Moonrise Kingdom - Movie Reviews - Rotten Tomatoes

Moonrise Kingdom Reviews

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August 1, 2016
From the first frame it feels like you're stepping into a dream or a children's story book. Wes Anderson's charming and lucrative imagination spills throughout this film and entangles its audience into its shenanigans. The characters are well written and expertly portrayed and the story keeps us wanting more from the mind of Wes Anderson.
August 1, 2016
instant classic love story
July 28, 2016
Wes Anderson's style is not for me, his films are pretentious and unfunny. I didn't buy the relantionship of the kids, i couldn't buy anything.
July 27, 2016
This nostalgic film will stand the test of time. Ed Norton is incredible as are all the players in this Wes Anderson jewel.
July 27, 2016
My personal favourite Wes Anderson movie, Moonrise Kingdom has fantastic directing, with the camera seamlessly gliding through the films terrific set pieces, and the script is also excellent, with great pacing and a perfect balance of emotion and comedy.
July 25, 2016
Not a kids film, but if you have mature young children the themes explored here will spark poignant conversation at any age. The cast is always a perfect treat in any Anderson film.
July 19, 2016
In this movie, you just want these two kids to get together, but they keep getting cock-blocked by the adults and that makes it thrilling to watch.
July 14, 2016
Wes Anderson has never been afraid to give a swift kick in the ass to realism and all naysayers - he's interested in art and he's sticking to it, because he does it so well.

Anderson-verse is a shared universe, a world of connectivity where people and things that seem sparse are more connected than they appear. Just as so, they are divided. This is an honest reflection of anyone's mind, and an artist who is given the freedom and reign to find that will almost certainly present satisfying results. I wouldn't have expected at first that Captain Sharp and Mrs. Bishop knew anything of each other, but to realize they're in an affair gives this world some juice. Each artist is the god over their domain, and in Moonrise KINGDOM, Anderson takes some inspiration from the Holy Bible. Unlike so many modern filmmakers who use this as a source of political upheaval, spewing hatred and paranoia at the church, Anderson makes no such criticism. He rather acknowledges it as a story that can reflect his own imagination, and godliness as an artist. There's at least Noah's Ark and a subsequent sacrifice made by the local sheriff, Captain Sharp (Bruce Willis), to save two children atop a church during the 'flood.'

Anderson films have such sweet tenderness to them, some personal touch and situations that draw out my inner-child. It may make some uncomfortable, but I like stories of young romance, as long as they don't become graphic. It speaks to the heart of adventure, this film's certain genre.

Worlds within worlds, a microcosm that easily shares a macro - it says something about a family when they hang a painting of their home in their home. They're trying to be a family and put some emphasis on that. Anderson's opening shot shows us the exterior in a dreamy painting, then maps out the upstairs floor, and ultimately pulls out of our main female protagonist's (Suzy) window to reveal an equally dreamy shot of the home itself in rain, surrealist quality, almost looks like a toy.

Anderson will stage things very obvious, literal, as you'd see in a play. I think the closest any director comes to squaring off the frame and putting it's viewer into a theater box is this auteur. Just in the opening credits, in the upstairs of the house, he frames Bill Murray and Frances McDormand, a married couple called the Bishops, on two separate points of the z-axis, implying a distance between them which foreshadows greater revelations - Murray is furthest, most in the dark about anything, especially McDormand's affair. But the camera pulls back to the foreground where Suzy continues looking out the window through her binoculars - she has her own mission, she'll be a missing child soon. But her parents' neglect, largely stemming from their marital dissonance, contributes to their ignorance of what's going on in her life. That's a lot to say in one shot; that's genius. Only wish it were in 3D to make those layers come to fruition. This whole opening is a visual/auditory essay that I could write about forever. All along he's dropping these hints about separation, distance. Multiple times in this montage, Murray and McDormand are clearly seen in separate rooms doing separate activities, divided by walls. In the aforementioned shot, Murray sits down to read with some wine at a table divided, which he collides so he can rest his elbows down - as the camera pulls back, McDormand notices him from the other room, refrains from going in and opts to smoke her cigarette at the doorway. And what do we hear all along? An orchestra broken into parts, narrated by a kid who talks about the separate parts which make musical harmony - an omen to this family's mission.

I happen to be amidst a production of Our Town and noticed Bob Balaban's Narrator is directly out of Thorton Wilder's pages, giving us a history and geography lesson of the fictitious setting, telling us about the delivery man and town/island functions, and informing us of act three's fateful storm. Unlike Wilder's Stage Manager, he doesn't take over the story, and remains SEPARATE rather than interactive. That he's a scientist combines him with Wilder's Professor Willard, whose lines Stage Manager could've done anyway.

