Ever since Moonrise Kingdom Wes Anderson’s films have been progressively and iteratively becoming fully ensconced in layers of his characteristic idiosyncratic style. Perhaps a case could be made that he’s been on this trajectory ever since he picked up a camera and that it was too difficult to fish it out from his early movies, such as Bottle Rocket or Rushmore, because this trajectory was never linear. It was exponential. As time went on and Anderson grew more confident behind the camera, his movies have slowly but surely transcended into a universe of their own, a universe of uber-quirky comedy underpinned by a visual aesthetic attempting to blur the line between live-action filmmaking and stop-motion animation, of which Anderson is also particularly fond (see Fantastic Mr Fox and Isle of Dogs).  

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