Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
They're not really criminals, but everyone's got to have a dream.
Upon his release from a mental hospital following a nervous breakdown, the directionless Anthony joins his friend Dignan, who seems far less sane than the former. Dignan has hatched a hair-brained scheme for an as-yet-unspecified crime spree that somehow involves his former boss, the (supposedly) legendary Mr. Henry.
The Wilson Brothers star as simpleminded but lovable crooks in Wes Anderson's feature film directorial debut. The Great Escape. The Notebook. The Tim Howard-esque athleticism of Dignan. Toy Soldiers. Pinball Wizard. Social dysfunction. Kid sister. Dignan lies? Bob is the motherfucker. Luke Wilson before those awful cellphone commercials. I'm scared of Bob's brother. World's worst pool boy. Extreme bullying. The ever so fuckable Stacy Sinclair. Gun runnin'. Target practice. Dignan's earmuffs. Tape on your nose makes you look like a badass. Armed robbery. The Lawn Wranglers? Fireworks. Bottle Rocket? 5 Star Hotel. Sexy housekeeper. Anthony's bathrobe. A barbershop without Ice Cube. Spanglish love. Motel fiesta. Bob's accent. Steamy swim. Cock block. Trinket exchange. On the job fucking. Poolhall beatdown. Perfecto…
I think Bottle Rocket has slowly become my favorite Wes Anderson film.
Lots of people say its the least snappy, least quirky, and least "Anderson" film of his bunch. It's really different from all his other films and for that I think that's why it's my favorite. I love his later films, but he did an amazing job here of channeling early Tarantino and his own style of humor. It's a winning combination of humor, botched robberies, crazy characters, and in some ways it's a coming of age story like we are used to seeing. Owen Wilson is a young man with the big dreams and small intuition that every child has. He robs a public library with a Colt…
"I learned more in the 2 months I spent with Mr. Henry and this crew than I learned in 15 years of academic study."
Bottle Rocket was not only the feature film debut for director Wes Anderson, but it was also the debut for Owen and Luke Wilson who both gave inspiring performances. This is where it all started for Wes Anderson and despite not being a box office hit he slowly built a reputation for himself by remaining unique to his quirky sense of humor. Many criticized the fact that these characters didn't seem real, and that is probably true for all of Anderson's film where he focuses on dysfunctional characters with a whimsical sense of humor. Anderson's comedies…
Film #39 in The June Challenge
Probably the best Wes Anderson film I've seen next to Moonrise Kingdom. I love the simplicity of the story and how it focuses on the characters and their relationships. I enjoyed how Wes Anderson' signature stylistic flair would show up in an incomplete form, as if he was constantly experimenting with visual language. I like the characters in the film, and none of them feel unrealistically obnoxious; the three friends feel like incredibly confused and lonely people that are looking for some sense of purpose and keep failing at finding it. Watching their exploits is really enjoyable, and every scene has some type of minimalistic, awkward, or melancholically humourous pay-off.
The film is funny…
Included In Lists:
Criterion Collection - #450
Review In A Nutshell:
A person's debut film does not always expose the pure visionaries of an artist, but it displays enough for the audience to see that there is potential. Take a look at Quentin Tarantino's Reservoir Dogs; it clearly is a film that is still unrefined in its style, but it displays enough unconventional dialogue and extended takes, that it feels different from the other similar-plotted films. I chose to use Tarantino's Reservoir Dogs as an example because so much of Bottle Rocket conveys a resemblance to the film, but to say that this is a rip off or even a homage to it is ridiculous.
Bottle Rocket is Wes Anderson…
Has a really shaky start, but I loved the last half of the movie. Easily the best that Owen Wilson has ever done in a film. No doubt about it.
Potentially my favorite Wes Anderson. Just the right amount of his usual "quirks" to be genuinely charming while not overstaying it's welcome. Compelling plot. Interesting characters. What more can I say?
I feel like I've never connected to this film as well as I have with other Andersons. It's not just because it's early in his filmography, with a style that's not quite fully there (though that is undoubtedly so). It's more that I feel like there's something missing that I can't quite put my finger on. It's not like later Anderson movies all hang together perfectly; the ragged bits are part of the charm. It's just that it's always bugged me more here, and felt less like a single cohesive film, than any of his others. I've also never, ever seen the charm of Dignan, and still don't. Anthony may not be much of a character, but whatever he is…
Wes Anderson's first and worst.
This film isn't like any other that I've ever watched. It has its own internal logic that it doesn't contradict at any point, but something about it seems as though it couldn't have happened in the same world that I live in. Of course, the same could be said about all of Anderson's films. He loves to walk a tightrope between the serious and the madcap. To the untrained eye, this movie could come across as mundane and trite, accomplishing nothing that other heist films haven't done before--and better. The thing that this analysis seems to miss is the fact that this movie isn't trying to be the coolest, most extravagant heist film of all time. I'm not sure it's…
All of the trademarks of a Wes Anderson film are present here but is not as fully polished and well-developed. Which is okay because this was his feature film debut.
Definitely much before Wes Anderson developed his unique and clean style he is known for today.
I feel like not very much actually happened throughout most of the film and the romance element was a little silly (may have been intentional, but didn't feel like more than just trying to have a character arc). Otherwise the performances are good and the story is fairly well-written for a debut! Give it a watch if you're a fan of Anderson's work!
Gostei desse conceito "plano infalível do cebolinha" adotado pelos roteiristas Wes Anderson e Owen Wilson. Junto à isso, temos praticamente um road movie completando o roteiro, que vem recheado de bom humor e grandes sacadas nos diálogos. Os irmãos Wilson (até mesmo o terceiro e menos conhecido Andrew) mandam muito bem na caracterização dos seus personagens. Impossível não rir de Dignan ou se emocionar e torcer pelo romance de Anthony e Inez. Excelente estréia do Wes!
Both Wilson brothers give great debut performances and Anderson was already well on the way to developing his signature style in this charming indie film.
Feels less like an Anderson film and more like the product of one of his many imitators. The jokes are generally stale, the Wilsons' deadpan shtick is strictly humdrum and it's also the only Anderson film that lacks an interesting aesthetic.
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 196/776 (25%)