Moonrise Kingdom

Moonrise Kingdom is Wes Anderson's most playful film yet. All the Anderson trademarks are accounted for: the symmetrical framing, the rotating cameras, the slow motion walking sequences, etc. This time, they are employed in the service of a story...

A film as rapturous, magnificent, and affecting as “Moonrise Kingdom” shouldn’t feel so effortless. With his latest film, Wes Anderson presses his auteurist stamp with gentle authority and a firm, unironic conviction.

Sam and Suzy are in love. They may only be 12 years old, and they may have only met once, backstage at a church production of a Noah's Ark, but they believe in their love passionately. So does Wes Anderson, who focuses his new film Moonrise Kingdom...

Moonrise Kingdom is a film well worth immersing yourself in. Like most of Wes Anderson's films (Rushmore, The Royal Tenenbaums, The Life Aquatic), this is one of those pieces with such a distinctive aesthetic, you basically have to surrender yourself...

A typically quirky and erratic Wes Anderson effort, Moonrise Kingdom follows a pair of precocious adolescents (Jared Gilman's Sam and Kara Hayward's Suzy) as they flee from their respective homes and subsequently become the focus of a massive manhunt.

In his new film, Moonrise Kingdom, Sam (Jared Gilman), an orphaned 12-year-old Khaki Scout in owlish glasses and a merit- badge-laden uniform with a yellow kerchief, goes AWOL from his camp by running off to the meadowed wilds of Penzance Island.

Few working directors are as consistently, dependably quirky as Wes Anderson, whose films tend to excite art house audiences while being ignored and bypassed by mainstream movie-goers. His latest, Moonrise Kingdom, represents one of his best...

The adventurous circumstances and sensations of young love permeate Moonrise Kingdom, co-writer/director Wes Anderson's whimsical (Does he have another mode?) story of two misplaced—physically, emotionally, and psychologically—youths.

Moonrise Kingdom's opening sequences are a virtual catalogue of Wes Anderson's signature fetishes, and they sound awful on paper: precocious kids, eye-bleeding color schemes, "impossible" tracking shots, quirk-saturated environments.

Wes Anderson’s films have all taken place in a stylized version of the real world – from the Texas plains of “Bottle Rocket” to the meadows and dens of “Fantastic Mr. Fox” – but “Moonrise Kingdom” is the first to be set in an entirely fictional...

Given the prestigious opening night slot at Cannes, director/co-writer Wes Anderson finds himself in competition for the first time at the French film festival—and Moonrise Kingdom is worthy of prizes. The director of quirky...

Moonrise Kingdom focuses on squarely on the former, so its artificiality is more plausible and entertaining. In some of Anderson’s other movies like The Royal Tenenbaums, it was tempting to wonder when the characters would get a life and get past their...

Disarmingly sweet, Wes Anderson’s “Moonrise Kingdom’’ at its most appealing focuses on a tween Romeo and Juliet who take flight from their guardians on a small, fictional island off the coast of New England during the summer of 1965.

Moonrise Kingdom is fascinating to scan for such peculiarities, and Anderson readily provides them, continuing to discover new applications for his offbeat style. While the movie misses the pungent generational satire of Anderson's previous works...

“Moonrise Kingdom” opens with no music -- just the sound of raindrops falling on the roof of a preternaturally cozy house, which the camera gently leads the audience through as the family members inside go about their rainy-day business.

A great rainy day movie, “Moonrise Kingdom”—Wes Anderson’s silly, winning take on young adult literature—sees childhood as a storm to weather and adulthood as a confused search for a dwindling spark. The result: Anderson’s most delightfully...

Moonrise Kingdom, I can proudly report, takes this new trend in the filmmaker’s evolving style a step further, and has only expanded my growing respect of the Anderson’s skill as both a writer and a director.

The opening film at this year's Cannes Film Festival, Wes Anderson's Moonrise Kingdom is exactly what you'd expect from a Wes Anderson film, and his latest is pretty much more accessible, playing on the usual quirks in a now familiar...

Yet Moonrise Kingdom -- which manages the stunning feat of being both entirely unreal as well as entirely relatable, both the stuff of children as well as the yearning of ex-children -- is one of the director's most emotionally fulfilling films...

