Every Wes Anderson Film, Ranked

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2018 marked the initial release of this captivating list, yet following Wes Anderson‘s cinematic journey has been a constant delight for me. Since then, I’ve made sure to keep up with his artistic sojourns, which now include the enchanting landscapes of France, the fictional city of Asteroid City, and most recently, the mesmerizing backdrop of Phoenicia.

Ranking Wes Anderson’s films can be likened to a futile effort, given that he is a director who appeals deeply to other filmmakers (an auteur’s auteur), with a distinct style that draws strong reactions – either wholehearted acceptance or rejection. He doesn’t dabble in failed experiments, studio projects, or lesser-known works; instead, his body of work remains cohesive and true to his unique voice. Despite the fluctuations in his commercial success, there’s no indication that he has ever attempted to conform to popular trends or cater to the marketplace – or even knows how, if he were inclined to do so.

In a straightforward and conversational manner: His first significant work, “Bottle Rocket“, serves as a roadmap for his future projects, but what truly sets him apart is the meticulous thought and care put into each moment of his films. This diligence and attention to detail made stop-motion animation an ideal choice for both “Fantastic Mr. Fox” and “Isle of Dogs“. Mistakes are scarcely ever present in his work, giving every film a polished, intended feel that is not typically found in most directorial careers due to their more unpredictable nature.

As a cinephile, I firmly believe that Wes Anderson has never missed the mark in his 12-film career so far. The distinctions among these movies are subtle rather than vast differences in quality. On any given day, the top seven films could shuffle slightly and still feel spot-on. However, Anderson’s masterpieces harbor a rich emotional and thematic depth that often unfolds gradually over multiple viewings, revealing hidden meanings and significance in seemingly minor details or production design elements that initially went unnoticed. The ranking below reflects my current perspective; tomorrow it might change, and in ten years, it could be completely reversed. Here’s where I stand today:

1. The Grand Budapest Hotel – A visual and narrative tour de force that combines comedy, drama, and adventure in a way only Anderson can achieve.
2. The Royal Tenenbaums – A complex family saga filled with quirky characters, witty dialogue, and poignant moments of introspection and growth.
3. Moonrise Kingdom – A heartwarming tale of young love that showcases Anderson’s knack for crafting idyllic settings and unforgettable characters.
4. The Life Aquatic with Steve Zissou – An inventive and visually stunning ocean adventure that explores themes of loss, identity, and redemption.
5. Rushmore – A coming-of-age story about a troubled teen’s quest for friendship, love, and self-discovery in an eccentric world.
6. Fantastic Mr. Fox – An animated delight that blends whimsy, action, and emotional depth in a unique and captivating way.
7. Isle of Dogs – A stop-motion marvel that combines humor, adventure, and philosophical musings on the nature of humanity and loyalty.
8. The Darjeeling Limited – An introspective journey through India as three brothers reconnect and confront their past.
9. The Hotel Chevalier – A prequel short film that sets the stage for the emotional tumult of The Darjeeling Limited.
10. Bottle Rocket – Anderson’s debut feature, a charming tale of friendship, ambition, and the pursuit of the American dream.

12.
The Phoenician Scheme (2025)

https://youtube.com/watch?v=watch?v=GEuMnPl2WI4

In the shoes of the notorious arms dealer and industrialist, Zsa-Zsa Korda – a character with a reputation for international underhanded dealings that has led to numerous assassination attempts – Benecio del Toro offers a performance reminiscent of Gene Hackman’s portrayal in “The Royal Tenenbaums,” another aged rogue yearning for a scrap of redemption before his time runs out. The film, titled “The Phoenician Scheme,” mirrors this narrative with a frenetic period piece filled to the brim with A-list stars and striking set pieces, echoing the style of “The Grand Budapest Hotel.” However, unlike its predecessors, “The Phoenician Scheme” falls short in terms of emotional depth and overall joy. Yet, it still offers numerous delights, such as Mia Threapleton’s sharp-witted portrayal as Zsa-Zsa’s estranged daughter, a quirky Michael Cera as a Norwegian entomologist, and a stunning depiction of a fictitious yet evocative Middle East. The glimpses into Zsa-Zsa’s visions of the afterlife hint at a new direction for Anderson, who now seems ready to explore themes of mortality and the importance of settling one’s affairs.

