Available Quality: DivX, Hi Def, Hi Def
Director(s): Wes Anderson
Set on an island off the coast of New England in the 1960s, as a young boy and girl fall in love they are moved to run away together. Various factions of the town mobilize to search for them and the town is turned upside down -- which might not be such a bad thing.
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cynthiacher-1 (21 May 2013)
I went into this movie with high expectations; I assumed it would becharming, humorous, engaging. All those talented actors in it: BillMurray, Frances McDormand, Ed Norton, Bruce Willis, Tilda Swinton,Harvey Keitel...surely this must be a quirky, enjoyable movie. But ohmy God, it was terrible (the person I saw the movie with thought sotoo).The dialogue was witless and dull and hard to understand because allthe characters speak in low monotones. They all seem quite depressedand dulled. There was not one single likable, interesting character inthe film, with the possible exception of Ed Norton's besiegedscoutmaster. Even the children are unlikeable, especially the two 12year olds "in love." Suzie and Sam are not what you'd call asympathetic pair of protagonists; they're both, as the film makesclear, very mentally disturbed children and are so remorseless,expressionless and lacking in affect as to appear nearly sociopathic.It doesn't seem like their relationship is based on anything resembling"love"; love brings happiness and contentment and even when they'retogether they seem listless and depressed and rarely even smile. Maybethey're drawn to each other simply because they are both such strange,damaged children. The scene where they tentatively engage in sex playis supposed to be amusing I suppose. But I found it cringe-worthy;these two are still CHILDREN and to watch them french kiss and hearthat the boy got "hard" is grotesque, not funny.The other children in the film don't come across much better; they allhave the curiously flat, toneless voices that seem more suited to ajaded adult than a child (the children in this movie ALL seem more likeadults than children) and none of them exhibits much in the way ofpersonality, except for the "bad" (he might as well have "THE BAD KIDstamped on his forehead) scout that gets seriously injured (he'sstabbed near the kidney) by Suzie. The heroine of the film stabsanother child with a pair of scissors...what a sweet girl! And thenthere are the things that make no sense at all. Why does Suzyimmediately want an odd, unprepossessing boy that she doesn't know atat all to write to her? How did the bicycle get up in the tree? Why dothe scouts, who previously had no liking for Sam at all, abruptly feelcompassion for him (just because he's an orphan? these scouts don'tstrike me as a particularly sensitive and filled with empathy bunch)and band together to help him run away with Suzie again? How can Samget struck by lightning and pop up with no ill effects at all? How isit possible that Sam, Suzie and Captain Sharp all survive intact afterthe church steeple they are on is completely demolished? Why is it soeasy for Sam and Suzie to continue to see each other; all Sam does issneak in and out of a window with the help of his now foster father(why does Sharp suddenly want to be a foster parent to a disturbedchild?) Captain Sharp? Wouldn't Suzie's parents be very vigilant abouther not having any more contact with Sam? It all makes no sense.I thought about walking out on this movie, which is something I rarelydo. I wish I had; this movie made me literally SICK! I left the theaterwith a pounding headache and a queasy stomach. Really, it was THAT bad.Some people adore this film. All I have to say is that people who likethis movie must like bad movies. Because this one really stinks.
george.schmidt (20 May 2013)
MOONRISE KINGDOM (2012) *** Jared Gilman, Kara Hayward, Edward Norton,Bruce Willis, Bill Murray, Frances McDormand, Tilda Swinton, HarveyKeitel, Bob Balaban, Jason Schwartzman. Wes Anderson's ever straddlingof genius filmmaking and twee dioramatic storytelling continues in thisfunny and light-hearted boy-meets-girl comedy about a precociousadolescent romance between a scout (Gilman) and a paramour in thelovely form of a misunderstood girl (Hayward) who embark on a secretrendezvous only to be thwarted by ever-vigilant scoutmaster Norton(having fun at being a by-the-book nebbish); local law enforcement(melancholic Willis); the girls' miserable parents (Murray andMcDormand) and the hands of fate. Deadpanned to a dire degree with itsdeliveries of sharp, smart and funny dialogue courtesy of Anderson andfrequent collaborator Roman Coppola with its cute-as-homemade-shoesapproach to a 1965 cameo of a timeless puppy love affair.
