Ranking the films of Wes Anderson
If you know me, you likely know I love movies. It’s that love that drove me to leave my “day job” back in 2012 to co-found SeenTh.at, a social site for movie fans (but that’s another story). If you know I love movies, you likely also know that I’m quite fond of one Wesley Wales Anderson.
In my opinion, he’s one of the most original, consistent, and talented directors in Hollywood today. You could probably argue that most “A-list” stars agree, as Anderson has (impressively) brought so many legendary actors into his obsessively-detailed, storybook fantasies.
Here’s a quick list with some fun Oscar numbers to mull over:
James Caan (1 Oscar nom) Gene Hackman (5 Oscar noms, 2 wins)
Anjelica Huston (3 Oscar noms, 1 win) Gwyneth Paltrow (1 Oscar nom, 1 win) Alec Baldwin (1 Oscar nom) Cate Blanchett (5 Oscar noms, 2 wins) Willem Dafoe (2 Oscar noms) Jeff Goldblum (1 Oscar nom) Adrien Brody (1 Oscar nom, 1 win) George Clooney (6 Oscar noms, 2 wins) Meryl Streep (19 Oscar noms, 3 wins) <--- WOW! Edward Norton (3 Oscar noms)
Frances McDormand (4 Oscar noms, 1 win) Tilda Swinton (1 Oscar nom, 1 win) Harvey Keitel (1 Oscar nom) Ralph Fiennes (2 Oscar noms)
Jude Law (2 Oscar noms) Tom Wilkinson (2 Oscar noms) and of course...THE Bill Murray (1 Oscar nom)
Anderson himself has been nominated for 6 Oscars, but has yet to win (Martin Scorsese has been nominated 12 times and won only once). Speaking of Martin Scorsese, he had high praise for Anderson in a tribute he penned for Esquire in March of 2000.
Wes Anderson, at age thirty, has a very special kind of talent: he knows how to convey the simple joys and interactions between people so well and with such richness.
He even placed Bottle Rocket, Anderson’s first full-length film, at #7 on his 10 “Best Films of the 1990s.” Needless to say, Anderson’s got skills and lots of Hollywood’s elite know it.
With Anderson’s latest opus, The Grand Budapest Hotel, garnering so much critical acclaim (9 Oscar noms, 4 wins), I’ve noticed a lot of cinema pundits ranking his films. I guess it only makes sense, as Anderson’s self-proclaimed biggest fan, that I throw my own opinion into the marketplace of ideas. The below rankings are purely based on my enjoyment of each feature film Anderson has directed, and are opinion. But if you disagree, definitely tell me why!
#8 The Darjeeling Limited (2007)
This is one of two films from Anderson’s filmography that I’ve seen only once. Because of that, you can take its placement at the bottom of this list with a grain of salt. For me, the majority of Anderson’s movies have taken more than one viewing to truly “get it” and appreciate the full genius of the piece. The Darjeeling Limited deserves another viewing from me to get a truly fair shot, but since I’ve seen it once and enjoyed it the least I have nowhere else to put it but at #8.
Based on that one viewing, Darjeeling lacks the “magic” I feel in all of Anderson’s other films. I can’t think of a better word for it than that. There were some strong scenes, some great deadpan delivery, but only an inkling of the heart Scorsese referenced in his Esquire tribute. With this film I didn’t relate as much to the characters, and found myself less-than-invested in their journey or success.
#7 The Grand Budapest Hotel (2014)
I might get reamed for the placement of Anderson’s latest (and most critically-acclaimed) film on my list, but it also falls into the category of “seen it once,” which, for me, makes it really hard to place this any higher (the list is based on my enjoyment of each film, remember).
Having said that, this was an incredibly ambitious film with AMAZING set design. From the moment I saw the first trailer for this film, I had high expectations for Ralph Fiennes, and he was absolutely wonderful, darling. I’ll be honest that I was a bit disappointed in the vulgarity of Adrien Brody’s character. Sure, it was fitting for the character, but it was off-putting for me.
All in all, this was a great film and I’m excited to watch it again when I find some time (I do own it).
#6 Fantastic Mr. Fox (2009)
This is arguably Anderson’s most ambitious work to date. Who would have thought that after a string of quirky character-driven, live-action features Anderson would jump to a feature-length, stop-motion animation picture based on Roald Dahl’s story of the same name, and absolutely hit it out of the park?
George Clooney absolutely kills as the protagonist in this storybook fantasy, and the supporting cast does not disappoint at all. One of my favorite things in the movie is how characters say the word “cuss” when they would otherwise have said a swear word. It’s just funny, man!
#5 Moonrise Kingdom (2012)
With Moonrise Kingdom Anderson captures a youthful exuberance (the “magic”) that’s ignited when Sam first meets Suzy. It’s this young love that causes the underage pair to eventually flee their scout camp and home, respectively, as if in the act of elopement. Though young, forbidden love may be somewhat of a clichéd trope, Anderson masterfully tells the tale in his storybook fashion, charming us with kids that act like adults, adults that act like kids, and Anderson’s trademark insane level of detail that brings the picture to life.