11.
The Darjeeling Limited (2007)

To a degree, the film “The Darjeeling Limited” can be seen as an extravagant form of spiritual travel, not much different from films like “Eat Pray Love” or numerous others featuring affluent white Americans using foreign landscapes for their personal self-discovery. There’s a strange contrast between the raw sensuality of India and the meticulous, almost sterile quality of a Wes Anderson production that often focuses on minor details, such as the harmonious blend of sweet lime and savory snacks. The locals are portrayed as mere stepping stones for emotional development in this narrative. However, Anderson, influenced by the vibrant exoticism of Jean Renoir’s “The River“, recognizes that he and his characters – three brothers (Owen Wilson, Adrien Brody, and Jason Schwartzman) dealing with grief and personal issues – are outsiders in India. They learn to leverage their foreign status as an asset rather than a liability in “The Darjeeling Limited“. This film serves as a cautionary tale about these men embarking on a journey with heavy emotional baggage, showing how India ultimately humbles them before any healing can occur. It’s a significant transformation for the characters – and for Anderson himself – to reach the point where they can say, “Fuck the itinerary,” and they mean it sincerely.

10.
Bottle Rocket (1996)

Anderson’s first movie, “Bottle Rocket”, was a rough sketch by his own standards but set the tone for his future works with vibrant colors, well-structured scenes, quirky animations, romantic overtures, and a tense friendship between outcasts. There’s an undercurrent of sadness that adds depth. The film introduced Owen Wilson as Dignan, a naive dreamer who schemes small crimes like robbing his friend’s house and a late-night heist at a bookstore. He also embarks on a run from the law with his despondent buddy Anthony (Luke Wilson) and a getaway driver (Robert Musgrave), who only qualifies because he owns a car. The crime story in “Bottle Rocket” is funny because it’s low-risk and insignificant, but the movie offers genuine insights into the feelings of young people struggling to find their place. Unlike his later films which are more focused, “Bottle Rocket” allows for a lovely deviation, such as Dignan and Anthony staying at a motel where Anthony forms a silent connection with a Spanish-speaking maid.

9.
The French Dispatch (2021)

a love story between a mentally unstable artist (Benicio Del Toro) and his guard (Léa Seydoux), a student revolution inspired by May 1968 (Timothée Chalamet), and a chef profile that transforms into an exciting crime tale.

At first glance, the movie might seem too packed with details and star-studded cast to digest easily, but a second viewing makes it all come together like a well-prepared soufflé.

8.
Isle of Dogs (2018)

As a passionate movie enthusiast, I must admit that Anderson’s venture into stop-motion animation with “Isle of Dogs” is his most intriguingly engaging and inviting work – an unusual statement given the film’s ominous undertones revolving around authoritarianism, internment, and extermination. Set in a dystopian future Japan, a stern demagogue battles a “canine flu” crisis by isolating the nation’s dogs on a rubbish island, where they band together and subsist on decaying food. The narrative shares striking similarities with Kon Ichikawa’s harrowing anti-war classic, “Fires on the Plain“, in which Japanese soldiers suffer from starvation during the Philippines island of Leyte’s twilight days of World War II. Anderson indeed delves into political repression and the potency of resistance. Yet, this tough pill is sweetened with a generous helping of doggy charm: an ensemble voice cast featuring Anderson’s regular players, alongside fresh faces like Greta Gerwig, Courtney B. Vance, and Yoko Ono; a barrage of canine humor and antics; and exquisitely designed figurines and backdrops that beautifully capture Japan in miniature dollhouse form. It is only later that “Isle of Dogs” unveils itself as a more complex and troubled film than its delightful surface appeal might imply.

