A few weeks ago I saw a car accident - two people went through an intersection at the same time. Both slammed on their brakes at the same time and collided. Fortunately no one was seriously injured.

But then it occurred to me - if they had just gone through the intersection, they wouldn’t have collided. The brakes CAUSED the accident!

— Roger Ebert, reviewing Moonrise Kingdom:

[Bill] Murray is always right for a role in an Anderson film, and I wonder if it’s because they share a bemused sadness. You can’t easily imagine Murray playing a manic or a cut-up; his eyes, which have always been old eyes, look upon the world and waver between concern and disappointment.

In Anderson’s films, there is a sort of resignation to the underlying melancholy of the world; he is the only American director I can think of whose work reflects the Japanese concept mono no aware, which describes a wistfulness about the transience of things.

— Roger Ebert, reviewing The Living Daylights:

The correct tone for the Bond films was established right at the start, with Sean Connery’s quizzical eyebrows and sardonic smile. He understood that the Bond character was so preposterous that only lightheartedness could save him. The moment Bond began to act like a real man in a real world, all was lost.

— Matt Zoller Seitz - Reviewing The World’s End:

But in an era in which mainstream movies not only lack rhythm but seem to have forgotten how to dance, this one’s briskness is inspiring.

As it would turn out, there is not a single restaurant in the world called Barbecue Meat Palace. This is obviously a travesty that must be corrected. Kickstarter?

BBQ Meat Palace.