Part of me is in complete disbelief that the release date of Wes Anderson’s The Royal Tenenbaums will have been a decade ago next month. It doesn’t feel so long ago that I was sixteen years old, seeing it for the first time in a movie theater and spending my subsequent Christmas with The Ramones, Elliot Smith, and Nico playing on repeat in my car (two years later, after hearing of Smith’s death, my friends and I gathered together and watched Richie Tenenbaums’s (Luke Wilson) attempted suicide with new, disturbing poignancy). And ten years on, even after having seen it at least a dozen times, and armed with the annoying ability to know every beat and predict every line, something about Tenenbaums feels ageless and fresh at the same time. But when you look at the movie culture that came after Tenenbaums, the film’s age begins to take on its inevitable weight. Tenenbaums was Anderson’s first (and arguably only) real financial success. Previously, Anderson was perceived as an overlooked critical darling following Rushmore, a promising director that a great deal of Hollywood talent wanted to work with (which explains Tenenbaums’ excellent cast and, probably, its corresponding financial success). With this degree of mass exposure, other filmmakers followed suit, establishing what has since been known as the “Wes Anderson style,” which permeated critical and casual assessment of mainstream indies for the following decade and established a visual approach that’s been echoed in anything from Napoleon Dynamite to Garden State to less [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

Join us each week as Rob Hunter takes a look at new DVD releases and gives his highly unqualified opinion as to which titles are worth BUYing, which are better off as RENTals, and which should be AVOIDed at all costs. And remember, these listings and category placements are meant as informational conversation starters only. But you can still tell Hunter how wrong he is in the comment section below. This week only one worthwhile purchase in the form of Wes Anderson’s weakest film, but there are several worth renting or avoiding including Jonah Hex, The Japanese Wife Next Door Part 2, Leaves Of Grass, Four Boxes, and the darkly disturbing “documentary” S&Man. Click on any of the titles below to magically head over to Amazon.com and pick up the DVD. And don’t forget to check out Neil Miller’s hilariously titled This Week In Blu-ray for reviews on the latest high definition Blu-ray releases!

The recent cinema of Wes Anderson and his occasional creative collaborator Noah Baumbach have encountered an interesting play with the ever-blurry line that retains an audience’s empathy for an unlikeable protagonist. This week, the Culture Warrior puts those protagonists in focus.

Time to take a look at what DVDs are worth spending some cash on this week. Don’t worry, we will do it together.

We’ve got your chance to win a copy of Wes Anderson’s latest…

If Hotel Chevalier were nothing but just some short film, it couldn’t help but feel incurably slight; if I could only use two words to describe it, they would be “wide” and “yellow”.

The Darjeeling Limited has an undercurrent of emotional maturity beneath its hipster eccentricity; Wilson’s copious bandages are in fact a manifestation of his deep psychological scars.

A slow-motion shot. A classic rock tune. A character comes in to frame, perfectly profiled from the side. Welcome to The Darjeeling Limited, Wes Anderson’s new film about brotherhood.