tbmforclasstsar (19 May 2013)
It would be hard in modern day cinema to find a director that is morecommitted to a style of filmmaking and construction of story andcharacters than Wes Anderson. A modern day auteur of sorts, Andersonhas created films such as The Royal Tennenbaums, Rushmore, TheFantastic Mr. Fox, and The Life Aquatic with Steve Zissou; films thatdisplay deep characters and explore the relationships between peoplewho don't always outwardly convey their emotions. Stories of love,family, and growing up, his films have gained a semi-cult following(semi-cult because Anderson is well known, but does have a large groupof die-hards as well) from the inventive styles Anderson uses as adirector and his clever and moving writing.With all of this in mind, it is hard to not see Moonrise Kingdom as theculmination of everything Wes Anderson has offered in the past comingto a complete precipice as the most Anderson-y film to dateÂ andpossibly his best work.Moonrise Kingdom is the story of a young, outcast boy and a troubledyoung girl who find friendship and love on a small New England islandin the 1960s. But this isn't a simple story of young love. It can't be,considering Anderson is one of the co-pens behind the project. The filmcontains a deep story of mature innocence; the innocence of childrenrunning away to live together separated from the people that hurt themeveryday, but with the maturity given to these characters as if theywere adult fugitives running away from their troubles and enemies. Thisfilm is adorable and cute, but it is not built as a simple childfriendship story. It is, at times, violent, frightening, and evensexual. While still containing the innocence of these children,Anderson and co-writer Roman Coppola place these characters inscenarios well beyond their age, but honest and real.And this is one of the many refreshing things about this film.The young boy and girl that run away are Sam (Jared Gilman) and Suzy(Kara Hayward). Sam is a Khaki Scout (think Boy Scout) that is at acamp on the same island that Suzy lives on year-round with her lawyerparents (Bill Murray and Frances McDormand). The island is small, onlyhome to a handful of residents, the khaki scouts during the summer,lead by Scout Master Ward (Edward Norton), and looked after by IslandPolice Captain Sharp (Bruce Willis).To read the rest of the review (IMDb form is too short) visit:http://custodianfilmcritic.com/moonrise-kingdom/
irooshka-1 (18 May 2013)
it had everything that i want from a movie. seeing it made my day, likeseeing any good art does.1. beautiful cinematography. The 16mm quality, the saturated warmcolors and the 1960s retro props are really stunning and beautiful. theactors are not standardly pretty, they have interesting faces. the campsetting was so nostalgic and really conveyed the feeling of a memory ofa childhood.2. good acting. there is no overacting here. the kids were fantasticand so real. the casting of the stars was perfect from Bruce Willis toTilda Swinton.3. great story. it bordered on the surreal and had that quality of afairytale - where not everything is realistic and it doesn't reallymatter because it's a movie and anything can happen. it was a deepstory about the human character - sinister, complex and innocent at thesame time.
omar wasief (17 May 2013)
Wes Anderson fills his movies with beautiful dreamers and full-timeschemers: the criminally inept Dignan, with his 75-Year Plan (BottleRocket); Max Fischer, the half-cocked Renaissance man-child (Rushmore);broken, fixated Francis, forcing a spiritual quest on his grievingbrothers (The Darjeeling Limited). They're visionaries, really Â mostlyineffective but entirely sincere in their passions Â and they share theunyielding-to-reason conviction of a child, still perfectly certainhe'll get to the moon someday.Twelve-year-old Sam Shakusky (Gilman), a pint-sized romantic, is cutfrom similar cloth Â but he isn't asking for the moon, not when he'sgot stars in his eyes for Suzy Bishop (Hayward). A Khaki Scoutsummering on the island of New Penzance in 1965, Sam is instantlysmitten when he spies Suzy, a townie, playing a bird in a localproduction of Benjamin Britten's Noye's Fludde. He makes a plan to runaway with her (Anderson's heroes are always making plans, fastidiouspreparation part and parcel to their visionariness). The film followstheir three-day affair, wending from Sam's escape from camp Â "JiminyCricket, he flew the coop!" exclaims his pop-eyed scoutmaster (Norton)Â to the young lovers' trek through the untrammeled woods of NewPenzance, to