7.
Asteroid City (2023)

As Wes Anderson’s cinematic journey unfolds, his stories, characters, and narrative structures have grown increasingly complex, making his filmography resemble the progressive difficulty of a New York Times crossword puzzle, with “Bottle Rocket” and “Rushmore” serving as the relatively simple Monday and Tuesday puzzles, while the others grow harder each day. The film “Asteroid City” is unique in that it is set within a play on television and behind-the-scenes footage, and its mid-1950s Southwestern town setting conjures up both the enigmatic allure of outer space and the tender, bittersweet relationships found in films like “Moonrise Kingdom” and “The Royal Tenenbaums”. With a cast list so extensive that it must have paused Hollywood production for a month, “Asteroid City” adds a distinctive tension to its personal dramas by exploring the wonders and apprehensions of postwar America. The extraterrestrial experiences in Anderson’s world extend beyond mere encounters with beings from the stars.

6.
The Life Aquatic With Steve Zissou (2004)

Spending $50 million in filmmaking funds, Anderson rechannels his love for Jacques Cousteau’s underwater expeditions into a production brimming with detail, much like the compact submarine transporting his cast to the ocean floor. After the success of The Royal Tenenbaums, The Life Aquatic appears noticeably imbalanced, but the multitude of charming ideas more than compensates for it. This includes a boat with idiosyncrasies such as a sauna staffed by a masseuse, a film-development and editing suite, two supposedly intelligent dolphins swimming below deck; stop-motion sea creatures; a Brazilian guitarist, Seu Jorge, performing David Bowie songs in Portuguese; amusing side characters like the unpaid interns from the University of North Alaska and the “bond company stooge” onboard to keep costs under control; encounters with a rival crew, financed by Jeff Goldblum, and a group of inept pirates. Anderson may not fully resolve every plot point, but the climactic scene, where Bill Murray’s Zissou confronts the “jaguar shark” that took his friend’s life, might be the most beautiful sequence he’s ever directed.

5.
Moonrise Kingdom (2012)

https://youtube.com/watch?v=watch?v=7N8wkVA4_8s

As a cinephile, I’d express my appreciation for Wes Anderson’s film “Moonrise Kingdom” this way: This movie beautifully captures the raw intensity of young love, a feeling so vivid it seems to leap off the pages of those enchanting YA fantasies with their intricate cover art and hidden map treasures. Set on the secluded East Coast island of New Penzance, where time stands still and can only be reached by ferry, the story unfolds in a unique Anderson-ian world.

The film follows Sam (played by Jared Gilman), an orphaned misfit, and Suzy (Kara Hayward), a refined girl who embodies the spirit of a French New Wave heroine. Despite their differences, they find solace in each other when they escape from scout camp and home respectively, setting up a dreamy hideaway by the sea.

The adults in New Penzance, such as Suzy’s parents portrayed by Bill Murray and Frances McDormand, or Sam’s troop master played by Edward Norton, carry the weight of life’s disappointments and failures. However, Anderson brilliantly juxtaposes the innocence of their love against the turmoil of the adults, creating a bittersweet symphony of youthful romance and adult disenchantment. In this magical island, young love and mature disillusionment not only coexist, but intertwine to birth something entirely new.

4.
Fantastic Mr. Fox (2009)

In a unique interpretation, Anderson’s sole adaptation so far is based on Roald Dahl’s children’s book, incorporating elements from “The Champion of the World” and personal aspects of the author’s life. The styles blend so harmoniously that it feels like witnessing Anderson tracing his creative roots. Notably, “Fantastic Mr. Fox” was Anderson’s debut in stop-motion animation, a medium that seems tailor-made for his intricate, handcrafted approach, as opposed to live action. Although not strictly a children’s film, it maintains the charm of classic Rankin-Bass productions. Despite seeming an unlikely commentator on the Herzogian theme of civilization and human nature, Mr. Fox (portrayed by George Clooney) exhibits impulsive behavior similar to Anderson’s characters like Dignan, Max Fischer from “Rushmore,” and Steve Zissou from “The Life Aquatic.” The primary distinction lies in the fact that Anderson likely indulges in a more refined squab dish.