Themes of separation continue throughout, as if each frame is intended to be this microcosm of that larger idea. Tents separated by a gap in the middle, a zipper opening straight down the middle separating either side of tent, distant radio communication between Sharp and Scout Master Ward (Ed Norton), cut to telecommunication in a priceless scene where Sharp tries to tell Sam's foster parents that their kid is missing - SPLITSCREEN and the foster dad informs he doesn't want Sam back.
July 9, 2016
I just watched this movie and, to be honest, I would have loved this movie when I was the same age as the main characters. It really understands the mentality of a twelve to fourteen year old outcast. The direction of the movie is impecable and the sets are beautiful. The pace is a little bit slow, but not terribly annoying. My biggest issue is with the celebrities acting in this movie. I know some people do need a big name attached to a film to go and see it, but I found it too distracting. I really love Bill Murray, Bruce Willis and Edward Norton, but their acting really felt flat. I mean, I never got to see the character over the actor. The kids in the other hand were fantastic. I would love to talk about the actresses but, beside the girl, they didn't get much time nor development. Talking about the girl, she was great and knew who to pull the troubled girl.
½ July 5, 2016
i loved this.. and want to see it again
June 26, 2016
best movie ever ssm is petty small actually but over all loved this film >))
June 18, 2016
Not what I was expecting, but not bad. It was definitely an interesting take on a story.
½ June 12, 2016
'Moonrise Kingdom' is odd, but overrated. It certainly has a distinct style, and the adult characters are funny and unique. However, the child characters, in Anderson's attempt at quirkiness, lack charm or any sense of humanity, making it hard to care about them.
June 5, 2016
Wes Anderson uses his trademark directing style to film yet another charming and warm hearted film that doesn't get too corny and has enough humor to keep you entertained. The all-star cast also does a good job, my only issue with this film is that even though it is a good watch, I not sure if there's enough to make it a memorable one.
½ June 2, 2016
love the style, don't love the story
May 21, 2016
When a movie points up an eternal moment, I feel we ought to sit up and take notice. In the middle of watching this, I was suddenly reminded of the middle school French teacher who wisely permitted Sean O Toole and I to spend an entire class, one day, under the materials table. It was a lot like this love moment, between two similar age people. I hope they let you and yours have your moment at some point as well. Maybe it's just French teachers what recognize that kind of romance, I don't know.

If you haven't seen this movie, you're in for a treat. It is shot in 16 millimeter, and it does resemble 1964 ish in some measure, especially Edward Norton's haircut, the young boy's frayed undershirt, the way the director let the good cut roll of the young actor, not the one Willis plays, which, coming from the theatre, not film, I don't understand the whole problem there. I just see that it's real hard to do.

So, sometimes, the younger actors are having a moment, but the older one stumbles on his words, but the director said, That's my take, so it must be hard to get even half of what you're working at, is all I know. In other words, it's funny to see Bruce Willis take a back seat to a 12 year old protagonist, and maybe, dare I say it, barely able to keep up, shall we say, to that 12 year old's acting level? Well, that's how I'm
calling it.
½ May 9, 2016
A quirky, delightful, and entertaining film that further solidifies Wes Anderson as one of film's best auteurs working today.
May 2, 2016
I have very limited experience with Wes Anderson, but if Moonrise Kingdom is indicative of the majority of his work then it might not be for me. There is one aspect of Anderson's film-making that I greatly respect and can easily get behind, though. I love the meticulous way he captures his own visual style. The perfect framing of scenes in rooms built specifically for appearing on camera makes the movie look like a story book. You can tell that every little detail has been planned in order to give a colorful and pleasing shot every single time. What I hate in this movie is that it takes place in some really odd alternate reality where people don't behave like normal human beings. Everything from the dialogue to the decisions made by characters is so strange that it's like I'm watching a bunch of aliens trying to reenact events they read about in our books. The cast is mostly full of very talented actors, and some of them almost manage to appear normal in certain scenes. The big exceptions to the good casting are the 2 lead kids. Now I don't want to criticize the actors themselves, because I feel like this was a director's choice, but they are worse than robots. It's as if Wes Anderson said "well, since kids are usually not the best actors, let's just steer into that skid" and he asked them to be completely emotionless in every line delivery. That kind of undercuts the whole plot of the film since it's built on these 2 robots falling in love. Ordinarily I would probably like this story, and I certainly would like it with this visual style. But because it is so weird and off-putting I was mildly annoyed by the whole thing and will be reluctant to see any more of Anderson's movies.
April 22, 2016
Wes Anderson made moments of weird and awkward look sweet and warm. The photography, dialogues and artwork reminded me of a regional director who took a similar style way back. A similar theme of emotional, calm and thoughtful adolescents vs. knee-jerk, crazy adults has been dealt with by many different filmmakers but this one stands out as a better finished product than most.

Sam (Jared Gilman) is an unpopular boy scout absconds from the camp run by strict and kind Scout Master Ward (Edward Norton). A search party involving Captain Sharp (Bruce Willis) is dispatched. At the same time they hear that a sad and depressed young girl Suzy (Kara Hayward) goes missing from a nearby town. Soon they realize that they both conspired to escape. Rest is how they spend time, get close and explore each other and what happens when the adults catchup with them.

The focus is on the new leads who give a superbly apt performance in the backdrop of lush vistas, creative and unconventional photography and artwork, melodious and blending soundtrack packed with some of the heaviest weights of Hollywood in Bruce Willis, Bill Murray, Frances McDormand, Edward Norton and Tilda Swinton. The opening scene photography and background score introducing the Bishops sets the tone for the oncoming brilliance. Wes Anderson deftly balances the innocence and maturity of the leads especially resonating in a delicate scene which could have easily become vulgar turns out to be warm and comic. The remaining big stars are given enough space to develop their characters written carefully not to overlap each other and they do give their money's worth.

A superbly supported Wes Anderson show
½ April 12, 2016
Quirky, cute, sweet, and oddly entrancing. Moonrise Kingdom is a fun story of teenage romance, a fun adventurous exploration of an imaginative world, and a great story of escape. It's a very high "Money Well Spent"
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