the desperate efforts of a search-and-rescue team thatincludes Suzy's emotionally secretive parents (Murray and McDormand), asteadfast, bachelor sheriff (Willis), and a whole mess of Khaki Scouts,who take to their mission with the duty-first relish of tiny GIs off tofight the good fight.Hanging over the proceedings is an early tip by the narrator (Balaban),a green-beaned amateur anthropologist, warning that a monumental stormis brewing off the coast. That foreknowledge makes for a delicious kindof ticking clock that mirrors Britten's Noah's Ark opera, which playsthroughout, alongside so-lonesome Hank Williams, a FranÃ§oise Hardypop-chanson, and composer Alexandre Desplat's fairy-tale pizzicatoscoring. When the storm arrives, it's a dozy, especially as itintensifies a final, thrilling chase sequence. The film certainly owesa debt to the crafty kid imps of The 400 Blows and Small Change (by oneof Anderson's avowed heroes, FranÃ§ois Truffaut) but on the evidence ofhis artful and electric action direction, Anderson might work wonderswith a throwback thriller in the vein of his hero's hero: AlfredHitchcock.But back to that flood: With it, Anderson and his co-writer RomanCoppola have crafted an elegant and emphatic metaphor for adolescence,that tumultuous province of firsts and lasts. It's the end of the worldas they know it and suddenly, too, a new world for the taking Â anelating contradiction perfectly in step with this ever-tender film'ssway between antic and woebegone.
meeza (16 May 2013)
The Wes Anderson quirky flick "Moonrise Kingdom" is not for everyone;but when we are talking about Wes-stern films, you must know that theyare for an acquired taste. His movies are infamous for being unorthodoxand strange, which is very similar to my movie reviews minus thewisdom. I personally like many of his films, even though I found acouple of them disappointing; "Moonrise Kingdom" is not one of them. Itis very good, even though I do not like it as much as many critics andpseudo-critics do; I belong in the latter category by the way."Moonrise Kingdom" is set in an island village near the coast of (oops,I forgot!). I should have listened more to the film's Narrator who wasmarvelously played by Bob Balaban. The movie really stars two unknownchild actors, Jared Gilman and Kara Hayward as Sam and Suzy. They meetand young love commences. Sam belongs to a Scout Troop group, but runsthat coup to meet with young Suzy for a childhood romantic adventure.Sam is an orphan, who is a misfit with the rest of his scout peers.Suzy comes from an upper-middle class family that has its share ofdysfunction. Suzy rebels against her parents, who are both lawyers. Shealso has an anger management problem, but takes a sweet liking to Sam.So therefore they plan the "Summer of Sam and Suzy". Edward Nortonco-stars as Scout Master Ward who is distraught that one of his scoutshas runaway, of course I am referring to Sam. Bill Murray and FrancesMcDormand portray Suzy's parents, Walt and Laura Bishop. They are alsoin disarray when Suzy goes missing. Bruce Willis has been a die-hardfan of Anderson movies, so he rolls into this one as the Island PoliceCaptain Sharp. Willis' sharp performance as the Captain was king. Therest of the cast was also quite sharp, I must say. Besides theaforementioned actors, we also had some good thespian work from TildaSwinton as a Social Service Agent who went by the name "SocialServices"; (you gotta love it), and also from Jason Schwartzman asUncle Ben, I mean Cousin Ben (sorry I had too much rice). Anderson'sdirection and writing was worthy, even though he did not bring anythingnew to the cinematic table which he has not done before. "MoonriseKingdom" contains the same Anderson ingredients as his past films:family dysfunction, emotionless expressions, and tactile objects asnarrative centerpieces, etc. etc. etc. My favorite "Moonrise Kingdom"feature was its spectacular cinematography. Many are predicting that"Moonrise Kingdom" will thy kingdom come to the Academy Award spotlightwith several nominations. I would not put it in that pedestal, but Ihave no reservations why you should not scout out "Moonrise Kingdom".**** Good
bobbobwhite (13 May 2013)
