With a plan to exact revenge on a mythical shark that killed his partner, oceanographer Steve Zissou rallies a crew that includes his estranged wife, a journalist, and a man who may or may not be his son.
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
F. Murray Abraham,
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. Written by
While Suzy's books in the movie are fake, "Noye's Fludde", is in fact a real 1957 opera by Benjamin Britten. The text is based on an edition by Alfred W. Pollard of an early 15th-century mystery play from the Chester Mystery Cycle. The opera is written to be performed by a cast primarily of amateurs, and Britten requested it be performed in a church or a large hall but not in a theatre. Hence why it is being done by children in a church. See more »
When Sam is eating in Captain Sharp's trailer, the serving fork changes positions in the frying pan on the table and the top layer of bread on the sandwich changes position. See more »
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.
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