In a way, Asteroid City feels like a middle finger to everyone who has said the recent films of Wes Anderson are becoming too self-referential. In this movie, Anderson embraces this criticism, using the framing device of the story being told as a play within the film, establishing early on that this is not the real world, but a fictional creation of the playwright’s mind — a stand-in for Anderson himself being played by Edward Norton.
The movie follows the attendees of a junior stargazer convention in a sleepy desert town as they are rocked by out-of-this-world events. It’s honestly surprising that Anderson hasn’t made such a fantastical film yet — outside of his stop-motion work — as his whimsical style is a perfect fit for it.
Yet, although Asteroid City thrives in being Anderson’s sharpest satire of creative expression yet, it also represents a wonderful return-to-form in that it boasts some of the most poignantly emotional moments he’s had in any movie in quite a while. The film’s exploration of grief is extremely touching, and while it’s against the backdrop of a tongue-in-cheek sci-fi comedy, it always feels completely earnest and sincere.
One thing that Anderson never fails to do is present the audience with an entertaining ensemble of characters, and that is definitely the biggest strength of Asteroid City. There are so many storylines in the movie, but Anderson weaves them together in such a way that it feels seamless and perfectly paced.
Of course, the cast is also exceptional, filled with many of Anderson’s usual suspects but also a few new faces. Frequent collaborator Jason Schwartzman takes the lead here, and he delivers a turn that masterfully balances deadpan delivery with genuine humanity. Scarlett Johansson serves as a perfect complement to Schwartzman’s character. Jake Ryan — who was one of the scouts in Moonrise Kingdom — is also exceptional here, with a surprisingly emotional turn.
That being said, with such a massive ensemble, it’s obvious that some performers aren’t going to get their screen time. Jeff Goldblum’s bit part is absolutely hilarious, but many of the talented actors aren’t fully utilized in their roles. Tom Hanks, Margot Robbie, Willem Dafoe, Tony Revolori, Liev Schreiber, and Tilda Swinton are among the people who are good, but simply aren’t given enough to do.
The film has the bright and lively aesthetics characteristic of Anderson’s work, with lots of pastel colors and visually striking filmmaking by Robert Yeoman. Interestingly, the fact that this is being presented as a play-within-a-film means that the production design is somewhat minimalistic, but Anderson’s maximalist tendencies still shine through in a way that fully immerses us in this world.
Frequent collaborator Alexandre Desplat again provides the score for Anderson’s newest movie, and it’s as lovely as ever, as is the soundtrack of throwback tunes that feel like they were ripped off of vinyl records. There is also an original song in the film — “Dear Alien” — whose context in the movie is best left unspoiled, but it’s both hilarious and catchy.
Asteroid City is absolutely one of Wes Anderson’s best movies in years. Blending his signature aesthetics and humor with a story that is both whimsical and surprisingly grounded in emotion considering the premise, this is a truly delightful film.
Asteroid City hits theaters on June 16.
Rating: 10/10
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