A fun movie. Maybe not quite a classic like Beetlejuice but willentertain for years as the story is timeless and done with a totallystraight face by every character, even though it was so totally odd,quirky and funny that it never could be possible in real life. I keptlooking for Johnny Depp, knowing he he had to be in it, but he wasn't.The filmmaker Wes Anderson made each scene a viewer's paradise, as themain scene was always just part of the whole action. Two, three or evenfour odd and strange sub-scenes were always in the background, so eachtime you see it you will see something great you may have missedbefore.The story is of a foster home runaway twelve year old Khaki Scout boywho meets a lonely girl on a rural East Coast island, and love blooms.The entire story is how they constantly evaded being found afterrunning away to hide together in all the island's secret spots, butthen were found.Bill Murray and Frances McDormand were the girl's very odd parents,with Edward Norton in an against-type role as the dead serious,officious and so-procedurally-correct Khaki Scout Master. His scoutcamp scenes with his scouts were priceless. Anderson is a master ofscene decoration and cast costuming as well as dialog, and constantlyhits exactly what is needed perfectly for best audience effect. The zany dialog was always spoken so earnestly, even though it wasmostly outrageous, which made it best for surprise and resulting biglaughs no matter how unlikely the story or dialog so it never seemedcontrived or phony. It was so well done that it will be one of thesummer's best comedies, for sure. If you liked the total quirkiness ofEd Wood, Ghost Story or Big Fish, you will like this one. Don't missit.
Bruno Wang (12 May 2013)
There's no live-action director whose movies are more like animatedfilms than Wes Anderson. It's quite fitting that he ventured into stop-motion with "The Fantastic Mr. Fox", because the line between that andhis live work is thinner than it seems. And never has that been moretrue than with his new effort, "Moonrise Kingdom".Without a doubt, this movie has struck a nerve - in it'slimited-release opening weekend, it broke the all-time record forper-screen average at the box office (albeit on only five screens).Even now it's only on 16 screens, but averaged a massive $54,000 perscreen. By any measure, this film is a hit. I loved Anderson'sbreakthrough film "Rushmore", but I've been somewhat indifferent tomost of what he's done since. "Moonrise" is very successful atdelivering what Wes Anderson delivers - an absurd, surreal experience -a little precious, maybe - but often quite funny and always interestingto look at. If he's your cup of tea, I think you'll like this one - itmight be his strongest movie since "Rushmore".Moonrise-Kingdom-007Briefly, it's the story of 12 year-old "Khaki Scout" Sam (Jared Gilman)an orphan in New England in 1965, an "emotionally disturbed" kid whosefoster parents have decided "not to invite him back". At a churchperformance of Benjamin Britten's "Noah's Flood" he meets 12 year-oldSuzy (Kara Hayward), likewise troubled - estranged from her parents(Bill Murray, Frances McDormand) and sporting a violent streak, shelived for her binoculars, kitten and stolen library books. She and Samhatch a plan to run away together as a hurricane bears down on tiny NewPenzance Island, where she lives and his scout troop is holding theirsummer jamboree. This sets the town in a desperate search for them,including the affable police chief (Bruce Willis) and the well-meaningscoutmaster (Edward Norton).You should know what to expect here - lots of self-conscious Andersoncharm and interesting visual tricks. The movie is a kind of movingstorybook, with lots of 360 pans, narrow-field shots as if seen throughSuzy's binoculars, and pastel lighting. As all Anderson's films are,it's a love letter to childhood and to social misfits. The adults aremostly well-meaning but hopelessly lost in relating to the kids.Childhood isn't romanticized so much as fetishized - Sam and Suzy arehilariously frank with each other, including on the subject of sex ("Itfeels hard." "Does it bother you?") and Sam's fellow scouts can becruel, but also hold a reserve of "Us vs. Them" loyalty. Authority isdespised (the social services lady refers to herself as "SocialServices") and only interested in destroying Sam's uniqueness andforcing him to conform. Obviously, Anderson isn't going for reality any more than The BrothersGrimm were - but he is trying to shed some light on childhood usingfantastical means. And he largely succeeds, thanks in part to Gilmanand Hayward's straightforward charm. I suspect that many of the folkspaying to see this movie don't realize that they're the ones Andersonis making fun of, but that's part of the fun in watching an Andersonfilm. Bruno Wang says: This is escapist entertainment, and how much youcare to read meaning into it is entirely up to you.
