Wes Anderson’s lat­est film, The Dar­jeel­ing Lim­ited, doesn’t make a lot of sense. The plot is insub­stan­tial. The pat­terns of char­ac­ter devel­op­ment are recy­cled from many of his prior movies, like The Life Aquatic and The Royal Tenen­baums, in which the priv­i­leged are igno­ble and are pit­ted against hon­or­able every­man types until some­thing good pre­vails. But don’t let that stop you from see­ing it. The Dar­jeel­ing Lim­ited is a visual tour de force. Anderson’s mas­tery of cam­era angles, his unusual shoot­ing tech­niques, his bril­liant choice of loca­tions, and his clever use of mise en scène will leave you gaz­ing in won­der. See it on the big screen at a the­ater with bright, metic­u­lously clean pro­jec­tion, like The Coolidge—the gor­geous depth of color and the sweep­ing 2.39:1 aspect ratio will be lost on video.

And, for max­i­mum effect, use at least 2 ital­i­cized French expres­sions in every movie review.