Bottle Rocket

I'm fairly cool on Anderson's later projects. But this one is pretty perfect.

I watched it with another film of this type and in a week with several others. Possibly the only way to make these things work is to find a new chink, a new layer between goofiness and endearing reality to invent. I say invent rather than depict because its all about where we place ourselves; if we can place ourselves new, that's usually enough to be effective, to connect.

A large part of why this works is because it works toward an end that fails. Many movies are not about what we experience but what we remember, and the deal with this one is that we are left with someone who topples from any workable awareness. It reinvents that place where we are balanced throughout the movie. Even knowing the later films, I never wondered that this would end badly because the tone follows such a well established path, that one I've noted elsewhere. As with "Legally Blond," there's a notion that earnestness will overcome inadequacies in all other life skills.

One of the political parties in the US has appropriated this, so in a way this can be considered as a political movie.

That last look is what this is all about, just as that first look of Jack Nicholson's in "One Flew Over the Cuckoo's Nest."

I came to this in part because of Owen's suicide attempt: it adds context that matters.

Ted's Evaluation -- 3 of 3: Worth watching.

The first and weakest of Wes Anderson's films, Bottle Rocket, is by no means a weak film. Co-written by then credited Owen C. Wilson, the screenplay is very intelligent and shows how the screen writing duo (Wes Anderson and Owen Wilson) has evolved. Starring the Wilson brothers, Owen and Luke Wilson, this small-budget comedy has what most large budget comedies lack, a perfect mix of drama and comedy. The film, about two friends that both were patients at a mental ward, portrays how innocent fun can sometimes hurt people. Rocket never becomes over-dramatic or slapstick in its comedy. It is clear that Anderson was experimenting with his style, and would not perfect it until his next film, Rushmore. The characters are clearly dysfunctional and like to take unnecessary risks at their own expense to make the script move along. This is not a fault in the script, but a blessing as this keeps the comedy and serious moments perfectly balanced. The cinematography is sometimes amateur with its unnecessary close-ups and wide angle panning. The soundtrack, done by Mark Mothersbaugh is excellent and just proves why he has worked an all of the subsequent films with Anderson. It seems Anderson and Wilson have an enormous talent when writing dialog for unusual, anomalous characters. This film is a testament to the fact that a good script, and a working knowledge of film work can create an original and enjoyable film.

In all honesty, the plot is awfully muddled I couldn't even figure out what it is about, and it keeps going off at a tangent frequently with all its twists and turns until it becomes almost entirely obfuscated by the end. But seeing whip pans, dolly-tracking shots, overheads of perfectly placed props and profile shots among others that would later become Wes Anderson's visual trademarks is oddly satisfying and special in its own way. Sure they seem half-ripe and lacking in the tantalizing aesthetic quality that define the look of Anderson's films, but they are all there and as effectively and perfectly employed as in the auteur's most acclaimed efforts. And the same can be said about the hodgepodge of evocative music choices. Madcap and slapstick moments are present as well. What truly piqued my attention, and gripped me throughout the hour-and-half runtime, are the warmth of friendship between the lead duo (played by Luke and Owen Wilson) and spirit of camaraderie between the three pals that, alongside the plotline revolving around Anthony's romance with a hotel chambermaid, give the movie a feel that's at once tender, free-wheeling and delightfully charming tending to make one think of John Hughes. Whilst the attempts at making a caper story with a light-hearted approach are worthy of appreciation, I think it's fair to say that it is the weakest link here. Still, Bottle Rocket is a small-scale joyride and a confident debut for one of the most idiosyncratic filmmakers working today.

While "Bottle Rocket" is certainly best categorised as comedy this might mislead those expecting the typical composition of one-liners, facetious mocking and exaggerated situational comic of mainstream Hollywood productions.

Instead the humour derives from the quirky, yet lovable characters, their perspective on life and approach in dealing with the challenges of society.

The quiet matter-of-fact absurdity present throughout the film will evoke a constant smile rather than burst-out-laughter. This is typical of all Wilson/Anderson collaborations (Rushmore, The Royal Tenebaums) where strong characterisation enables the viewer to develop understanding and affection for the protagonists as the story slowly unravels. In "Bottle Rocket" this is supported by strong performances, especially that of Owen Wilson, who proves his actor potential in an atypical role.

Though not flawless, (there is a lack of narrative urgency at times), this movie leaves the viewer ultimately entertained and charmed.

In the off-the-wall comedy "Bottle Rocket", Owen Wilson makes a scintillating debut as the creative force behind this tale of one man's struggle to realize his dream of becoming a crook in spite of his many shortcomings: sensitivity, compassion, empathy, and just plain niceness. Luke Wilson plays straight man to real life brother Owen in this camp, light-hearted, and easy to watch little film about the "gang who couldn't think straight". A fun watch for just about anyone into droll humorous subtleties.