Impossible.” It’s the opening sequence in the latest release by Wes Anderson, the filmmaker whose singular style gets labeled with words such as whimsical and twee. The effects are special. When the unlucky passenger explodes,

Anderson’s critics frequently use the word “twee” when dragging the auteur’s comedies, but that’s a superficial read that fails to grasp what makes the 56-year-old’s body of work, comprising 13 movies produced over 30 years, so singular and compelling.