Phonies may complain that Anderson's island of misfit toys is a retreat from the real world, but for pure-hearted adventurers who share the secret map, "Moonrise Kingdom" is a joy that cannot be eclipsed.
"Moonrise Kingdom" takes place in a world where everything seems pleasantly faded, where people read crackly-covered library books rather than e-books, and where young people are allowed to be genuinely innocent.
Anderson's best feature since Rushmore, in part because, like that film, it takes as its primary subject matter odd, precocious children, rather than the damaged and dissatisfied adults they will one day become.
We may look back on Anderson's works as we do on the boxes of Joseph Cornell -- formal troves of frippery, studded with nostalgic private jokes, that lodge inexplicably in the heart. In Moonrise Kingdom, that lodging is already under way.
What makes it an Anderson movie are the things he adds which mark all his films - the pop-cultural obsessions and excruciatingly detailed set decorations, overarching thematic concerns and little stylistic tics.