There is a “Talk of the Town”-like vignette with Owen Wilson as Herbsaint Sazerac describing a day in the life of a small French town, a story about an incarcerated murderer (Benicio del Toro) whose modern paintings become a sensation, one about a reluctant student revolutionary, Zeffirelli (Timothée Chalamet), and another about a food journalist (Jeffrey Wright) sent to profile a celebrated chef (Stephen Park) who is caught up in a wild kidnapping and rescue scheme. But it’s a pursuit that will end with his death, and the final issue provides the structure for this anthology film. This makes it all the more amusing that Murray’s character would bankroll this magazine out of France (in a fictional town called Ennui-sur-Blasé) with a staff of famous longform writers. The real Liberty, Kansas, is a town with a population that has barely exceeded 250 in the past century and, more recently, has hovered closer to 100. The French Dispatch is a weekly insert of the Liberty Kansas Evening Sun. This particular magazine’s reach is significantly more limited than that of its inspirations. And perhaps there is something to the fact that fairly or not, some of the luster has dulled due to familiarity, but “ The French Dispatch ” remains a highly enjoyable, sophisticated and experimental ode to the romantic, and fictionalized, idea of the midcentury heyday of magazines like “The New Yorker” and “The Paris Review.” “The French Dispatch” is no exception, but because we’ve now been living with his films for 25 years and the most surface interpretation of his style has been misappropriated by dilettantes on Instagram, it’s become easy to write off.