However, the master of all things symmetrical only has style on the mind he seems hellbent on keeping his audience at bay with a needless Matryoshka Doll framing device that wastes Margot Robbie, Willem Dafoe, Edward Norton, Adrien Brody and Hong Chau in glorified cameos. The remote and quarantined desert town was the perfect setup to spend time with the million more characters (Hope Davis, Liev Schreiber, Matt Dillon, Rupert Friend, Steve Carrell) and get to properly know Anderson’s catastrophically wounded rollcall of people who can't express their pain - a treasured family-in-crisis hallmark which he has aced in the past.
No one is expecting him to suddenly pivot and go out in a blaze of cinéma verité for his next project. From AI approximations to TikTok pastiches via ‘Accidentally Wes Anderson’ books, his ornamental eccentricities and highly stylised visual aesthetic are culturally enshrined Wes does what Wes does, and his films can’t be dismissed as anything but meticulously crafted confectionaries. The filmmaker has become a genre to himself at this point. It almost goes without saying at this point that if you're not already on board with Wes Anderson, you won't be converted by his next one.
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The astronomy convention features scientists (Tilda Swinton), military personnel (Jeffrey Wright) and movie stars (Scarlett Johansson), and will soon be disrupted by a world-changing event - followed by quarantine protocol Scrimmage Plan X which keeps everyone stuck in the remote location of First Contact. The family (including delightfully sour father-in-law Tom Hanks) mourns the loss of the matriarch and is in town for precocious Rushmore -esque eldest, Woodrow Steenbeck (Jake Ryan), to present his latest invention at the Junior Stargazer festival. Our host (Bryan Cranston) talks of the Three-Act “fanciful telling” and introduces us to the next narrative layer about a photographer Augie Steenbeck (Jason Schwartzman) and his four children, who arrive in the desert town of Asteroid City – home to 87 people.
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