The French Dispatch, Wes Anderson’s love letter to The New Yorker, is, as you might expect, a charming way to pass a couple of hours – but not as funny or as tight as we might like, and certainly a disappointment in the light of his last two films, The Grand Budapest Hotel and Isle of Dogs (although, in fairness, reaching those heights even twice, let alone a third time consecutively, would be a big ask for anybody). Still, despite The French Dispatch‘s pleasures, some gorgeous imagery and a terrific, star-packed cast, we’re left asking what it’s all about, really – is it more than a vaguely diverting trifle based on Anderson’s favourite publication? And why can’t an ode to an icon of American sophistication be set in America?
We only thought of it in this way after we finished the podcast, but Sicario 2 is the best movie for watching on a plane we’ve ever seen. It’s pacey, entertaining, catchy, and entirely insubstantial. José discusses some issues he has with the film, including how many Mexicans it’s happy to kill while keeping every American alive, and the lack of tension in scenes that are crying out for it – Mike agrees with everything José says and knows he should have a problem with this stuff but just doesn’t. We agree that it’s a joy to see so much of Benicio del Toro and Josh Brolin, and when they share the screen there’s a special feeling, but the conscience that Emily Blunt brought to the first film is perhaps lacking here.
It doesn’t live up to the first Sicario – and really, how could it – but it’s good, rough, dark fun.
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