Wes Anderson’s Movies Ranked From Worst to Best

Picture this as the opening scene of a Wes Anderson film. The soothing voiceover guides us through a series of stunning visuals, swiftly edited. Now observe Anderson: a mature visionary, elegantly dressed, residing in Paris, with a touch of silver gracing his youthful face after 50 years. He has recently unveiled his 12th masterpiece, entitled The Phoenician Scheme. Transition the screen ratio to a monochrome flashback. The narrative then shifts to Texas, three decades past: Glasses-clad Anderson ascends through the ranks of promising Sundance auteurs. He weaves cinematic landscapes adorned with cultural references: heartfelt prep-school comedy, snow-kissed Manhattan, a whimsical yellow submarine, a wistful blue train.

Supporters of Anderson praise him as a literary film enthusiast, a witty comedian with an extensive historical understanding, and a cinematographer who can’t create a dull shot. His characters are associated with the generation of hipster Halloween costumes. His diverse soundtracks serve as mixtapes for emo-intellectual romantics everywhere. The music in our story transitions from the cheerful bells of Mark Mothersbaugh to Alexandre Desplat’s rhythmic waltzes. Critics question his metafictional dollhouses filled with blank, deadpan expressions. Anyone with a political inclination finds something to criticize – and then he creates his own Japan. Anderson experiences rapid success, followed by a slight decline, and then rebounds to even greater heights. He also ventures into animation, achieves a mid-career success with a story about a pansexual concierge battling fascism using cakes, eventually winning an Oscar in 2024. Big names join his casts. His style influences a wide range of subcultures, including works like Napoleon Dynamite, Garden State, Juno, the Paddington trilogy, and any intentionally synthetic landscapes such as The LEGO Movie and Barbie.

To start off, let’s explore a hypothesis. Every person has a favorite Wes Anderson movie that illuminates their younger years, another that disappointingly shatters their innocence, and finally, one that brings back hope after disappointment. (The films that fit each category may vary among individuals.) This pattern mirrors the familiar journey from optimism to disillusionment, and then to a mature understanding. To end this introduction, here’s your hint: play The Kinks, acoustic Portuguese Bowie, Bobby Fuller Four, or perhaps a touch of Stravinsky. Slow down the tempo. Let the curtains fall. The stagehands prepare for the next act.

12. Asteroid City (2023)

As a gamer immersed in the world of this unique play, I find myself in a desert convention filled with young astronomers, their families, and an extraterrestrial character. However, it turns out that we’re not real people, but fictional characters in a dramatic production written by a renowned playwright. But

This production, titled ‘Asteroid,’ is a blend of small-town B-movie paranoia and midcentury Broadway melodrama, a fascinating collision that reflects the genius of its creator, who always pushes the boundaries of reality in his works. The intricate reality-bending, the sudden shifts between humor and sadness, and the frequent dramatic soliloquies make it challenging for actors to find their footing amidst the narrative. Their performances become more like poses, and the costumes seem to define the people wearing them.

Some viewers praise ‘Asteroid’ as a powerful commentary on art and its creation. Yet, I can’t help but feel a sense of sadness when this production takes the raw, energetic Broadway style of Tennessee Williams and Elia Kazan and transforms it into the stylized, artificial world of the Max Fischer players.

11. The Life Aquatic With Steve Zissou (2004)

I can’t deny that ‘The Royal Tenenbaums’ is a favorite on my list, and I must admit I haven’t quite gotten over the significant letdown of its follow-up, which was Anderson’s first movie to disappoint viewers. Bill Murray portrays an underwater documentary maker who seems more like Bill Murray in a humorous hat than a globe-trotting explorer-scientist. His quest for revenge involves being rude on his private island and aboard his impressive yacht. There are pirates, stop-motion creatures, Seu Jorge singing Ziggy Stardust, making it an intriguing collection of trinkets! However, the film is overly self-important, particularly in its portrayal of a problematic (yet lovable) director and his devoted team. Only Owen Wilson leaves a lasting impression as the young man who could be Steve’s son. This was Anderson’s first script that Wilson didn’t co-write, but his subdued performance still adds a human touch to the Mediterranean escapades.

10.5. “My Life, My Card” (2006)

As a talented filmmaker who recently experienced your first box-office failure, you’re now working on your next project. It’s time to gather some promotional funds. The ad campaign is being handled by Anderson, who delivers more than expected in a sellout gig. In this two-minute commercial, Anderson plays himself while a camera does an impressive sweeping shot across a film set. It’s likely that more people saw this advertisement than any of Anderson’s works between 2001 and 2012. The ad played a significant role in establishing his unique directorial style and making him a recognizable figure in the industry. However, it also unintentionally pigeonholed his public image: the ascot, the grand estate, and the impression that his artistic genius was already too commercial to sell credit cards.

