film, “Asteroid City,” the title is a joke. Asteroid City is not a city but a dusty town, a stone’s throw from the middle of nowhere, with a population of eighty-seven, a luncheonette, and a motel where you can get milk, Martinis, and real estate from vending machines. And what crashed in this remote spot, nearly five thousand years ago, was not an asteroid but a meteorite, the size of a crystal ball.
The framing does not end there. “Asteroid City,” we learn, owes its existence to a stage play, written by Conrad Earp , whose creative labors are described to us by a narrator . How, precisely, the film locks into the play, why we first see the play on a TV monitor, and whether it’s the same play that is overseen by a debonair director, Schubert Green , are narrative niceties that must await clarification from viewers much smarter than me.
Another dry land, another unregarded town, another stack of quirky folk who meet with a mystery. John Slattery’s “Maggie Moore,” whose title might prove too fussy even for Wes Anderson, was filmed in New Mexico, and the atmosphere is parched and desperate. Jon Hamm—Slattery’s comrade-in-arms from “Mad Men”—plays a police chief named Sanders. As he and his deputy, Reddy , inspect a charred corpse in a burned-out car, the acrid nastiness catches in your throat.
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