The Darjeeling Limited represents a small but forceful step forward in the evolution of Wes Anderson (Rushmore, The Royal Tenenbaums, Life Aquatic) as a filmmaker. All the Anderson trademarks are still here: the obsession with family dysfunction, the stage-y tone, the exhaustively detailed production design, the awkward-yet-graceful camera movement. But where his last films traded human emotion for storybook artifice,