Every shot in the film is framed carefully, with great attention to detail. This extreme intentionality gives “Darjeeling” a very polished feel

Many have already faulted Wes Anderson’s new film, “The Darjeeling Limited,” for being too much like his past efforts. And it’s true: “Darjeeling” is a Wes Anderson movie in every sense connoted by the filmmaker’s name. But that is, by no means, a negative statement.

The co-writer/director's fifth feature film is indeed very true to form, making great use of the signature cinematic style he developed through earlier efforts like “Rushmore” and “The Royal Tenenbaums.”

Though similar in cinematography, soundtrack choices and writing style (Anderson writes with Jason Schwartzman and producer Roman Coppola), Anderson avoids getting formulaic. While clearly carrying over elements from past successes, Anderson still advances his work for an overall feeling of maturity instead of déjà vu.

Though the plot is a simple one, “Darjeeling” is not a simple movie. The main motif is explained at the outset, and the rest of the film is all about the characters and how they deal with their respective life-situations.

This relative straightforwardness has a lot to do with what makes “Darjeeling” more accessible than Anderson’s previous work.

After oldest brother Francis (Owen Wilson) mangles himself in a car accident, he instigates a reunion with his two brothers, Jack (Schwartzman) and Peter (Adrien Brody). The three haven’t seen each other for one year, since their father’s funeral. In an effort to reconnect with one another, they embark on an over-medicated spiritual journey of sorts through India, by way of a train called The Darjeeling Limited.

Sharing the tight quarters of a three bunk train compartment, Wilson, Schwartzman and Brody are given plenty of opportunities for an on-screen chemistry that truly explores the situations and relationships of each of their characters. Anderson-veterans Wilson and Schwartzman are as perfect as ever, and newcomer Brody is a great fit.

Though admittedly never quite as funny as “Rushmore,” “Darjeeling” achieves some laughably memorable situations.

Filmed on-location in India, Anderson makes incredible use of the country’s scenery. The colors, people and architecture are especially vivid and their depictions provide very adequate illustrations for the story.

Every shot in the film is framed carefully, with great attention to detail. This extreme intentionality gives “Darjeeling” a very polished feel. Overall, despite reportedly taking less time to film and costing less than half of Anderson’s last full-length movie, “The Life Aquatic With Steve Zissou,” “Darjeeling” comes across as a much more assembled product.

For established Anderson fans, this film is familiar territory. It has all the hallmarks of his earlier work and evokes the type of emotional catharsis that has become the director’s signature.

For new fans and those who just haven’t been able to love Anderson’s past efforts, “Darjeeling’s” accessibility brings it within grasp, even during the initial viewing.

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