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.

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.

Saw this just now in a small indie cinema in Heidelberg, Germany and I have to say, it was a romp. In my humble opinion this film manages to be both Wes Anderson's funniest picture so far and his most melancholic. The utter uncompromising stylishness of his other work is also present here, perhaps even heightened, but in contrast to The Life Aquatic (and to a certain degree The Darjeeling Limited), the emphasis here is firmly on plot. The brave and often odd visuals never overwhelm the story and the audience never feels like they are not quite in on the joke, like in The Life Aquatic. The tone does tend to become a bit erratic, especially in the last third of the film when Anderson seems to want to pack so much into every frame that the film becomes a bit cartoonish at times (hence the not-perfect score from me). All in all, though, the plot is very balanced and the pacing is great. The two young leads are superb and the brave move by Anderson to place unknown actors front and centre pays off beautifully. The rest of the cast is on paper even more star-studded than The Royal Tenenbaums and yet Anderson never steers into unnecessary character development just to accommodate his stars. A touch here and a touch there are more than enough to paint a picture of a group of people who are eerily similar in their dissatisfaction with their lives and yet react quite differently to the two young lovers' dash (literally) for happiness. In conclusion, a must-see for Anderson fans and highly recommended for everyone else.

The year is 1965 and a remote North Eastern coastal community is plunged into confusion when it discovers that two kids have run away. Sam, a discontented Khaki Scout, and Suzy, a put-upon older sister and forgotten daughter, abscond into the forest to escape their dissatisfying existences. The responsible adults – Sam's Scout Master Ward (Edward Norton) and Suzy's parents (Bill Murray and Frances McDormand) – and the entire town set out on a frenzied search, which gets wild when the largest storm in recorded history touches down and puts everyone's life into question. What ensues is a battle between youth and age, hope and disillusionment, faith and cynicism.

In terms of story and character, Wes Anderson's previous films, especially The Royal Tenenbaums and The Darjeeling Limited, are superior. Even in the most compelling relationship in the film between Captain Sharp (Bruce Willis) and Sam doesn't embody Anderson's ability to take his characters into deep emotional places of hurt and healing without melodrama. However, the newest addition to the Anderson canon is a cinematic experience.

Moonrise Kingdom's story, co-written with Roman Coppola, takes a definite backseat to style, as Anderson saturates the entire film with a "Norman Rockwell-type of Americana". Stylistically, it may be Anderson's most masterful work, as the costumes, sets, and settings transport the viewer to an alternate universe, a place of wonder and adventure. The soundtrack is especially effective, as it recalls a time when things were simpler: Hank Williams was on the radio, and children listened to records instead of playing video games. However, Anderson isn't content with reminiscing about the year 1965. He takes this nostalgia and twists it, infusing the film with a twinge of sadness through the reality of life's disappointments. He doesn't reject the Rockwellian view of America, but argues that it doesn't tell the whole story.

Moonrise Kingdom is that place of beauty and passion that we all have been in at least once in our lives – the one place on earth where we believe that anything is possible. It has since been lost, but it persists in our memories in moments of nostalgia.

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.