‘Asteroid City’ Sets Wes Anderson Q&A, Special Screenings and Merchandise Sale at Alamo Drafthouse (Exclusive)

It appears the grind never stops for Wes Anderson. 

Sex And The City star Sarah Jessica Parker will follow her husband Matthew Broderick onto the West End stage when she appears in Plaza Suite next year. The 58-year-old American actress is starring alongside Broderick, known for teen comedy Ferris Bueller’s Day Off, in the play at the Savoy Theatre in London from January 2024.

Just weeks after its world premiere at the Cannes Film Festival, Wes Anderson‘s “Asteroid City” hits limited screens on June 16 before opening wide on June 23. That’s a good turnaround from premiere to theatrical release, but par for the course for Mr.

In partnership with Universal Pictures UKThe fourth instalment of NME Screens will show Wes Anderson’s critically acclaimed Asteroid City ahead of the film’s UK release. Find out how to get tickets below.NME Screens – which creates exclusive film and TV experiences for NME‘s millions of readers – launched in March, kicking off with a celebration of noughties NYC indie documentary Meet Me In The Bathroom.

To get a sense of the quality of films on the docket for June, look to the opening weekend. Between “Past Lives” and “Across the Spider-Verse,” there are two genuinely terrific films that couldn’t be more different.

Eva Longoria is stepping out for a special screening of her new movie!

Anna Marie de la Fuente Wes Anderson’s “Asteroid City,” fresh from its triumphant world premiere at the Cannes fest, opens the 38th Guadalajara Film Festival (FICG) which touts new sections this year, including a branded series showcase and midnight screenings of Italian fright maestro Dario Argento’s horror films. Eva Longoria’s feature directorial debut, “Flamin’ Hot,” which had its West Coast premiere at the LA Latino Film Festival (LALIFF) May 31, marks its Mexican debut at the fest. The Series Showcase includes Patricia Martinez’s fact-based “La Narcosatánica,” which will stream on the rebranded Max, and Maite Alberdi’s “Libre de reir,” a Gato Grande production, which centers on inmates in a Mexican prison who enroll in a stand-up comedy workshop. Alberdi’s Sundance-winning docu “The Eternal Memory” also vies for a prize in the festival’s documentary sidebar.

Brand new character posters for Asteroid City were just released!

CANNES – He had a bite of Wes Anderson’s world voicing Chief in the stop-motion animated “Isle of Dogs,” but Bryan Cranston is now officially a member of the auteur’s growing live action ensemble. The six-time Emmy Award winner, two-time Tony Award winner and Oscar nominee joined the club with his role as the inquisitive 1950s television program narrator in “Asteroid City.” And, if you’ve ever spoken to any of the other longtime Anderson collaborators, you quickly learn that for actors, a Wes Anderson movie is a blast.

The arthouse box office hasn’t recovered quickly post-Covid, but one of the oases for the sector, even by pre-pandemic benchmarks, has always been a Wes Anderson movie.

Scarlett Johansson and Maya Hawke showed off their unique senses of style while attending a photocall for their new movie Asteroid City at the 2023 Cannes Film Festival on Wednesday (May 24) in Cannes, France.

Cannes Film Festival comes to a close on Saturday and you can feel it. Things are starting to slow down, standing ovations aren’t as long and those on the Croisette are starting to get tired. Beloved filmmaker Wes Anderson debuted his latest feature, “Asteroid City,” on Wednesday and the reaction was more muted than the reception to “Killers of the Flower Moon” or even the more mixed “Indiana Jones and the Dial of Destiny.” TheWrap’s Steve Pond emphasized the whole did not live up to the sum of its parts, despite pristine craft as always.

CANNES – For someone who is notoriously media-shy, Wes Anderson was in a delightful mood at the press conference for his new film, “Asteroid City.” And considering the star power alongside him on the dias, he dominated the conversation. Maybe that shouldn’t be a surprise considering the power of his cinematic brand.

