Wes Anderson film Limited by forced quirks

The Darjeeling Limited may have some surprises in store, but to the average Wes Anderson fan, it could potentially be disappointing. 

This is the fifth film by director Wes Anderson. He co-wrote it with Roman Coppola and Jason Schwartzman.  

Darjeeling is set on a train riding through India, where three brothers, Francis, Peter and Jack (played by Owen Wilson, Adrien Brody and Schwartzman) reunite a year after their father passed away.

Within a few seconds, the movie is visually a typical Wes Anderson piece - the colors are stark, the music is very era-oriented (and always in connection with a slow motion scene) and there are always recurring characters. Those are just a few examples of what makes an Anderson film so recognizable. They are also examples of why his movies may not be living up to certain viewers' expectations.

Anderson seems to be limiting himself, frankly because he tends to never stray from his once-unique perspectives. Fans of Anderson's films will find that while this may be one of his best, it is also "just another Wes Anderson movie." But don't let that deter you.

There are plenty of nuances that may surprise viewers. While trying to keep them mum, pointing out the beginning of this film is a must - because not all audiences get to see it. The movie opens with Hotel Chevalier, a short film and prologue starring Schwartzman and Natalie Portman. It was shown during festival screenings, but taken out of limited theatrical releases and made available on iTunes instead. Portman reveals a considerable career move, otherwise known as a nude scene, but it is done in elegant taste, and it gives more validity to the relationship she has formed with Schwartzman's character. 

If viewing the film without the short, it will still make sense, but audiences won't have an image of Portman in mind when she comes up later - an interesting concept to consider if you see the film. 

Jack (Schwartzman) is the most prominent character, but this could be due to his presence in Hotel Chevalier. The character of Francis is annoying, and it's hard to figure out if it's Wilson's fault, or if the character is supposed to be irksome. Each of the men has very distinguishable, symbolic character flaws, which is yet another motif that Anderson utilizes in all of his films, but never fully develops them. Francis is the control freak, Peter is the emotional basket case and Jack is the ladies' man.  Each of the actors shines during a death scene, which is also the strongest scene in the film. Disheartening, when considering the film's potential.

It's captivating, mostly because of the visuals and quirkiness, but Anderson doesn't take the steps to develop lacking areas because he is too concerned with minute details.  The film would have a more lasting impact if he would stop focusing solely on the quintessential qualities of an "Anderson film" and start developing the story. That is where he becomes confusing and the audience ultimately suffers.