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
Before filming, neither Kara Hayward nor Jared Gilman had ever seen a typewriter in person. Hayward later said, "Fran (Frances McDormand) had a lot of fun with that. She couldn't believe it. She showed me that the keys are in the same place as now (on computers)." See more »
There are numerous inconsistencies between the map shown in the beginning of the movie during the narrator's introduction of New Penzance, and the two maps shown later in the movie when Troop 55 rows across the Cold-Water Strait and when Scoutmaster Ward sends a message to Fort Lebanon. The map in the beginning of the movie shows that there are no islands in Stone Cove, but the later maps do have an island; the size, shape, and position of Belgian Hours change in the later maps compared to the first map; Lily's Look-Out, Polish Prince, Treasured Indian Grip, and St. Jack Township are labeled farther east on the first map compared to the later maps. There are also many coastline inconsistencies between the first map and the later maps. 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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