Rebecca Rubin Film and Media Reporter Wes Anderson’s 1950s-set “Asteroid City” takes place in a fictional desert town as a cosmic event disrupts the annual Junior Stargazer convention. But does the filmmaker actually believe in extraterrestrial life? “Well, you know… I wouldn’t rely on my opinions about that in any significant way,” Anderson said to laughter at Wednesday’s Cannes press conference for the film. “The research that went into this, as extensive as it was, it wasn’t anything you’d find in academia.” “Stephen Hawking insists it is numerically improbable that there would not be extraterrestrial life,” he continued, adding sheepishly, “I don’t really.”

Wes Anderson’s latest absurdist comedy is about many things, part homage to Playhouse 90, part play-within-a play, but at the core of it are a bunch of travelers marooned in the desert western town of Asteroid City.

good for the movie, but we used it in away that wasn’t bad.”Another benefit of the Wes-world troupe was music. In the film, a band of cowboys led by Ruper Friend plays a few songs, and for the band members Anderson also cast Brazilian musician Seu Jorge, who notably did some Portuguese David Bowie covers in Anderson’s “The Life Aquatic With Steve Zissou,” and Jarvis Cocker, leader of the ’90s British band Pulp. “Seu Jorge might bring his guitar and sing a few songs after dinner, or other people you wouldn’t expect might get up and perform as well.”At the press conference, Bryan Cranston pointed out that the movie manages to combine a lot of different kinds of performance into one quintessential Anderson mixture.

Wes Anderson’s Asteroid City brought some mega-wattage to the Cannes Film Festival this evening, lighting up the Palais with what we clocked as a 6.5 minute standing ovation for the star-studded comedy.

Zack Sharf Digital News Director Wes Anderson brought cowboys, aliens and movie stars to the Cannes Film Festival on Tuesday, earning a six-minute standing ovation at its world premiere. Scarlett Johansson, Tom Hanks, Jason Schwartzman, Matt Dillon, Maya Hawke, Steve Carell, Jeffrey Wright, Ed Norton, Margot Robbie and Jeff Gollum are among the starry ensemble cast — many of whom were in attendance at the Grand Palais with their notoriously stylish and exacting director. The project tells of a desert tourist trap that was one the site of an asteroid landing, which also doubles as the location of an annual camp for “star gazers and space cadets.” The conceit is a story-within-a-story, as the the cast plays a troupe of actors and stage crew for a play.

“You can’t wake up if you don’t fall asleep,” people are advised more than once in Wes Anderson’s madly original 11th film, Asteroid City, which is both addictively stylized and, like this clever little quote, perhaps more than a tad obscure about what it’s ultimately driving at. Set entirely in a sort-of Monument Valley-adjacent desert setting in 1955 and populated by a fabulous ensemble cast, this Cannes Film Festival competition entry from Focus Features, which will open commercially in the U.S. on June 16, is a madly quirky surprise that oozes creativity at every turn. At the same time, however, it sometimes seems to be reaching for serious creative epiphanies that aren’t forthcoming and which foster puzzlement rather than insight.

Owen Gleiberman Chief Film Critic As much as any filmmaker alive, Wes Anderson has a canon of movies that look and feel all of a piece. The diorama design, which extends from his life-size-dollhouse sets to his graphic lettering; the acting so stylized it’s like postmodern jokey-music-video kabuki; the fable-within-a-fable structure that can seem the cinematic equivalent of nested Russian dolls; the heavy frosting of ironic whimsicality. Most of his movies share these elements, yet the truth is that not all Wes Anderson film are alike. A few, like “The Royal Tenenbaums” and “Fantastic Mr. Fox,” spin finely wrought tales beneath the filigree. One, “The Grand Budapest Hotel,” is an exhilarating caper — as well as (to me) his finest work, ironically because it isn’t pretending to be about anything.