10. The Phoenician Scheme (2025)

Twenty years after the events of “Aquatic”, another solitary genius embarks on a perilous journey, seeking out his potential offspring who he lost touch with long ago. Benicio Del Toro portrays Zsa-Zsa Korda, a wealthy individual without a nationality, who navigates air crashes and constant assassination attempts as he prepares to construct (and exploit) the frequently colonized nation of Phoenicia. Indeed, we find ourselves in Wes Anderson’s interpretation of the Middle East. This film offers a fresh, tense atmosphere, with Desplat’s pulsating cello music, Del Toro’s booming presence, and the decision to kick off the story with an explosion that leaves a gruesome aftermath, setting the stage for a gripping thriller.

In Anderson’s work, there’s a recurring theme of distant and egoistic father figures, which he portrays with a questionable sense of redemption. This is set against the backdrop of his personal history as a child of divorce. The character Zsa-Zsa exhibits spy-like traits that transition into an underwhelming moral reflection. There are scenes suggesting Bill Murray as a deity in the afterlife, and a sudden realization about the wrongness of slavery. Zsa-Zsa’s virtuous daughter serves as a contrast to his ruthless capitalism, but Mia Threapleton fails to match the intensity of Del Toro’s performance. Scarlett Johansson adopts another accent, Benedict Cumberbatch sports another questionable beard, and despite liking Michael Cera’s dual role, I believe no Wes Anderson character should ever self-identify as a “bohemian.

9.2 – 9.8. The Life of Henry Sugar and Three More (2023)

This Roald Dahl compilation, initially divided into four parts and released daily by Netflix, was later combined into a 90-minute single entity after the longest segment won an Academy Award for best live-action short film. The different stories are connected by interstitials featuring Ralph Fiennes portraying Dahl, similar to the framing device used in Wes Anderson’s anthology film “The French Dispatch.” Although I find “Henry Sugar” annoying due to its overt staginess and excessive monologuing, I believe that “Poison,” “The Rat Catcher,” and “The Swan” are excellent, good, and exceptionally great, respectively. I would classify this Peak Streaming curiosity as being in the “gaudy mess” phase of my list.

9. The Darjeeling Limited (2007)

The term “Too meta” is often seen as a dull criticism levied by Anderson critics. A more spirited critique exposes him as a somewhat colonial-leaning aristocrat, more regressive than retro, transforming himself into a Eurotrash figure of the coastal elite. Any detractor with a grudge found ample material in this lackluster portrayal of a rail journey across India by three New York brothers on an extended trip. These men are literal brothers and literal white saviors who rescue nameless locals, adding fuel to their emotional odyssey. Jason Schwartzman, in a script co-written by himself, plays a sophisticated writer grappling with woman problems, delicately engaging in a romance with a flight attendant. This film is the Offensive One, and I have spent my entire adult life hating it. However, time has softened the appeal of Darjeeling. Owen Wilson’s character is particularly poignant given his own suicide attempt after filming. Adrien Brody makes for an ideal everyman. Schwartzman does manage to come off as somewhat cool, despite my initial reservations. The last Anderson film set in the present wanders through real locations, while his faster-paced later work retreats to grand historical soundstages. One might question whether he was romanticizing India. Reflecting on my own foolish nostalgia, I can’t help but wonder if the world was better when aimless white American men without social media accounts merely yearned to smoke cigarettes in distant lands with exotic women.

8. Isle of Dogs (2018)

As a passionate gamer, I’d rephrase it like this: In a city ruled by a cat-obsessed mayor, every dog found itself exiled to an island brimming with discarded junk, decaying infrastructure, and the remnants of calamities past – earthquakes, tsunamis, volcanic eruptions. The Isle of Dogs is the setting for an action-packed adventure, where a solitary boy and five brave canines team up on a daring rescue mission. It’s also a hauntingly beautiful depiction of urban decay, serving as a stark contrast to the director’s previous pristine works. The gritty edges and intense violence make it a far cry from the tranquil ambiance of his other animations. Compared to the warm, golden hues of his earlier work, Isle of Dogs feels like a darker, more modern tale or an eccentric, almost surreal exploration into strange territories. The film sparked controversy over cultural appropriation, with American voices given to the dogs, human characters hinting at Yellow Peril stereotypes, and Greta Gerwig portraying an Ohioan who constantly corrects Japanese people. Personal opinions may differ, but I find Isle of Dogs to be a visually stunning masterpiece, perfect for those who appreciate darker, postmodern fairy tales.

