My most reactionary opinion of the year is that The French Dispatch is a delightful confection. If you accept that it's not a movie about the New York but rather about the idea of the New Yorker (or the mythos of The New Yorker) much of the animus against the movie becomes moot
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Of course artists have the right to play with history, turn it into farce, etc. But Anderson wants to have it both ways: to have history as cartoon but also gesture or invoke some of the intense emotions of historical pain. Doesn't quite work.
End of conversation
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