Ali Abdul-Karim’s review published on Letterboxd:
The emptiness of wealth is a tale as old as time, from King Midas to Citizen Kane and here we have Wes Anderson’s extra quirky examination of the classic theme.
This is the “show-piece” of Wes’ recent collection of Roald Dahl adaptations. The longest, grandest and rather conventionally the best.
I think amongst the multitude of universes you’d be hard pressed to find one where a combination of Dahl’s wacky, and at times macabre, childhood tales and Wes Anderson’s eccentric and loveable filmmaking style wouldn’t work on me.
Not to ruin your immense anticipation for the upcoming Dahl/Anderson reviews but I loved them all and the experience of watching one even night with my sister who fits in the same category as myself when it comes to loving Dahl and Wes Anderson.
Wes’ first Academy award was incredibly overdue. I’m glad he’s finally got one, regardless of the fact that it wasn’t for any of his major theatrical works.
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