7. The French Dispatch (2021)

In the 2020s, Anderson’s stories have taken on an episodic format. Some wonder if the elaborate production design he continually refines exhausts his energy for effective storytelling, or if he is becoming lost in the opulence of his own creation. The latest film, Dispatch, is a clear homage to escapism, marketed as the final issue of an expat magazine from Ennui-sur-Blasé, France. The narrative shifts between avant-garde art and rebellious youth, a lighthearted police drama, and Timothée Chalamet portrays a character that is both absurd and revolutionary, reminiscent of a French New Wave Che Guevara. Jeffrey Wright delivers a stunning performance as a writer akin to James Baldwin, and his recent addition to the cast has been highly praised. The premise – what if The New Yorker was from Paris? – borders on intellectual self-parody. However, consider this film as Anderson’s version of Kill Bill, a playground for the director’s personal obsessions (even featuring a cartoon sequence!).

6. Bottle Rocket (1996)

Among my group of disgruntled elderly film enthusiasts, it’s commonly believed that Owen Wilson is the key element missing from Anderson’s work over the past few decades. As close friends and co-writers, Wilson’s casual wit beautifully complemented Anderson’s extravagant visual style. Together, they penned this caper comedy where Wilson plays Anderson’s first typical foolish dreamer. Dignan outlines elaborate 50-year plans but struggles with everyday jobs. Alongside his loyal friend Anthony (played by Luke Wilson), he concocts a ridiculous bookstore robbery plan. While on the run to a motel, they encounter a maid named Inez (Lumi Cavazos). This small roadside inn serves as the first complete Anderson-designed location, filled with vibrant walls and a glowing swimming pool that sets the stage for an immediate romantic connection. The script is riotously funny, filled with sharp humor (“They’ll never catch me, man, ’cause I’m fucking innocent!”), unforgettable characters, and none more so than James Caan as a supposed criminal mastermind who embodies all of Anderson’s eccentric father figures, from majestic to goofy. Despite its humble beginnings, Rocket remains fresh and invigorating even three decades later, brimming with youthful enthusiasm.

5. The Grand Budapest Hotel (2014)

In the picturesque town of Zubrowka, nestled among the Alps and adorned with a pink castle-like resort, lies the central setting of the film, titled Budapest. In 1932, the young refugee Zero (Tony Revolori) becomes enchanted by the concierge Gustave H. (Ralph Fiennes). A series of events ensnares them in a complex web of murder and art theft. The storyline includes elements such as prison breaks, ski jumps, cable cars, and a descent into fascism. Budapest represents Wes Anderson’s largest success and his only Best Picture Oscar nomination to date, boasting a grandeur that masks its deeply personal touch. Fiennes shines in his portrayal of an aristocratic snob with an arrogant demeanor and subtle self-awareness. Gustave may not have been born into wealth but he skillfully imitates the manners of the upper class for their benefit (who, it seems, lack taste). As one character observes, “Gustave’s world had vanished long before he ever entered it, but I will say, he certainly sustained the illusion with a marvelous grace.” This description resonates with Anderson’s own nostalgic outlook. Budapest is Anderson’s magnum opus, despite the fact that some might find the skiing sequences unconvincing. Few epics have ever been as lively – thank you, Wes, for constantly aiming for 90-minute runtimes! – with a framing device adding poignant historical significance.

4.5. Hotel Chevalier (2007)

Actors often return to work with filmmaker Wes Anderson, and it appears to be an enjoyable experience due to the stylish attire, grand sets, and eccentric character portrayals. However, each movie on this list includes at least one actor who hasn’t worked with Anderson again. Interestingly, these characters tend to inject a sense of unpredictability, hinting at realities beyond the meticulously crafted scenes.

In the prologue for Darjeeling, available as a free download from the iTunes Store, Jason Schwartzman plays an American in a lavish Paris hotel room. Later, Natalie Portman enters the scene. They have a history together, and she is playful, hurt, alluring, sad, anxious, confident enough to make the first move, yet scared that this could be their last night together. This short film, titled Chevalier, has a more seductive and enigmatic feel than the feature it previews, where Portman only has a minor role. Moreover, it includes one of Anderson’s most significant musical choices, Peter Sarstedt’s “Where Do You Go To (My Lovely)?” which Schwartzman plays on his iPod as he opens the door for Portman. If you find the Wes Anderson aesthetic overly sentimental or too much in general, then you might appreciate how her puzzled response (“What’s this music?”) brings a touch of reality to his self-aware artistry.

