Moonrise Kingdom

In the past, Anderson has whirled us from melancholy dreamscapes set deep below the Pacific to tales of inter-generation betrayals in the name of love, from doomed romances in Paris hotels to deliriously bizarre animal revolutions in the English countryside. But for all the retro-stylings his films so proudly wear, Moonrise Kingdom is Anderson's first period piece - a tender love story set in the sepia-soaked sixties of Anderson's youth that have worked their influence into every one of his movies. It is fitting that this film is his most childlike - not in any way any simpler than his other films (as anyone with an accurate memory of childhood will remember all it's complexities; the way each trivial thing became a nest of thorns), but an accurate and deeply heartfelt depiction of childhood. It is not aiming to be as crushingly dramatic as Life Aquatic or as deeply tragic as Hotel Chevalier, because that wouldn't be appropriate for the story it's trying to tell. Instead, while still bearing Anderson's still surprising streak of black humour (some acts of violence really catch you off-guard; then again, children are violent so hats off Wes), it is largely concerned with the dramas and tragedies of youth. Yes, it is less ambitious than say The Life Aquatic but it also has none of the flaws that that film does (and believe me, I am a massive Steve Zissou fan). Instead, it is perfectly executed, wonderfully acted poignant beauty, with fantastic performances across the board (especially from newcomers Gilman and Hayward). This, while not his most ambitious, is certainly Anderson's most perfect work so far. You owe it to yourself to see this movie.

The thing that I enjoy most about Wes Anderson films is that they each feel like a great adventure and in this sense I think Moonrise Kingdom is his best yet. It tells that tale of Sam, an orphan on scout camp, and Suzy, a misunderstood girl, as they run away together. At first I found the two actors playing the kids to be kind of limp but after a few minutes I warmed to them and I actually think they were both pretty good overall, particularly Jared Gilman who plays Sam and even more so knowing that it's the first acting he's ever done. The rest of the cast are all pursuing or helping them in some way and there a couple of sub-plots with the island's policeman (played by Bruce Willis) and the parents of Suzy (Bill Murray and Frances McDormand).

I thought that the rest of the cast was great. In fairness I am a bit biased because I love Bill Murray, Edward Norton, Bruce Willis and Frances McDormand but even so I have to say that they were all really good, especially Edward Norton who plays the scout master, and Bill Murray. There are also a couple of minor roles for Jason Schwartzman, Harvey Keital and Tilda Swinton who were also a lot of fun. Everyone in the cast fits into their role really well which is obviously exactly what you want, but not only is that the case for the main roles but also for the less important ones, like the scout troupe (especially Sam's 'enemy'), Suzy's three brothers or the oddball narrator.

Cinematography wise I didn't think this movie was particularly spectacular, especially in comparison to other Wes Anderson movies like 'The Life Aquatic' or 'The Royal Tenenbaums'. There were a couple of shots that were cool though, some really long zoom outs (which sounds clichéd but it worked) and the doll house type ones that I love and think are awesome.

I wouldn't expect to wet your pants laughing at any moment in 'Moonrise Kingdom' but it is funny. There are a couple of laugh out loud moments and as a whole the jokes are pretty sharp and intelligently done. The reason I like the humour in this movie is that it's a part of the ambiance and feel of it, it won't make you crack up but it will make you have a smile on your face for pretty much the whole thing and leave you feeling strangely happy.

That kind of ambiance is really why the movie is so good, and is possibly Wes Anderson's best movie. The whole story is this fantastic blend of reality and child-like dreaming and it's wonderful. At times I felt kind of nostalgic and sad that I'm not a kid anymore. On the other hand it feels like a tribute to those myths and dreams of being a child and it works so well. This is the kind of film that I feel I could watch over and over again, each time spotting something new but also feeling good and enjoying the overall purpose.

Definitely go and see it!

The story of an unliked 12 year old Khaki scout and the unwanted 12 year old daughter of a pair of disfunctional lawyer parents, all set in 1965 - then the pair of 'lovers' decide to run away together on a fairly small island. The whole concept is ridiculous, but the absolutely stellar cast pull it off. The use of music by Benjamin Britten and other C20th composers works very well. I give it at least 8/10 (possibly 9/10 - it is very good).

Greetings again from the darkness. Not many people think like Wes Anderson. That's probably a good thing in real life. It's definitely a good thing for movies. He is a creative and distinct filmmaker, though not one with mass appeal. My two personal favorites of his are The Royal Tenenbaums and Rushmore. His previous film, Fantastic Mr Fox, was a solid hit and critically lauded. Now he delivers one that will probably only click with his core fans. It's a thing of beauty ... if you keep in mind that beauty is in the eye of the beholder.

Set on the fictional New Penzance Island off the coast of New England in 1965, the movie opens with terrific visuals of the Bishop family's lighthouse/home. Our tour is conducted as if the home were a dollhouse, and our eyes struggle to keep up with the detailed decor. We are struck by the color palette of tans, greens and splashes of red. This will continue throughout the movie.

