But The Brothers Bloom is only the latest addition to a burgeoning subgenre. Over the last few years, Anderson's movies have become touchstones for indie culture. In the 1990s, it seemed every NYU graduate and Sundance contender was making his own Tarantino knockoff. These days, the Tarantino imitators have been replaced by the Wes wannabes. A popular strain in recent American indie cinema has been the Andersonian quirkfest, a tendency that runs through movies like Juno, Napoleon Dynamite, Son of Rambow, Charlie Bartlett, and Garden State, among others.
The appropriation doesn't stop there. Anderson's trademarks—poker-face eccentricity, affection for the oddball, fastidiously arranged clutter, an affinity for the precocious and childlike—have now become conventions in the larger culture. You can glimpse his style and sensibility in TV shows, music videos and—a true sign that you've arrived—commercials. Anderson's star has dimmed of late, with his last two movies, The Life Aquatic With Steve Zissou (2004) and The Darjeeling Limited (2007), drawing at best mixed reviews. But the inevitable backlash notwithstanding, Anderson's influence on his contemporaries is evident everywhere you turn.
Click here to read a slide show essay on the pervasive influence of Wes Anderson.
TODAY IN SLATE
Smash and Grab
Will competitive Senate contests in Kansas and South Dakota lead to more late-breaking races in future elections?
Stop Panicking. America Is Now in Very Good Shape to Respond to the Ebola Crisis.
The 2014 Kansas City Royals Show the Value of Building a Mediocre Baseball Team
The GOP Won’t Win Any Black Votes With Its New “Willie Horton” Ad
Sleater-Kinney Was Once America’s Best Rock Band
Can it be again?
Forget Oculus Rift
This $25 cardboard box turns your phone into an incredibly fun virtual reality experience.