4. Rushmore (1998)

Could Max Fischer be considered Wes Anderson’s quintessential character? Schwartzman first portrayed this intellectually advanced teenager, a barber’s son transforming into a private-school icon. He’s remarkably dedicated yet somewhat deceitful – perfect for a playwright role and mirroring Anderson’s depiction of the artist in his youth. However, let’s not overlook Harold Blume, the bored wealthy man, who revitalized Bill Murray’s acting career. Nor should we underestimate Olivia Williams’ subtle emotional depth as Rosemary Cross, a first-grade teacher who challenges the protagonists’ self-perceptions. Their relationship is intricate: for motherless Max, Ms. Cross serves as an inappropriate first love and a maternal substitute. Max reminds her of her deceased husband, but she becomes attracted to Harold, who sees Max as a reflection of his younger self and the son he never had. Rushmore is both an outlandish farce and a poignant coming-of-age tale with an iconic soundtrack and an offbeat charm that only a young filmmaker would dare to create. (Max’s stage productions were so groundbreaking that the MTV Movie Awards recruited Anderson to capture more of them.)

3. Moonrise Kingdom (2012)

In either Wes Anderson’s first or second return to filmmaking, your preference for anthropomorphized fashionable creatures plays a role. On an island situated off the coast of New England, two young lovers on the run are depicted. Suzy (Kara Hayward), an avid reader, dresses like Anna Karina and ventures into the forest. Sam (Jared Gilman), an orphan, is the outcast in his scout troop. They find themselves pursued by various parties. Bruce Willis delivers a touching performance as the island’s police chief, who has had a romantic relationship with Suzy’s pragmatic partner Laura (Frances McDormand). Edward Norton portrays Sam’s bewildered Scout Master. A notable Lucas Hedges appears as the troop’s harsh leader.

“Moonrise” marked Anderson’s first success in art houses following a decade of critical and financial setbacks. It continues to be his most exhilarating journey because he allows his young actors to embody the film’s essence. Their somber expressions carry significant weight, given their characters on the precipice of teenage life are pretending to be mature as an escape from the absurdity of the world their grown-up counterparts truly inhabit. Location shooting indeed highlights Anderson’s talent, as he creates a stunning summertime realm within the woods and waters of Rhode Island.

2. Fantastic Mr. Fox (2009)

In a casual manner, this stop-motion feature film elicits a wide range of opinions. Some view it as the instance where Anderson abandoned reality, while others deem it the most refined expression of his unique style. Personally, I tend to side with the latter, perhaps due to my frequent viewings of it with my kids. George Clooney delivers an exceptional performance as Mr. Fox, a somewhat undomesticated scoundrel who persuades his wife (Meryl Streep) and son (Schwartzman) to leave their secure foxhole for a treehouse overlooking the farms of the villainous Boggis, Bunce, and Bean. Anderson, in collaboration with Noah Baumbach, reinvent Roald Dahl’s cheerful hero as a regrettable rogue and social climber, whose choice to resume his chicken-thieving ways has repercussions for his family. The themes of marital remorse and working-class rebellion might be too complex for younger viewers. However, the delightful spectacle offered by Mr. Fox appeals to audiences of all ages. Willem Dafoe is captivating as the villainous Rat, while Anderson regular Wally Wolodarsky shines brightly as the anxious opossum Kylie. The visuals, bathed in red-orange hues, capture the essence of Autumn. Despite multiple viewings, I have yet to resolve the ambiguity surrounding the final scene, which seemingly combines a lament for the demise of the natural world at the hands of industrial capitalism and a triumphant dance number.

1. The Royal Tenenbaums (2001)

The characters Richie (Luke Wilson), Margot (Gwyneth Paltrow), and Chas (Ben Stiller) are now grown-ups who haven’t recovered from the high expectations of their child prodigy days. Their father, Royal (Gene Hackman), lives at a hotel until his checks stop being valid. He was separated from his wife, Etheline (Anjelica Huston), for many years but manages to return home by lying about having cancer. The movie “The Tenenbaums” showed that Wes Anderson is a unique storyteller who blends dry humor and complex characterization with a deep longing, much like a symphony. Paltrow’s expressionless gaze is one of the best deadpan deliveries in Anderson’s films, and this movie explains why his quirky style is a way to deal with emotions. The Tenenbaums aren’t just fashionably old-fashioned; they’re stuck in the past – even semi-brother Eli (Owen Wilson), who pretends to be a cowboy, thinks General Custer survived.

The Tenenbaums movie shares similarities with other films in its genre. It stands out by featuring Hackman, whose tumultuous relationship with the director could account for Royal’s role as the dominant force in Anderson’s unique cinematic universe. Hackman portrays the most melancholic and amusing character among the dreamers and plotters in this film collection, a man on the brink of maturity towards the end of his life. His emotional transformation symbolizes the family’s journey from the remnants of a once-great past to the hope for a brighter future tomorrow.

2025-06-20 18:55