![]() The narration is constant but never feels tacked on or distracting. This could feel contrived, as we’re told that Gwyneth Paltrow’s Margot has been smoking since she was 12 and acts out to try to get noticed and has soured as a result of that failing or Ben Stiller’s Chas is a recent widow who has become obsessed with safety but was always high-strung, but they feel fully realized immediately. Every role has a “thing” to it, which Baldwin narrates as a way of introducing the character. The cast is outstanding, obviously, but I couldn’t isolate anyone who doesn’t nail what they’re given. It’s amazing that it works, but it’s even more amazing the degree to which it works. Did I mention it’s all supposedly part of a novel that Alec Baldwin reads to you periodically, in the style of Franny and Zooey? Mix in Anderson’s aesthetic and Gene Hackman as our primary character, a deadbeat absentee father who lies to get back into his family, and really, ugh. Adding “rich” and “aloof” as primary descriptors for the cast does not improve things. Salinger’s Glass family is a frustrating space to spend time. On premise alone, a dysfunctional family modeled after J.D. I think Moonrise Kingdom is his best, but Tenenbaums was the first one that really clicked with me, so it’ll always be special. I had a hard time sinking my teeth into The Darjeeling Limited and I only like, but don’t love, The Life Aquatic with Steve Zissou, which seems to be a full-on crime. I’ve seen it a handful of times and I count myself among the people still charmed by Anderson’s cutesy world. My friends Mike and Eliza suggested this (and a few other movies) and I rewatched The Royal Tenenbaums for this review. That specificity lends to a “universe” that people really connect with (or don’t). From the visual style to the vocal patterns, Anderson’s films are nothing if not specific. It’s more that if he works for you, he really works for you. I was going to call Wes Anderson “divisive,” but that isn’t exactly it. “There are no teams,” he would tell me often, echoing a small, but important, joke from The Royal Tenenbaums. I had a friend in school who used to quote Wes Anderson movies all the time. THE BOMBER ROYAL TENENBAUMS MOVIEThe fabric also made its way into the button-out leather-trimmed lining of an oversized duster coat - a lining that was beautiful enough to wear on its own.This is Best Movie of All Time, an eternal search for the greatest film ever. Simon Miller may well have set the bar for artisanal athleisure by offering a gray sweatsuit in a felted cotton/wool loop terry that felt like the tightly coiled but super-soft wool of a newborn lamb. Another was Robert Geller, whose collection was inspired by a pair of Olympic fencing brothers from the 1920s, Aldo and Nedo Nadi, and included oversized coats resembling those that fencers would traditionally layer over their uniforms. One of those was Lacoste, whose “Royal Tenenbaums” retro tennis romp was a homage to the brand’s namesake founder and offered up outerwear options such as boldly striped notch-lapel car coats and raccoon-style coats reminiscent of a bygone era rendered in brown teddy bear fur. If there’s one menswear label from the week that’s poised to capitalize on the current trend, it’s Reid, whose collection included super-slouchy wide-wale corduroy trousers and trench coats, diamond-quilted track pants and dinner jackets and shearling panel vests.Ī couple of labels seemed to arrive at the altar of athleisure almost serendipitously. Another was the poncho-with-attitude, which Skingraft draped into its Peruvian-nomad-inspired collection along with roomy drop-crotch trousers, thick cowl-neck puffer vests and tapestry-stripe toggle-button coats.īilly Reid’s rustic luxe lineup included a poncho or two as well, but it was the focus on fabric that made the Alabama-based designer’s jackets, coats and cardigans serious contenders, specifically a basket weave design in cashmere that looked winter-weight rugged but moved like a summer breeze. One option was a loosened-up version of the bomber jacket, like the style with oversized flap pockets and flared wrists that was part of Adidas’ collaboration with rapper Kanye West. While no single garment emerged to be as clear a front-runner as the now-ubiquitous sweat trou from the fall and winter 2014 shows a year ago, there did seem to be consensus that guys will be looking to pay good money for something relaxed and roomy - voluminous even - that hits the sweet spot of utility and luxury. Not only have menswear designers embraced the fact that, given the choice, most of us would wear sweatpants 24/7, but during the fall men’s shows at New York Fashion Week, it appeared that the race was on to create the ideal comfy equivalent for the upper body, with designers putting a full-court press on what the apparel industry refers to as the “athleisure” trend. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |