The Day Before Christmas Review: Asteroid City

Happy holidays, everyone! Tomorrow is Christmas and I plan to release something different than a review, but for now, I have my last official review of the December Madness before I move onto some projects for the new year. I will still release some reviews, but nowhere near as many. Asteroid City is an interesting and quiet piece about the effect playwrighting has on those who make them and a side conversation about what isolation and paranoia does to a person stuck in one place for an extended period of time. This movie features a unique premise from a unique director by the name of Wes Anderson and it's by far one of his best pieces. Let's break into Asteroid City.

PLOT: Two at once?

The official plot is about a play being written by Edward Norton's character while he prepares a cast, script, set, and director for the project. The play is about a city in the desert where an asteroid once struck. I will not spoil anything about it as the reveal is so good and so funny that I think it demands no spoilers. But, when you go into watch it, you'll understand why it needs to not be spoiled. Regardless, the play is a study on what the effects of quarantine do to a person as they are forced to spend long periods of time in the same place. The movie itself is a character study on Edward Norton's playwright, who is struggling to finish his story and get everything in order to finish it. The play is far more interesting than the actual main story. But, as far as main stories go, it's a solid character arc with clear goals and ideas. I will admit to just wishing it was focused on Asteroid City rather than just a play. But, that's a me issue, it was still very entertaining.

CHARACTERS: Well-written on both fronts.

This is a well-written cast played by crazy good actors on nearly every front. Jason Schwarwtzmann as the lead of the play is isolated from both his family and the outside world, resulting in him slowly breaking apart as he's forced to confront his grief and open up properly to his children. His son, played by Jake Ryan, is a fine protagonist in his own little narrative about exposing the truth as he learns to become less shy and get what he wants. The supporting cast is mostly there to further the narrative of paranoia and fear, hence most of them undergo an arc of anxiety, learning to stand up against the forces oppressing them as the film goes on. General Gibson, played by Jeffrey Wright, and the motel manager, played by Steve Carell, are delightful in this as quirky individuals who have clear motivations, both of whom want to keep people there but fail to do so by the end. It's a great set of characters played by great actors.

SHOTS: Wes Anderson, y'all.

Complaints about his problems with casting certain actors aside, he's a visionary when it comes to the camera. His camerawork is often focused on changing the shot as little as possible and consistency of the camera in both placement and movement. Much of his art direction makes everything have a 2D look to it, which is fully intentional. It's colorful, yet drained out like the desert so often does. It's even got areas where it has cheesy 50's vibe to it, which seems to be the time period it's set in. Well done all around.

SOUND: About as good as normal.

I don't have a ton to say, it's mostly just good music that never stands out. If I went and focused in on it, I'd say that it just does its job. That's enough, I guess.

WRITING: Always kinda stilted, but clever.

Characters in Wes Anderson films have a stilted yet intriguing delivery of lines that are often overcomplicated and wordy. Yet, this comes off as charming most times thanks to the direction of Wes Anderson. Here, it's about his usual writing style. Characters are deadpan and rarely saying anything less than a sentence. It's charming as always, but definitely sets his films apart from other films. While some films rely heavily on showing you the stakes, this film tells it to you, but shows what that message means on screen through the actor's performance. This strangely works in its favor, delivering the plot to you through the script but allowing the direction to convey a message all its own. It's masterful and sets Wes apart in a sea of directors.

CONS: Small problem with this?

The background plot, the one that's supposedly the main one, is honestly far too boring. It's less funny, less insightful, and has less to say overall. This feels like a plot that was concocted to make the film more unique, which it certainly does. But, on a whole, the background plot feels half-baked.

LITTLE THINGS: Holy huge cast, Batman!

Jason Schartzmann, Scarlett Johansson, Edward Norton, Jeffrey Wright, Steve Carrell, Liev Schreiber, Willem Dafoe, Tom Hanks, Tilda Swinton, Adrien Brody, Bryan Cranston, Rupert Friend, Margot Robbie, and Jeff Goldblum (won't say where) all show up in this and it's insane to see actors of this pedigree bouncing against one another. It elevates the film seeing this level of talent all together. It certainly makes the experience unique and unforgettable.

VERDICT: An intriguing plot surrounded by a less interesting one.

A great plot kind of grinding to a halt by a middling one makes for an enjoyable experience still. It's shot well, has good music, and writing that works effectively for how much it has to convey topping great actors and direction. This is the type of film that is not made for most moviegoers, but is made for those who enjoy cinema and wish to see actors bouncing off of one another in a dry, witty satire of classic 50's tropes. It's certainly worth a watch, even if you think you know where it's going.

SCORE: 9/10, worth it in the end.