While the seven-time Oscar nominee has distributed his last three films through Searchlight Pictures, Asteroid City has not yet been set up with a studio. Anderson is producing his latest film with Jeremy Dawson and Steven Rales.
Ryan joins a cast that also includes Tom Hanks, Margot Robbie, Scarlett Johansson, Tilda Swinton, Sophia Lillis, Adrien Brody, Maya Hawke, Fisher Stevens, Bill Murray, Bryan Cranston, Jeffrey Wright, Jeff Goldblum, Liev Schreiber, Rupert Friend, Hope Davis, Jason Schwartzman, Matt Dillon and Tony Revolori, as previously announced. The plot of the feature is being kept under wraps for the moment. The movie, clever and rigorous though it is, feels that way too.Exclusive: Jake Ryan recently reunited with Wes Anderson for Asteroid City, which we hear has wrapped production in Spain. Even their interest in the ghost that may dwell in the dark corners of the Pedlar seems tepid and lacking in conviction. Luke and Claire are guilty, above all, of being dumb and bored. The slashers, psychos, demons and revenants who populate (and depopulate) the genre punish sexual promiscuity, greed, cruelty and other vices, though the innocent are also persecuted. The horror films of the past, from “Psycho” to “Halloween” to “Saw,” have frequently had a punitive element. Leanne befriends Claire, which is to say that she quickly comes to find the younger woman - who somehow manages to be both mousy and pushy - intensely annoying. The only guests are an angry woman (Alison Bartlett) with her young son and Leanne Rease-Jones (Kelly McGillis), a former television actress who has become a New Age healer with a spiritual devotion to vodka. The two of them are the whole remaining staff of the Yankee Pedlar, a sad, old hotel that we visit in its last weekend of operation. Luke, who looks like a gone-to-seed Tintin sliding, slack and unshaven, into his 30s, is only slightly less passive than Claire, who seems to be sustained by the faltering sense of her own cuteness. What distinguishes it as a new-breed horror movie is the minimalism of its story and the abrasive aimlessness of its main characters. But at the same time, as if taking its cue from Luke and Claire, “The Innkeepers” does not seem to work very hard. What was that noise? Don’t turn around! Don’t go down those stairs! It works every time. The soundtrack picks up echoes and inklings of dread, amplified by the audio recorder Claire and Luke use to detect ghostly signals. Point of view is manipulated to imply unimaginable terrors at the edge of the screen. There are long, slow tracking shots down shadowy corridors. It generates suspense and fright through ancient techniques of framing, cutting and focus. West’s 2009 baby-sitter-in-peril movie, is the work of a more classical sensibility. “The Innkeepers,” like “The House of the Devil,” Mr.
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