20 May 2012 12:35 PM, PDT | MUBI | See recent MUBI news »

Dollhouses within dollhouses: the island of New Penzance, the setting of Wes Anderson's new movie, which opened Cannes this year and will be released in the Us this Friday, is a miniature of the director's whole body of work—isolated, insular, steeped in mid-century nostalgia, populated by kids who do adult things and adults who behave like children. The place names—"Yeoman Lane," "Roman's Ruins"—reference the names of Anderson's collaborators. Middle-school-age girls are hip to Françoise Hardy and everyone is impeccably dressed. 

Anderson, it seems, has finally and thoroughly gone up his own ass—and yet the film happens to be one of his best and most inviting works. Moonrise Kingdom—deftly orchestrated but deliberately uncomplicated—is easily Anderson's sweetest, most sincere movie, and the only one, aside from Rushmore, where the director's stylistic and thematic conceits are perfectly in sync. It may be the twee-est, archest »

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