Anyone familiar with novelist Thomas Pynchon will not expect a conventional film in "Inherent Vice," adapted from Pynchon's 2009 novel. Moreover, with screenwriter/director Paul Thomas Anderson guiding this cinematic adaptation through its illogical paces, linear progression is abandoned. As in "There Will Be Blood," "The Master" and "Punch Drunk Love," Anderson presents his stories from a distinctive, idiosyncratic perspective.
Writer/director Wes Anderson has done it again. After starting off with peculiar films, such as "Rushmore" and "The Royal Tenenbaums," he created that bliss of entertainment he called "Moonrise Kingdom" last year. Now, with Hugo Guinness, he has written a confectionary script that's a story within a story within etc.
Film directors crave recognition as distinctive, unique voices and stylists. Add a bonus for entertainment value, and this achievement becomes exceedingly rare. But not for writer/director Wes Anderson whose signature defines his films as definitively HIS--a combination of an offbeat, appealing humor and an atypical, stylistic presentation. Anderson is, in essence, fresh and original.
Writer/director Woody Allen's Midnight in Paris is a light, playful, enjoyable bonbon. In this cinematic love letter to Paris, Allen also pays tribute to literary artists and painters of 1920s Parisian life through Gil, a contemporary, discontented Hollywood scriptwriter.