I’m probably echoing half the moviegoing world in saying that this is Anderson’s best film since Rushmore, but I claim originality, if not primacy. Too frequently Anderson’s characters’ eccentricities overshadow the credibility of his drama, but in Darjeeling, he manages to deftly walk the line and create an emotionally engaging story punctuated by his charmingly bizarre humor.

A charming and unusual film about one very short person, one very talkative person and one very sad person.