tmenzing (11 May 2013)
Saw Moonrise Kingdom last night. Had not heard anything about it, onlyread a brief snippet online saying it was this Summer's "Midnight inParis." What a let down. It is a kid's movie. I am sure my ten year oldwould have loved it but for me it was Huck Finn without the politics.We arrived late and the room was absolutely full of q-tips way over 50.The room burst into applause at the end. All a guy can say is WTF? Takekids ten and up and get ready for another Dreamworks-style dead-loss oftime.Now my cultured, liberal friends can tell me what an idiot I am.So it goes.
zif ofoz (11 May 2013)
the negative reviews posted about this movie have me scratching my headand asking, 'did they actually watch the movie or were they vacuumingand dusting while the movie played?' HUH?this delightful surrealistic comic book style adventure had mecaptivated from start to finish! the script and characterizations aretop of the line from each actor. the boy & girl are just superhuman andcannot be taken as 'real'. as most of the cast! the coloration of thewoods and wilderness is rich and inventive and adds to the surrealeffect.honestly i cannot find fault with this movie. even the cold hearted'social services' window scene during the storm is so symbolic of theChristian religions empty promises that cannot be fulfilled.i certainly hope more people 'watch' this movie.
gavin6942 (07 May 2013)
A pair of young lovers (Kara Hayward and Jared Gilman) flee their NewEngland town, which causes a local search party to fan out and findthem.Many directors have a certain stamp they leave on their films that makeit clear who was responsible. I daresay that Wes Anderson more than anyother director might be the master of the stamp. If his name appearednowhere on this film, the colors, characters and quirky plot would justgive it away. He makes the indie style mainstream.That being said, this is probably Anderson's best film in years. Icannot say I ever disliked any of his work, but "Darjeeling Limited"(for example) did not meet the expectations it should have. Here, wehave the full Anderson experience: Bill Murray, Frances McDormand, arefreshing Ed Norton, and even Harvey Keitel (who seems to have fadedaway over the last decade). Bruce Willis was the weakest link, butluckily he was not crucial.A good deal of work went into the production: the creation of the maps,paintings, books and more. I assumed the books were real, and I assumedwrong. I thought it possible that the map was real, but it was not. Sothis is a credit to the art design crew -- they made the fictionalrealistic, which is no easy task.The film is nominated for Best Screenplay, and I think that is valid.On a surface level, it is a story of two outcasts and the innocence ofyoung love. That alone makes a good story when told by the right people(as it is here). But then you add the second level, where the childrenare contrasted with the adults whose relationships have crumbled. Weare not weighted down by their negativity, but are still fully aware ofit. Perhaps the adults and children are a mirror to each other? The third level is one I am not completely sure how it fits or what itmeans, but I believe there must be some symbolism to the flood motif.The island is shown three days before a flood, and a play showingNoah's Flood is prominent. More so, Suzy Bishop plays the raven, whichwas the first bird Noah released to see if the flood had ended. Does itmean something that she was a raven and not the sparrow? I am not sure,but I think so.Some critics have listed this among the best films of 2012. I am not asconfident. While certainly top 20, probably not top 10. But still wellworth a view.
josedeleon3000 (07 May 2013)
Wes Anderson works wonders and magic again with Moonrise Kingdom, aspectacle that if celebrated enough, will have a place in movie historyas well as in our hearts. Other films a are scheduled for release thisyear but now I know that none of them will top this as the best liveaction film of the year. A wonderful and nostalgic homage to French NewWave cinema and spoof of French coming of age drama and romance filmsof the 1960s and 70s like The 400 Blows and Pierrot le fou, The reasonbehind why this movie works is not just because it leaves a warmfeeling in your heart and soul, but because you leave the movie longingfor your childhood. Its like a drug.
Sruthi B. (07 May 2013)
I absolutely loved this film. What a work of art. There is a quirkyfeel to this film and with many unexpected twists and even deepermeaning that can be found if the viewer embarks on a sort of simpletreasure hunt. The films protagonists are two young troubled pre-teensand this film is their discovery of love and adventure. The deepermeaning I referred to above has to do with the context of the reasonswhy these pre-teens were troubled and how they overcame that, I won'tspill anymore. I love the dynamics between all the characters andespecially the Khaki scouts! This will be on my favorites list for awhile to come.