3.
The Grand Budapest Hotel (2014)

Situated atop a mountain in the imaginary Eastern European nation of Zubrowka, the iconic Grand Budapest Hotel symbolizes flawless hospitality and aesthetics – a tribute, if you will, constructed by Anderson himself with an understated pride. In its dilapidated state during the late ’60s, it mirrors the decay of the Tenenbaum residence, yet Anderson skillfully transports us back to a time before World War II and communism eroded its grandeur. Ralph Fiennes’ character, the concierge, serves as Anderson’s alter ego in the film, meticulously managing every hotel detail while going to great lengths to cater to guests, even those in their eighties. The Grand Budapest Hotel isn’t just a fantastic movie about directing, but also about storytelling itself. It intricately intertwines multiple timelines with a cross-continental adventure, the looming threat of World War II, and side trips into the hidden world of concierges, as well as a stop-motion chase through an abandoned Winter Olympics site. Unlike The Life Aquatic, which struggled to manage such a complex narrative, Anderson masterfully navigates it all with remarkable finesse, much like Fiennes’ character, Monsieur Gustave.

2.
The Royal Tenenbaums (2001)

https://youtube.com/watch?v=watch?v=caMgokYWboU

The intriguing aspect of the title isn’t just the beginning; we anticipate a movie portraying the aristocracy of New York City, had the Three Tenenbaum siblings (Gwyneth Paltrow, Ben Stiller, Luke Wilson) not reached their peak early and fallen apart. Instead, this film focuses on the family of Royal Tenenbaum (Gene Hackman), the aged patriarch who deserted them long ago, leaving a house that appears like an untouched museum of past achievements. One of the film’s many strengths is its demonstration of Wes Anderson’s stylistic and linguistic efficiency: It contains numerous characters and subplots sufficient for a movie twice its length or more — the IMDb plot summary is nine paragraphs and 928 words long — yet all the emotions are encapsulated in brief lines or moments outside of time. (Repeated viewings are beneficial for all of Anderson’s films, but they’re crucial here.) His talent to write for an ensemble breathes life into the family, making them an indelible entity pulsating with sadness, regret, and a final, determined resilience. Although the Tenenbaum name may symbolize failure, the film ultimately serves as a heartwarming tribute to family and their ability to cope with life’s inevitable setbacks.

1.
Rushmore (1998)

Two years following “Bottle Rocket”, Wes Anderson crafted one of the outstanding coming-of-age comedies, drawing significant inspiration from “The Graduate”. Unlike its narrative of post-collegiate ennui, this film centers on its antithesis: a 15-year-old (Jason Schwartzman) brimming with self-assurance and ideas, yet ripe for growth and maturity. Titled “Rushmore”, the movie showcases Max Fischer’s precocious nature – his staging of gritty films such as “Serpico”, his participation in numerous extracurricular activities, and his pursuit of a teacher (Olivia Williams) who is twice his age. Anderson portrays Max as both gifted and flawed, revealing his arrogance and narcissism, as well as his shame over being a financially disadvantaged student at an elite private school. Bill Murray’s performance as Herman Blume, a wealthy industrialist shrouded in melancholy, marked another significant milestone in his career, unleashing deep reserves of sorrow and introspection that he had not previously explored. Every second in the 93-minute duration of “Rushmore” seems meticulously planned and personal, reflecting the perspective of a Max Fischer type who, looking back on adolescence, does so with the empathy and understanding he lacked at the time.

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2025-06-07 17:56