Tête brûlée

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.

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.

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.

In anything. But man was he great in this movie. I mean it was such a good performance. This movie is director Wes Anderson's (Rushmore, The Royal Tenenbaums, The Life Aquatic) feature directorial debut. It's about a group of misfit friends that decide to take up a life of crime. The group includes Anthony (Luke Wilson) just got out of the nut house and is searching for himself. Dignan (Owen Wilson, co-wrote the movie with Anderson) is the confident but bumbling ringleader who wants to be notorious but doesn't know how to execute a plan to save his life. And Bob (Robert Musgrave) the driver/look out who just wants a little recognition. The movie follows their misadventures of them robbing a bookstore, going on the lamb, Anthony falling in love with a Motel maid who instills joy back in his life, and Dignan's 'big score' that involves his former employer. The subtle humor and deliveries by the actors make the movie stand out in it's own little version comedy. The characters are losers, but lovable. You can't help but cheer them on even though what they do is illegal. I highly recommend this cool little film. It's an excellent introduction into the wonderful films of Wes Anderson.

RATING: **** out of ****

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.