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.

and I absolutely loved every minute. There's nothing better than when you see actors commit fully to absurdity, and there wasn't a misstep in the entire film, stellar cast and a great movie watching experience. My favorite, of Wes Anderson's films, and what a move picking the two lead child actors - their performances were brave and spot-on. I want to find this island, I want to liquidate everything I own and move there, I just wonder if a place like this still exists in the World? I bet it does. Quirky and humorous, this film doesn't disappoint (or at least I've only heard of 1 person so far not giving it a thumbs up), anyone who doesn't get this film I suspect had a very regimented childhood and didn't take any risks. Great soundtrack, two people near me in the theatre jumped up into the aisle to start dancing (I suspect they may have been there for a second viewing!), the entire audience enjoyed it. Really, Anderson's best film yet in my book, highly recommended.

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!

Moonrise Kingdom (2012)

*** 1/2 (out of 4)

Teenager love birds Sam (Jared Gilman) and Suzy (Kara Hayward) run away from their homes to find a better life together but soon a search party is out looking for them. Wes Anderson's latest picture is quite a gem because it's been a very long time since a film has captured the innocence and beauty of young love. Now this certainly isn't a love story but then again the film is so original that it really doesn't fit into any one genre. There's the love stuff but also plenty of great comedy and best of all are the terrific performances from the entire cast, many of which haven't done this good of work in years. Anderson and Roman Coppola's screenplay is so simple yet so beautiful and innocent that it's nearly impossible not to get caught up in this crazy world. The visual style of Anderson is certainly on full display as is the weird and surreal atmosphere that really makes you feel as if you're seeing some sci-fi movie because it just appears to be a different universe than anything you've seen or known. At just 84-minutes without the end credits, there's really no filler or scenes that don't belong. This is a very tight ship that tells its story, gets the characters developed and then moves on. Both Gilman and Hayward are terrific in the roles of the young lovers and it's easy to see that they've both got a great talent and Anderson exploits every bit of it. The comic touch by the two was very impressive and they fit Anderson's world perfectly. Frances McDormand and Bill Murray are both extremely funny as the girl's parents and especially Murray who can play weird like no one else. Edward Norton turns in his best work in years as the scout leader and we even get a strong bit by Tilda Swinton. Harvey Keitel pops up towards the end and it's always great seeing him. Bruce Willis is the one that really jumps off the screen. I remember PULP FICTION brought him back to life in regards to showing he could "act" and didn't have to always play Bruce Willis and this film proves the same. Willis is extremely good, funny and at times touching in his part and it was great to see him acting again. MOONRISE KINGDOM isn't going to be a film for those seeking brainless action but those who want something more are bound to be entertained.

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.