Wes Anderson tends to make movies that stick with audiences. Fans still enjoy the nostalgic coming-of-age romance of Moonrise Kingdom a decade later, the tragicomic family saga of The Royal Tenenbaums two decades later, and the bumbling crime caper of Bottle Rocket nearly three decades later.
Some of Anderson’s films, like his cult classic high school comedy Rushmore, are more rewatchable than others, like his recent hit-and-miss anthology movie The French Dispatch. A movie like The Grand Budapest Hotel, packed with details, never gets old.
The French Dispatch (2021)
It’s difficult to tell how rewatchable The French Dispatch will be, because it’s only a year old. Time will tell how many revisits it warrants, but it doesn’t look good. Anderson’s most recent film is an anthology movie, and like most anthology movies, it’s pretty hit-and-miss.
The French Dispatch is as visually stunning as any of Anderson’s other films – and all three of its main storylines are compelling enough – but it doesn’t have Anderson’s trademark emotional connection to the characters. Anderson finally made a film that adheres to his usual “style over substance” criticism.
Isle Of Dogs (2018)
Anderson’s second animated feature (and his first with an original story) is set in a dystopian near-future in which dogs have been cast out to an island full of garbage to avoid the spread of a disease they can carry.
Isle of Dogs is gorgeously animated and has some truly moving character work, but its dreary tone makes it a lot less entertaining than Anderson’s other movies.
The Darjeeling Limited (2007)
One of Anderson’s most polarizing films, The Darjeeling Limited, is less rewatchable than his more acclaimed works, because it attempts a tricky tonal tightrope walk. It has some of the director’s silliest comedy (like a snake getting loose on a train) juxtaposed with some of his most harrowing tragedies (like the death of a young boy).
Still, this movie offers a spot-on portrayal of the difficulties faced by estranged brothers trying to communicate with one another, for both comedic and dramatic effect.
Moonrise Kingdom (2012)
Watching Anderson’s coming-of-age romance Moonrise Kingdom is like watching a childhood fantasy play out. Sam and Suzy’s infectious love story can be revisited countless times.
The movie has plenty of scene-stealing supporting players to return to, like Bill Murray, Frances McDormand, Tilda Swinton, and an uncharacteristically understated Bruce Willis.
The Life Aquatic With Steve Zissou (2004)
The Life Aquatic received mixed reviews upon its initial release, but it’s been widely reappraised as a cult classic in the years since. Steve Zissou is the ultimate Bill Murray character, making use of the full range of his talents: deadpan comedy, oddball quirks, and a deep underlying sadness.
It’s easily one of Anderson’s most absurdist films, playing like a live-action cartoon bolstered with very real human emotions. The slapstick gags, eccentric characters, and dazzling visuals of The Life Aquatic can be enjoyed again and again.
Bottle Rocket (1996)
Anderson’s debut feature Bottle Rocket is his most grounded film. He didn’t yet have the money or resources to pull off his signature elaborate visuals. But it still holds up as one of the greatest comedies ever made.
Bottle Rocket is a crime caper about some regular guys planning a heist and hilariously bungling the execution. It might not have any intricate planimetric staging, but it does exemplify the quirky characters and ironic plot twists that would go on to define Anderson’s filmmaking voice.
Fantastic Mr. Fox (2009)
Anderson’s first foray into stop-motion animation – an adaptation of Roald Dahl’s Fantastic Mr. Fox – is fun for the whole family. Not a second is wasted. The movie has beautiful animation, emotionally engaging character arcs, and plenty of fun sight gags.
Nobody would’ve expected a kid-friendly cartoon about talking animals to make the grown-ups in the audience care about the inner workings of a marriage between two foxes.
Rushmore (1998)
Jason Schwartzman defined the comically unsympathetic Andersonian protagonist with his turn as precocious high schooler Max Fischer in the director’s sophomore feature, Rushmore.
Max is just as obnoxious and unusual as Napoleon Dynamite, but his story is packed with much more dramatic nuance. The 15-year-old playwright gets swept up into a complicated love triangle with a teacher he falls for and an industrialist who also falls for her.
The Grand Budapest Hotel (2014)
Anderson’s most visually interesting movie, The Grand Budapest Hotel, is a dazzling whirlwind of bright colors, changing aspect ratios, and hybrids of animation and live-action.
Ralph Fiennes anchors the movie with an endlessly watchable performance as the hypercamp concierge, M. Gustave, backed up by equally captivating supporting turns by such brilliant actors as F. Murray Abraham, Saoirse Ronan, Willem Dafoe, Jeff Goldblum, and Tony Revolori.
The Royal Tenenbaums (2001)
The most rewatchable Wes Anderson film is also widely praised as the quintessential Wes Anderson film. The Royal Tenenbaums features Anderson’s first sprawling, star-studded ensemble full of beloved A-listers playing three-dimensional characters.
From an estranged patriarch seeking redemption to adopted siblings falling in love with each other, The Royal Tenenbaums is jam-packed with memorable characters and scenes. It’s arguably the director’s most finely tuned blend of tragedy and comedy.