Asteroid City Review by Marc Primo

Max Fischer, the conceited yet troubled co-protagonist of director Wes Anderson's 1998 film "Rushmore," boasted about writing a smash hit play. Despite his academic struggles, Fischer used his adolescence as a shield, avoiding confronting the emotional void left by his mother's loss.

Wes Anderson's films are famous for their stylized nature. Critics worry that this focus on style sacrifices emotional authenticity. "Rushmore," released three decades ago, is seen as Anderson's most successful achievement in balancing visual design and genuine poignancy. Appreciating Anderson's aesthetic is subjective, and personally, I've always connected with the meticulous precision of his frames. In my opinion, "Asteroid City," his latest collaboration with cinematographer Robert Yeoman, surpasses their previous works in beauty and emotional impact. It's like a breathtaking butterfly landing on one's heart, unexpectedly tightening its grip.

In the captivating world of "Asteroid City," a prominent character emerges - Conrad Earp, a fictional playwright portrayed by the talented Edward Norton. Known for his masterpieces, Conrad has penned not just one, but multiple hit plays that have left audiences in awe.

The film opens in a black-and-white style reminiscent of a 1955 TV documentary in the United States. Prior to watching, I pondered whether there would be a voice-over. The answer? Both yes and no. Narrated by the talented Bryan Cranston, the faux documentary recounts the tale of "Asteroid City," a creation by Carter Earp. Anderson and his team present it in breathtaking color and widescreen format, infused with cinematic elegance.

Anderson's latest film is a masterpiece, seamlessly weaving multiple narratives in a captivating way. The story unfolds at a remote Western meteor crash site, resembling a Space Camp-like experience. The setting is stunning - vibrant orange desert and cloudless blue sky, like enjoying a Creamsicle on a sunny day. Every detail, from the diner front to the vending machine displays, is purposefully crafted.

Set in a charming town, Space Camp unites a group of gifted teens with futuristic inventions. However, their creations, like a disintegration ray, face theft by the seemingly benign U.S. government, led by General Gibson (Jeffrey Wright). Amidst this, the brilliant youngsters navigate personal dramas.

Woodrow, aka "Brainiac," is the eldest son of late war photographer Augie Steenback (Jason Schwartzman). Unaware of their mother's recent passing, Woodrow connects with Dinah, another aspiring "Junior Stargazer." Dinah is the daughter of movie star Midge Campbell (Scarlett Johansson), whose dedication to her craft is matched by an underlying melancholy.

The other Stargazers face their own struggles. Ricky Cho is skeptical of authority, while Clifford Kellogg craves challenges and reckless stunts. Anderson effortlessly weaves these characters into a captivating, non-stop narrative, keeping the movie buzzing for its 105-minute duration.

In the Asteroid City portion of the film, Augie, his father-in-law Stanley (Tom Hanks), and the Steenback children, among others, navigate through the depths of grief. However, their emotional journey is interrupted not once, but twice, by the appearance of an alien spacecraft. This newfound awareness of intelligent life elsewhere in the universe doesn't provide solutions to their problems; instead, it compels them to remain in the desert for at least another week. As Augie and Midge gaze at each other through the cabin windows, they exchange thoughts, ultimately realizing that they are both deeply wounded individuals who choose not to reveal the extent of their pain.

Johansson is captivating with a mix of mystery and directness, while Schwartzman’s performance is eye-opening. The actor, known for his role as Max Fischer and frequent collaborations with Anderson, showcases a newfound maturity. Instead of playing a stunted adolescent, he portrays a vulnerable man. His role, playing both Augie and the actor playing Augie, adds complexity to his performance and enhances the pleasure of watching him.

The film brims with action, celebrating creation, performance, and the boundless human imagination in search of cosmic magnificence. Amidst this spectacle, everything converges on a seemingly mundane yet all-encompassing question: "What is the meaning of life?" Though not always expressed explicitly, the characters convey this inquiry through a plaintive statement: "I don't grasp the essence of the play." And the lingering, poignant question: "Am I doing it justice?"

"Asteroid City" presents a stunning collection of individuals in diverse roles, embodying both art and life, all striving for perfection. It is a unique creation that, at its core, pays tribute to the timeless classics—I discerned hints of "Our Town" and "Citizen Kane" and such throughout. However, as the narrative unfolded, the distinct voice of a different maestro resonated. When recommending this film to an old friend, I likened it to Jean Renoir's "The Golden Coach," a remarkable exploration of life as a performance and performance as life. Yes, it is truly exceptional.