By Stephanie Zacharek
By Alan Scherstuhl
By Alan Scherstuhl
By Charles Taylor
By Melissa Anderson
By Inkoo Kang
By Amy Nicholson
By Sam Weisberg
A Jacques Cousteau quote, handwritten in a library book (Diving for Sunken Treasure), leads Max Fischer to Miss Cross in Wes Anderson's Rushmore. (When Max first sees her, she's reading from another seaworthy adventure, Robert Louis Stevenson's Kidnapped.) Anderson's films usually glisten with details that hint, iceberg-like, at concealed depths, so it's odd that his latest, The Life Aquatic With Steve Zissou, literally takes to the sea yet feels a bit shallow by comparison. The impressive cutaway set of the Belafonte might be a revealing metaphor for the curiously landlocked atmosphere: His lavish artifice, usually so pleasurable, dissolves when the governing element is water.
The fluidly animated but too glossy sea creatures clash with TLA's visual tone, but suggest this season's more satisfying undersea vehicle for whimsy, invention, even male bonding: The SpongeBob SquarePants Movie. Bikini Bottom and environs strike the right hermetic note, with weird color chords, foods, folkways. As in Anderson's films, uniforms are importantSpongeBob's self-referencing trousers, Patrick's tighty-greenies. And when the mediums mixthere are interludes of dry-land live actionthe results range from daftly meta (the whole movie is being watched by pirates) to kind of terrifying (the workshop of the "Cyclops," taxidermist of the life aquatic, exudes death simply by its absence of water). If TLA sketches out some of the perils of manhoodSteve Zissou (Bill Murray) and long-lost son (Owen Wilson) find, punch, and lose each otherSpongeBob delves at least as deep, as sponge and starfish learn what it might mean to be, well, slightly more mature sponge and starfish.
Next week: I explain why I prefer Sky Captain and the World of Tomorrow to The Aviator.
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