Moonrise Kingdom (2012)

Featured Audience Ratings

• Aaron N

  
  Sam: What kind of bird are you? Just to get it out of the way, I am a big fan of writer/director Wes Anderson's work (Rushmore, The Royal Tenembaums, Fantastic Mr. Fox, etc.) and was already inclined to enjoy his latest film. The fact that I really enjoyed Moonrise Kingdom… More
  Sam: What kind of bird are you? Just to get it out of the way, I am a big fan of writer/director Wes Anderson's work (Rushmore, The Royal Tenembaums, Fantastic Mr. Fox, etc.) and was already inclined to enjoy his latest film. The fact that I really enjoyed Moonrise Kingdom does not come from a bias however; it comes from recognizing a well-made feature that is full great things, which includes warmth, whimsy, and affecting moments. Anderson's idiosyncratic filmmaking sensibilities have served him well here, providing a film that should play well to more than just the audience that already enjoys his films. It is the sense of innocence that is wrapped up inside a film that is frequently humorous and always alive with visual details that makes it a film worth seeking out. read the whole review at thecodeiszeek.com

• Carlos M

  
  Wes Anderson was probably bored with his toys when he decided to make this movie, out of a lack of anything better to do. He clearly has nothing to say here and throws everything he can think of (including a great cast) in this pointless, unfunny mess that leads nowhere.

• Eric H

  
  A Wes Anderson movie is a lot like Katy Perry, great to look at but painful to listen to. In this regard, "Moonrise Kingdom" is the ultimate Wes Anderson movie. Like the home of a spinster, it's meticulously maintained yet lacks human warmth. There are references to… More
  A Wes Anderson movie is a lot like Katy Perry, great to look at but painful to listen to. In this regard, "Moonrise Kingdom" is the ultimate Wes Anderson movie. Like the home of a spinster, it's meticulously maintained yet lacks human warmth. There are references to movies as disparate as "Shawshank Redemption" and "Eyes Wide Shut" but the story can best be described as a cross between "First Blood" and "The Blue Lagoon", Gilman and Hayward discovering their sexuality whilst hiding out in the local woods. There's an air of smugness about Anderson and the other members of the East Coast indie clique (Noah Baumbach, Sofia Coppola et al) that makes his work impenetrable for many, this reviewer included. The characters who inhabit his world are deeply unlikable, usually moapy middle class types suffering from first world problems. Every line of dialogue, coupled with the mannered delivery of an otherwise impressive cast, is cringeworthy in it's pretension. If you met anyone in real life who spoke like Anderson characters you'd go out of your way to avoid them. There's usually an element of chauvinism, his male characters are generally troubled intellectuals while the women are just troubled idiots. That's certainly the case with the two protagonists here, Gilman is smart way beyond his years while Hayward is a pretty but dumb girl who falls madly in love with him despite his coming across as a pretentious little git. I suspect Anderson was the victim of bullying in his schooldays, after all nobody likes a smartass, and this movie serves as a kind of revenge fantasy where he gets the girl and pummels his aggressors. Regular readers will be aware of how much of a bugbear the use of music in movies is with me. They're really the only two art forms which can complement one another yet while film can't enhance music, music can often enhance film. The use of Benjamin Britten lends this film a dignity it simply hasn't earned. Visually this movie is mind blowing, the intricately designed sets blend beautifully with the stunning New England locations. Cinematographer Robert Yeoman provides a masterclass in framing, anyone with an interest in photography needs to see this. There's no denying Anderson has talent, I just wish he didn't make us remove our shoes before entering his home.

• Glenn G

  
  Do you like dioramas? Are you a fan of precision? How about cold, ironic, distancing emotion wrapped in whimsy surrounded by sliding camera moves in perfect horizontal or vertical compositions? If your answer to all of the above is yes, then you're gonna go crazy over Wes… More
  Do you like dioramas? Are you a fan of precision? How about cold, ironic, distancing emotion wrapped in whimsy surrounded by sliding camera moves in perfect horizontal or vertical compositions? If your answer to all of the above is yes, then you're gonna go crazy over Wes Anderson's latest feature, MOONRISE KINGDOM. From BOTTLE ROCKET to RUSHMORE and on and on, Anderson has carved out a truly unique aesthetic in cinema. Nobody makes films like he does, which come across as carefully crafted tableaus, always aware of the theatrical proscenium arch and fairytale quality inherent in classic, old school storytelling. He's like the pop-up book of directors, and nowhere is this more apparent than in his new film. Set in 1965, it's the tale of two young kids who fall in love and escape their New England town as they utilize every survival tool at their disposal. It's also the story of their parents and authorities who tirelessly search for the missing children. But like all of the great tales, it's the tone that sticks with you, because let's face it, we've seen search and rescues since the beginning of time. Like all great filmmakers, you always know an Anderson film, because he is so exacting with where he puts the camera and what he reveals when he dollies left, right, up, or down. In fact, that's it in his bag of tricks as far as movement is concerned. His characters are usually one-note (but glorious notes they are) who speak most often in monotones. This affect worked wonders in the animated FANTASTIC MR. FOX, and here, it's sweetly endearing since we're focused on our two young leads. Without them, this would feel like hipster quirkiness, but in the hands of Jared Gilman and Kara Hayward, I felt such a tenderness between the two alienated and troubled characters. Think of a kinder, younger Dwight Shrute (from THE OFFICE) courting an even younger, but more dangerous Emma Watson (from HARRY POTTER) and you're getting warmer to figuring out the joys of this film. The adults, however, are pretty wasted here, each given one little gimmick apiece - France McDormand is the lady with the bullhorn, Tilda Swinton is woman with sleek outfits, Bruce Willis is Johnny On The Spot, and Bill Murray is just kinda hanging out. Edward Norton, however, really excels as a Boy Scout Leader who effortlessly commands his young troops, teaching them priceless skills and discipline. After countless brittle roles, he finally gets to channel his inner child here, and the results are a joy. In one endless dolly shot (a Wes Anderson staple), we go through Norton's morning routine from putting on his just-pressed bandana to inspecting the new Rube Goldberg-esque latrine until he finally arrives at the tent of our missing hero. It's right up there with the best shots in GOODFELLAS and BOOGIE NIGHTS and is a fine example of Wes Anderson's many gifts. Granted, his style is not for everybody. It can seem too precious and annoying. But I went with it, because I love one-of-a-kind storytellers. Just see it and let it take you away.

• Christopher H

  
  With Moonrise Kingdom, Wes Anderson proves he is at the top of his game, with stunningly choreographed cinematography, brilliant set pieces, and some of the best child acting in recent memory, proving that first-time actress Kara Hayward and first-time actor Jared Gilman both have… More
  With Moonrise Kingdom, Wes Anderson proves he is at the top of his game, with stunningly choreographed cinematography, brilliant set pieces, and some of the best child acting in recent memory, proving that first-time actress Kara Hayward and first-time actor Jared Gilman both have long, fruitful careers ahead of them. The love story is ripe, with writer/director Anderson never being afraid to delve into young romance in all of its glory. Tied together nicely with Anderson's trademark quirky humor and an award-worthy score from super-composer Alexandre Desplat, Moonrise Kingdom is one of my favorite films so far this year.