Hellmant (06 May 2013)
'MOONRISE KINGDOM': Four and a Half Stars (Out of Five) Wes Anderson brings us another odd and quirky comedy masterpiece, thisone is sort of a 'Romeo & Juliet' style love story. It tells the taleof two twelve-year-old outcasts in love who run away from their NewEngland town and cause a search party. Anderson directed the film aswell as co-wrote it with Roman Coppola (who also wrote 'THE DARJEELINGLIMITED' with him). It stars two impressive young newcomers as well asvets Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, TildaSwinton and Harvey Keitel. The movie has all of Anderson's usualtouches and flavor and I thought this was actually one of his betterworks.The film is set on a New England island in 1965 and revolves around twoyoung lovers named Sam Shakusky (Jared Gilman) and Suzy Bishop (KaraHayward). Both are misfits: Sam is an orphan who was the least popularmember of his scout camp and Suzy despises her dysfunctional family.The two met at a church play the previous summer and had remained penpals for an entire year before deciding to run away together thefollowing summer. They run in to the forest in search of a special covewhere they plan to spend the rest of their days together. Suzy'sparents (Murray and McDormand), along with the Scout Ward (Norton) andlocal police Captain (Willis), begin a search party for them.The movie is all about the innocence of youth and what despair itsometimes causes them to look forward to the adult lives their parentsand other influences represent for them (often kids have their actstogether much better than adults do, as age often corrupts). It's alsoabout love and adoration as well as being a social outcast, especiallyat a young age. Anderson delivers these messages beautifully (with hisquirky touch) and the music by Alexandre Desplat is breathtakinglyfitting. Often I find Anderson's work just a little too abstract for meto fully relate to but other than that his pictures are nearly perfect.I see this film the same way, although I'd place it a little higherthan his previous few efforts. Still it doesn't live up to 'BOTTLEROCKET' or 'ROYAL TENENBAUMS', which are my favorites of his.Watch our movie review show 'MOVIE TALK' at:www.youtube.com/watch?v=YOMEqlGt6m4
citizenjared (04 May 2013)
It seems there's a divide between those who really enjoyed it and thosewho really did not. Very few in-betweens.I believe Anderson does things differently for a reason. Hedemonstrated that you don't need to know a character's entire historyto understand them or their circumstances. I read from a reviewer thatthey disliked the monotone style acting. Again, it's an unconventionalapproach to acting, but gives it a likable feel. Everybody has amelancholy attitude and some sort of sad story. Their acting styleshows, in my opinion, that they're not happy nor completely sad, butsimply in a gray area in life where they're not sure what they shouldbe. There seems to be a standard of what good acting or good movies aresupposed to be. The rigidity that some people have really blind themfrom what creativity the director is trying to convey. People tend toplace a standard and can't open their mind to new or differentconcepts.The world set by Anderson is spelled out well by the narrator. Thescenarios maintain a sense of realism, but there are moments (oftenquite funny) of unrealistic happenings. Taken from a rigid perspective,this could leave a person soured. However, if you view it from aperspective of perhaps a grandfather embellishing a story, then you cansee why the abnormal tends to happen from time to time and you canreally get what's going on.I guess what I'm trying to say, is that sometimes we need to let go ofrules and expectations, and let the story be told. A seasoned directorsuch as Anderson does things for a reason, and if you're not gettingit, you probably are one of those rigid people I mentioned in myblathering above.
