGDOM tells the story of two twelve-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore — and the peaceful island community is turned upside down in more ways than anyone can handle. Bruce Willis plays the local sheriff. Edward Norton is a Khaki Scout troop leader. Bill Murray and Frances McDormand portray the young girl’s parents. The cast also includes Tilda Swinton, Jason Schwartzman, and Jared Gilman and Kara Hayward as the boy and girl.”

UPDATE: Check out our review of Moonrise Kingdom

Check out the official trailer for “Moonrise Kingdom” below:

Based off a Pulitzer Prize winning short story, The Illusionist is a film about a magician who must overcome class struggle throughout his life in order to win the hand of his lover. Not only are the illusions mysterious but so are some of the events that occur in the magician’s life. Both Edward Norton and Paul Giamatti give solid performances in this magic themed film.

Taking place around the turn of the last century, Eisenheim the Illusionist (Edward Norton) is traveling around on tour showcasing his masterful illusions to many stunned audiences. His audience seems to grow with each new show and when his tour comes to Vienna, he gets an opportunity to perform for Crown Prince Leopold (Rufus Sewell). That is where things start to get interesting.

In a series of flashbacks, we see a young Eisenheim, who at that time went by his real name, Edward. As a young child he had been fascinated by magic and had been trying to perfect it since. His family was poor and his childhood love was a young duchess named Sophie (Jessica Biel). It almost goes without saying but their love was frown upon by others. So at an early age they separated from one another.

Crown Prince Leopold prides himself on logic and believes he can solve how Eisenheim does his illusions. When the audience is asked for a volunteer, the crown prince sends up his fiancée-to-be. As she gets onto the stage Eisenheim suddenly realizes who she is, his long-last lady love Sophie.

Eisenheim quickly learns of her intent to marry the crown prince just as the crown prince learns about Sophie and Eisenheim’s past. Both have their own plans to take each other out and win over the girl. Leopold gets the Chief Inspector Uhl (Paul Giamatti) to follow Eisenheim and find out how he performs his illusions. By doing this he hopes he can expose and thus discredit Eisenheim as a magician.

Things take a turn when Sophie turns up dead soon after refusing Leopold. Eisenheim has his own plan to use Inspector Uhl to find evidence about the case that will expose Leopold as a murderer. Uhl has always been fond of Eisenheim but now has an internal struggle between helping Eisenheim or helping Leopold which could grant him more power.

The Illusionist is based on a short story called Eisenheim the Illusionist by Steven Millhauser and feels more like a fairy tale than it does a film. This may be because of how unbelievable the illusions that Eisenheim performs. Such as an orange tree growing out of a pot that produces real oranges in a matter of a minute all while butterflies hover above it. It also may feel like a fairy tale because the story centers on a poor boy and a rich girl that know their love is true but stands in their way is a socially powerful man.

Edward Norton shines in the lead role as the witty and charming illusionist. He even did many of his own magic tricks in the film. Jessica Biel does not stand out but is not given much chance even though two men fighting over her is the central plot. On the other hand, Paul Giamatti may have stood out the most. I think Giamatti had the best performance in this film and further proving he is an under-rated actor.

It may be unfair to compare films, but it is hard to ignore it when the both The Illusionist and The Prestige both came out in 2006 and are both about magicians. Even their titles are somewhat similar. They both were nominated for the same award at the 2007 Academy Awards, Best Achievement in Cinematography, which they both lost. In my opinion, I believe Christopher Nolan’s The Prestige to be the better of the two. Each has their own uniqueness and qualities but The Prestige did most of them better.

The Illusionist is an aesthetically pleasing fairy tale-like film. As a viewer, we are like the audience in the film. We watch Eisenheim perform his illusions and wonder whether or not they are supernatural or not as we try to figure out the trick. Unfortunately, the middle act of the film drags on a bit especially compared to the romantic filled beginning and ending acts. Which would not have been such a problem if the connection between Sophie and Eisenheim did not slip as the focus of the film.