The story centers around two 12 year old misfits: Sam and Suzy. Sam is an orphan and outcast in his Khaki Scouts troop, and Suzy is misunderstood and ignored by her selfish parents, who communicate with a bullhorn and through legalese at bedtime (they are both lawyers). Sam and Suzy are attracted to each other's misery and decide to run away together. This ignites a flurry of activity on this quiet island and showcases two first time actors with remarkable screen presence: Jared Gilman (Sam) and Kara Hayward (Suzy).

The "grown-ups" on the island include Suzy's parents played by Bill Murray (a Wes Anderson staple) and Frances McDormand. The island police chief is played Bruce Willis, who we soon figure out is also a social outcast. The Scoutmaster is played by Edward Norton in a regimented weirdness that will have you laughing in confoundment. For such serious topics, Mr. Anderson and co-writer Roman Coppola provide us many comedic moments - both through dialogue and site gags.

During the search, other colorful supporting characters get involved. Social Services is after Sam. Tilda Swinton plays Social Services. In one of the few gags, I'll give away, Swinton's character only introduces herself as Social Services. This is a gut punch to a system that is often under-staffed and forgetful of it's true mission. We also get Jason Schwartzman as a very helpful, though slightly seedy, Cousin Ben. Harvey Keitel plays the senior Scoutmaster who is unhappy with Norton for losing a scout. Bob Balaban makes periodic appearances as a narrator ... either for a documentary or for the movie, depending on the moment's need.

The script does a wonderful job of capturing how the 12 year old brain works. Some of the scenes with Sam and Suzy are almost like looking a photo album ... exactly the way our childhood memory works. Flashes of moments. The Alexandre Desplat score is heavy on percussion, but it works well with the minimalistic look of the film. It's also interesting to note that this is one of the few movies where it makes sense to have a soundtrack with Benjamin Britten, Hank Williams and Mozart! If you go to this one, keep your eyes open and moving, and your ears receptive. The payoff is worth it.

It's 1965 and pre teen pen pals, Sam (Jared Gilman) and Suzy (Kara Heywood) agree to run away from home and meet up a year after meeting for the first time. While the two of them head off into the wilderness of Suzy's twelve mile long home island a search party that includes Island Policeman Bruce Willis, Scout leader Edward Norton, Suzy's parents Bill Murray and Frances McDormand and Sam's fellow Scouts set about trying to hunt the eloping children down in the days preceding a huge storm. I should say from the outset that I am a huge Wes Anderson fan and have absolutely loved all of his films with the exception of Fantastic Mr Fox so I went in expecting great things. My expectations were matched and even perhaps exceeded. I loved this film. Anderson sets up Suzy's home life in a fantastic opening sequence which features some exquisite tracking shots through the family home. Before anything is said it is already obvious to the audience that Suzy is a loner who longs for something bigger, something more. Her parents do not get on and are never even seen in the same room, let alone talking to each other. She has three younger brothers who appear to get along very well. Her house is large and well furnished, indicating wealth if not happiness. All of this is established in one long sequence of beautiful camera movements which last no longer than a couple of minutes. Sam's life with his Scout troupe is shown in a similar manner although it soon becomes apparent that he has already escaped in search of his love, Suzy. One of the things I love about all of Anderson's films is that you could turn on the TV at pretty much any moment during any of his films and within a few moments be sure that you are watching a Wes Anderson film. His style is very distinctive and it's all over his latest work. The shots are framed to perfection and each camera movement feels measured but not forced. There is a vague pastel and brown tint to everything which matches the film's period setting. Everything from the sets to the characters also feels slightly off centre and as though they inhabit the same world as The Royal Tenenbaums and The Darjeeling Limited. Anderson not only creates his own world for each film but his films feel somehow connected and as though they too inhabit the same slightly odd world. The plot is absolutely delightful and sweet. It's such a touching and loving story which also feels like a love letter to the children's adventure books of which Suzy reads throughout the film. Though they read these books, the children long for an adventure of their own and have finally embarked on one. The characters are equally enchanting. Sam and Suzy are somehow both old beyond their years but also very much still children. They have obvious intelligence and wisdom but convey it through a child's eyes. They are on the cusp of adulthood but somewhere in between. The acting of Hayward and Gilman is superb and again both feel both older than they are but also very child like. They are great. The adult characters are also great without exception. Bruce Willis is a sad and lonely cop who patrols a quiet island and although he has his faults is very kind and caring. Edward Norton is an exemplary leader who also has a big heart while Bill Murray and Frances McDormand, both lawyers, talk to each other using mostly legal language and although are not really in love with each other, care a lot for their children and want the best for them. There are also small cameos from Jason Schwartzman, Harvey Keitel and Tilda Swinton, all three of which were welcome and provided something. The adult cast on the whole was fantastic. The score goes perfectly with the on screen action and features a mixture of militaristic marching music, classical and 60s pop. They somehow all work together and help to push the story on to it's frenetic final act. This is a film with a big heart, lovely story and plenty of laughs. Although I only just saw it I already can't wait to see it again. It's everything you'd expect from a Wes Anderson film but as well as being unusual, wacky and nice to look at also has a sweet story about adolescence, growing up and first love.