Dan Franzen (04 May 2013)
In Moonrise Kingdom, two kids on a remote New England island, fromdisparate backgrounds, decide to make a break for it, running away fromtheir parents and Boy Scout troop, respectively. Wes Anderson's quirky,stylish romantic comedy-drama is pleasant, with all the usual off-beattrappings. It is both tender and amusing and infinitely relatable foranyone who remembers being a preteen and wishing to escape.In 1965, Jared Gilman plays Sam, a Scout member. He's disliked by theother boys, probably because of his over-sized glasses and overactiveintellect. His scoutmaster is played by the redoubtable Edward Norton.One morning, when Sam does not show up for the camp's breakfast,Scoutmaster Ward discovers that the boy has left in the middle of thenight. He calls in Captain Sharp (Bruce Willis), who canvasses theisland and informs the Bishops (Bill Murray and Frances McDormand),just in case they see the boy. And soon thereafter, wouldn't you knowit, but their rebellious daughter Suzy (Kara Hayward), is also missing.And so a manhunt is afoot.The most delightful aspect of this movie is that it, like Stand by Mebefore it, feels as if it's viewed directly through the perspective ofyoung kids. Some adults are nice, some are not. Other kids can be mean.You can count on yourself and few others. Both Suzy and Sam come fromunorthodox homes with some measure of regiment, and through the powerof being pen pals, decide on a complex plan of action.But this isn't just a movie about two kids on the lam. It's aboutpeople discovering themselves, allowing themselves to be reborn asbetter scoutmasters, better parents, better cops. It's about younglove's slow blossoming. It is not about physical intimacy. It's agenuine, honest, and deeply enchanting, colored in luxuriant blues andyellows and earth tones, peppered with the staccato speech of ascoutmaster and the angst of a police officer, and drenched in someterrific character acting. Hayward and Gilman are better than you wouldexpect from neophytes; much, much better. Their pain, their loss, theirlove, their gain, their everything - we feel it all right there withthem. It helps that Anderson has assembled a top-notch cast, even if none ofthem really get a lot of screen time. Willis, McDormand, and an almost-unrecognizable Harvey Keitel are all standouts. The story moveslightning quick, pausing only to show us tender moments in starkcontrast to the mad dash to find the fleeing duo. It's a given thatwe're to root for the kids, but the adults are by no means presented asevil-doers who wish to punish their offspring. This is a movie thatteaches us by allowing us to relive our own childhoods and see thechoices laid out before us. And, like any kind-hearted movie, it showsus that love is a shining thing.Although I enjoyed Anderson's whimsical atmosphere set against somefairly serious backgrounds, including children in danger and evenblood, I liked this movie first and foremost because of the dead-onperformances of Gilman and Hayward, two stars in the making. Theirchemistry is palpable; they are simultaneously a mismatched couple andtwo meant to be together.
armitage923-429-56779 (02 May 2013)
I went to this movie on the recommendation of my 23 year old daughter.It was disappointing, to say the least. I don't know why she thought wewould like this movie!First, a positive. Great cinematography, pretty colors, and nicescenery. The look and feel of the movie is quite pleasant. But for me,that's not enough.I found the story-line quite predictable. I also found the charactersto be flat and mostly unlikeable.The acting is amateurish. The only two who gave great performances wereFrances McDormand and the actor who played Scoutmaster Ward. Even BillMurry and Bruce Willis were not at their best in this film. The childactors were dull and disingenuous. The plot moved slowly causing me toyawn frequently. I think I giggled slightly at one part, so I don'tunderstand some of the reviews that say it is funny.It is sad, definitely melancholy as many have mentioned, and simplydull. Oh well. At least I got to go out on a date with my husband.
kdnor2011 (01 May 2013)
I was actually really, really looking forward to this movie. Notbecause Wes Anderson directed it though. I know he's like a reallypopular director, but I haven't seen any of his movie until now. I wasexited because I had heard so many great reviews, how it was the bestfilm of 2012 so far, and...well actually that's about it. I never readwhy it was so good, I just sort of assumed it would make me cry. Thatwas sort of a mistake, the film isn't one that sets out to make youcry. It actually is more of a feel good movie, and while it doesn'treach the levels of something like Forrest Gump or Slumdog Millionaire,it's still a damn good film.I think one of the main things that took me out of the story was that Ijust didn't feel that the two kids were really in love. The kidsweren't bad actors, but their relationship just feels forced at times,I wish I had more time to know how they met and what their similarinterests are. Part of me thinks that was kind of the point, that thekids aren't really in love and just want to act rebellious, but part ofme also thinks it was supposed to be serious. And why does Suzy neversmile, Bella Swan smiles more than her. I get that she a bit disturbedand stuff, but would it kill her to smile. Plus Anderson's directon gota little annoying at times. Not much, it certainly has a veryinteresting style (I'm assuming) but sometimes it got a littleannoying.But while I didn't really care about the realationship as much as Iwanted to, I did really like these kids. They're very likable, don'tdeserve some of the stuff that happens to them, or what the adults wantto do to them, and were portrayed well. It's downright hilarious attimes. Bill Murray has still got it, I LOL'D several times in themovie, sometimes at jokes, sometimes at the cheap special effects, orhow absurd some things are. This movie gets pretty damn adult, and Iknow it's PG-13, but half the time it plays out like a PG or even G.There's quite a bit going on, and it doesn't feel rushed for a moviethat's only an hour and a half long. And it looks very nice, I'm notgoing to seek out the rest of Anderson's movies, but if I catch one onTV, or find one cheap, I'll check them out.I had this movie wrong, I expected a serious drama, when it's really acoming of age film, and for what it is, it works really well. Sure therealationship feels a little forced, and it can be annoying at times.But it's hilarious, and leaves you with a good feeling. Not my favoriteof the year, but pretty good.
