Pompeii feels both alien and inevitable in his cinema. None of Anderson’s prior films are so deeply gestural as this; here he reduces romance to purely physical terms. Exchanges of glances, or the offering of a hand. Yet it feels entirely anticipated in his cinema. Resident Evil: Retribution and The Three Musketeers 2011
revel in bodies in motion, the grace of people within the director’s rigorous lines. Pompeii fittingly reduces this to the bare essentials, for his first romance in proper.