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Moonrise Kingdom (2012)

PG-13  |   |  Adventure, Comedy, Drama  |  29 June 2012 (USA)
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Ratings: 7.8/10 from 221,554 users   Metascore: 84/100
Reviews: 373 user | 476 critic | 43 from Metacritic.com

A pair of young lovers flee their New England town, which causes a local search party to fan out to find them.


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Nominated for 1 Oscar. Another 36 wins & 114 nominations. See more awards »



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Cast overview, first billed only:
The Narrator
Andreas Sheikh ...
Chandler Frantz ...
Rob H. Campbell ...
Deluca (as Rob Campbell)


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 Production

Plot Summary | Plot Synopsis


A tormenting and surprising story of children and adults during the stormy days of the summer of 1965.

Motion Picture Rating (MPAA)

Rated PG-13 for sexual content and smoking | See all certifications »

Parents Guide:



Official Sites:

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Release Date:

29 June 2012 (USA)  »

Also Known As:

Moonrise Kingdom - Un reino bajo la luna  »

Box Office


$16,000,000 (estimated)

Opening Weekend:

$522,996 (USA) (25 May 2012)


$45,507,053 (USA) (26 October 2012)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:



Aspect Ratio:

1.85 : 1
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Did You Know?


During the closing credits, the voice of a young person introduces various instruments as they join in playing a song - an obvious reference to the records played in the Hayward home. This method of spoken introduction has however also been used outside of education recordings, such as in the obscure 1967 song "Intro and Outro" by the Bonzo Dog (Doo-Dah) Band where atypical and strange instruments are introduced as played by unusual and unlikely musicians (such as John Wayne and Adolf Hitler), and in Mike Oldfield's seminal 1973 work "Tubular Bells" where Part One is concluded by Vivian Stanshall as "Master of Ceremonies" crediting one by one the instruments used earlier in the piece. Co-incidentally, tubular bells are listed as part of the deconstruction of the Desplat piece. See more »


At the beginning of the movie, Suzy looks out through a window using binoculars. When shot from the inside she is in the top attic room looking out through a dorm window. When shot from the outside she is in the middle tower room. See more »


Laura Bishop: I'm sorry, Walt.
Walt Bishop: It's not your fault.
Walt Bishop: Which injuries are you apologizing for, specifically?
Laura Bishop: Specifically? Whichever ones still hurt.
Walt Bishop: Half of those were self-inflicted.
[staring at ceiling, storm rages outside]
Walt Bishop: I hope the roof flies off, and I get sucked up into space. You'll be better off without me.
Laura Bishop: Stop feeling sorry for yourself.
Walt Bishop: Why?
See more »


References Dad's Army (1968) See more »


The Heroic Weather Conditions, part 3 (The Salt Air)
Composed by Alexandre Desplat
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Frequently Asked Questions

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User Reviews

Anderson's finest yet?

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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