#4 Bottle Rocket (1996)
What’s crazy about this film is how much I didn’t like it the first time I watched it. I saw it after I fell in love with Rushmore (the first Anderson movie I’d watched), and after I’d met the Tenenbaum family. As a result, it was very apparent to me that this was Anderson’s first film (i.e. t’was raw). It also felt very much like a short that had been stretched out to a full-length feature.
Having said that, I’ve since fallen in love with Dignan (Owen Wilson) and his rookie band of “thieves.” The dialogue is such a perfect preview into what Anderson and Wilson (and other co-writers) would go on to create in later films. The deadpan delivery of both Owen and Luke really showed what they would also be capable of as actors, and catapulted them both into the successful careers they’ve had as the “Wilson Brothers.”
#3 The Life Aquatic with Steve Zissou (2004)
Anecdotally speaking, I think this is one of Anderson’s least-adored films by the general viewing public. I, however, love it to pieces. There’s emotion (SPOILER), action, exquisite set design, and exactly what you’ve come to expect from Anderson in the way of deadpan dialogue (see embedded link above) and a killer soundtrack.
While Murray is wonderful as a supporting character in Rushmore, he absolutely kills as the lead in Aquatic. In fact, it’s sort of sad to me that this is the only film, of many where Anderson and Murray have worked together, that showcases Murray as the film’s protagonist. I guess we’ll just have to cross our fingers and pray that we can get at least one more before either Murray or Anderson finish their career.
#2 The Royal Tenenbaums (2001)
I think this film might have one of the best ensemble casts ever assembled, featuring Gene Hackman, Anjelica Huston, Ben Stiller, Gwyneth Paltrow, Luke Wilson, Owen Wilson, Bill Murray, Danny Glover, and Alec Baldwin. Maybe that’s going too far for some, but the way the characters all play together is just phenomenal. I can only imagine how hard it would be to so artfully compose an engaging story, but to do so while juggling so many intricate and lively characters/subplots all at once is just a work of art.
This is the second Anderson film I saw, about a year after I first discovered Rushmore, and I remember coming out of the theater and really not loving it at all. But that’s where I learned a truth essential for all Anderson fans: While Anderson’s films appear, on the surface, to be the “same thing,” each film is wildly different than all others. Each one takes the viewer on a uniquely compelling journey of self-discovery for one or more of Anderson’s crazy characters, all in the signature style of Mr. Anderson. But the stories differ enough that if you expect to see a rehash of something you’ve already seen from Anderson, you will be disappointed.
#1 Rushmore (1998)
Herman Blume: What's the secret, Max?
Max Fischer: The secret?
Herman Blume: Yeah, you seem to have it pretty figured out.
Max Fischer: The secret, I don't know... I guess you've just gotta find something you love to do and then... do it for the rest of your life. For me, it's going to Rushmore.
Oh my how I love this film. First off, I’m a sucker for the “coming of age” story. I love seeing quirky characters find themselves and grow from experiences. And with Rushmore Anderson delivers what is, in my opinion, the quintessential coming of age story.
I was introduced to the film by my brother sometime in 2000, when he purchased the Criterion Collection DVD.
With the style of artwork on the cover (done by Anderson’s brother), I thought for the longest time that Rushmore was an animated movie, and didn’t bother watching it until my good friend Nate called me one night after he and his wife had watched it for the first time. He said the ending brought him to tears (though knowing Nate that probably means he sniffed once), and that I had to watch it. I did. Then I watched it again. And then again. In that first week, I think I watched the film 10 or more times. I just couldn’t get enough. Every character, every scene, every line of dialogue was just perfect.
Rushmore had become (and remains) my favorite movie of all time.
I don’t think there is a character in all of cinema that, for me, rivals Max Fischer, the film’s protagonist. The story goes that Max, in the second grade, wrote a play, “A little one-act about Watergate,” which got him into the prestigious Rushmore Academy. Now in 10th grade, Max is focusing entirely on extra-curricular activities and not at all on his studies, prompting a stern warning from the school’s head master, Dr. Nelson Guggenheim (Brian Cox), that if Max can’t bring up the grades he’ll be expelled.
It’s around this time that Max runs into two other characters that will soon change his life. One is first grade teacher Miss Rosemary Cross (Olivia Williams), and the other is Herman Blume (Bill Murray), a millionaire steel tycoon. I won’t go too much into the story from there, but I’ll say that Max falls in love with Miss Cross, befriends Herman, who also falls in love with her, gets expelled from Rushmore Academy for hilarious reasons, and then other stuff happens.
It’s great. If you haven’t seen it yet, please do. Max is a once-in-a-generation character full of naive ambition who challenges the status quo, exudes brilliance when he applies himself, and really doesn’t take “no” for an answer when he wants something. And his maturation and refinement through the course of the film entices me to become something greater than I currently am.
Rushmore = Best. Movie. Ever.