Zavvio Mok (30 April 2013)
The theme of the movie is very pure, cleanly originated from the mindof teenagers. The love, the violent, the complex mind, the capability,the braveness, and many others are revealed from us, usually masked bythe moral of our society. It is a simple love story, but it proves howunique are we human beings. The movie was beautifully portrayed, withthe tone, the atmosphere, the moving, the realistic, the lines dressingthe speaking eyes of the young actors. For me, I really love the partwhere the characters write each other letters, and later they way theyspeak to each other, and how their look into each others' eyes spoke athousand words. In all, this movie is unexpectedly deep-thinking andartistic.
spudlum (30 April 2013)
You wouldn't be alone in thinking that every Wes Anderson film is muchthe same. Each one involves family dysfunction, melancholy adults,meticulously planned camera shots, immaculate soundtracks and all, barone has Bill Murray credited. Yet amongst this recycling of everythinghis old films consist of, Anderson manages to make his latest ventureMoonrise Kingdom fresh, new and somehow completely different.Set on the fictional island of New Penzance, Khaki Scout Sam Shukusky(Jared Gilman) and deadpan dreamer Suzy Bishop (Kara Hayward) fall inlove and elope, to live life in the wild, away from their families. Onthe case to find the two love birds is island police officer CaptainSharp (Bruce Willis), Scout Master Ward (Edward Norton) with troop intow, as well as Suzy's lawyer parents Mr and Mrs Bishop (Bill Murrayand Frances McDormand). Doesn't sound quite hectic enough for anAnderson film? Then maybe the fact that there is the biggest storm onrecord heading their way will satisfy that. As with all of Anderson'sfeatures though, it never feels cluttered and doesn't dwell on a singlemoment or problem any longer than it needs to.Moonrise shows two sides of life; on the one hand we have the twelveyear old love birds, completely naive of the world ahead and believingthey can make it through anything together. The newcomers Gilman andHayward excel with their ability to express so much emotion and passionfrom such impassive performances. On the other end of the spectrum wehave the adult characters, all of whom are drizzled with sorrow, asense of opportunities missed and past demons hanging over them.This is no drab, depressing affair however, even at its lowest pointsthe film spews life and energy from every shot and pan of the camera.It's clear each image has been scrupulously thought and rethought so asto achieve the aesthetic pleasure that it does in all of Anderson'sventures. To boot, Francois Hardy, Hank Williams and Benjamin Brittenenlighten the soundtrack to accompany the cast throughout their ventureperfectly. Although the film isn't without its faults; the remainder ofthe Khaki troop are underused, and the narration by Bob Balaban seemsfairly unnecessary.Moonrise Kingdom is Anderson's second writing collaboration with RomanCoppola (son of Francis Ford) and is much more engaging and heartfeltthan their previous outing, The Darjeeling Limited. With such asignature vision it could be easy for Anderson to get caught up inhimself and create a self indulgent mess. It would seem he is veryaware of this however and stays on the right side of the spectrummaking it engaging and entertaining without pushing it to be quirky forthe sake of quirk.Part action romp, part romance, part comedy and part coming of agedrama; it all adds up to make a wholly captivating film. Despite beingarguably the same as every other Anderson film Moonrise Kingdom isanything but.
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