Wes Anderson กลับมาในท็อปฟอร์มของเขาอีกครั้งหลังจากประสบความสำเร็จในด้านคำวิจารณ์กับ Fantastic Mr. Fox เมื่อปี 2009 และในปีนี้ Moonrise Kingdom ก็ได้กลายเป็นมาสเตอร์พีซอีกชิ้นของเขา หนังว่าด้วยเรื่องราวของผู้คนบนเกาะเล็กๆใน New England

Moonrise Kingdom is Wes Anderson’s best work in a decade, as he returns to the nimble territory precariously balanced between fairy-tale whimsy and genuine emotion that made Rushmore (1998) and The Royal Tenenbaums (2001) such unique treats.

"Moonrise Kingdom", a delightful, 'little' and absolutely quirky comedy is the realization of that potential of the director.

Moonrise Kingdom creates such a world and takes place on an island that might as well be ruled by Prospero. It’s set in 1965, and might as well be set anytime.

As anyone who’s ever watched a Wes Anderson film will tell you, a mere description of the plot in no way prepares you for the sheer ingenuity and the delightful quirkiness of his work. His latest, Moonrise Kingdom, has many familiar elements from his...

Mr Anderson's oeuvre has left me distinctly nonplussed on occasion. I missed Bottle Rocket and The Fantastic Mr Fox, however, and thought The Darjeeling Limited merely OK, but loathed the vastly irritating and self indulgent Life Aquatic with...

Wes Anderson has honed his formally composed vernacular of kitschy nostalgic magic realism cinema to a super fine point. Making his debut animated film “Fantastic Mr. Fox” (2009) seems to have allowed the perennially youth-obsessed filmmaker to...

The important human experiences – heartbreak, joy, love, despair, failure, defiance – are often impossible to quantify. That’s one reason we need movies, where real life can be amplified and heightened until we forget where we are and start to believe...

We're officially at the year's mid-way point, and 2012's been filled with its share of disappointments. In a day in age when the number of quality releases each year are extremely bottom heavy for the sake of awards potential, going to the movies...

Wes Anderson movies are often described as ensemble pieces, but they're actually more connective than that. Each of his films is really a portrait of a community.

Nothing in a Wes Anderson movie is quite like life. He creates odd, gorgeous miniature universes on screen, setting his characters in italics, so that they become characters playing themselves in a pageant inspired by their own lives.

Wes Anderson has always managed to amaze me. From early films “Bottle Rocket” and “Rushmore” to the stop motion “Fantastic Mr. Fox,” he has perfected a simple style of filmmaking that is easily recognizable but not easy to replicate. He continues that...

Writers can be distinctive or not. Even the prose of many professional writers is indistinguishable from one to the next. And so it goes with directors and screenwriters.

What Wes Anderson lacks in variety he makes up for with a trademark style, a parade of interesting characters against a vibrant background, recreating the stories and places of his childhood. Anderson crafts and moves pieces, all lined up in colorful...

In Wes Anderson’s new movie, co-written with Roman Coppola, a 1960s New England town suffers mild upheaval when a sensitive Boy Scout (Jared Gilman) runs away with the girl he loves (Kara Hayward). Anderson still knows better than anybody how to...

When Kara Hayward steals away for a romantic camping adventure with her endearingly awkward 12-year-old suitor (Jared Gilman), she brings along an impractical array of supplies, including a portable record player and a cachet of illustrated books with...

Writer/director Wes Anderson's aesthetic leanings are difficult to define (Retro cute? Solemn whimsy? Painterly theatrics?) but very recognisable. His films are all composed with the precision of a Swiss watch, but they never completely lose...

From Kes to The Railway Children and from Paper Moon to Empire of the Sun, the sheer innocence of youngsters can transform all kinds of different stories.More recently, we’ve had everything from A Perfect World to Into the West and from Bridge to...

NOBODY creates mild craziness as nicely, pleasantly as Anderson. Nobody creates warm yet melancholic, set-piece homes like him as well. Here in one five-minute sweep of their house, he establishes the Bishops of Summer's End, living on a small island...

Anderson's films definitely aren't to everyone's taste, with his quirky approach to direction, character and and story structure. But this gently engaging adventure is his warmest, wittiest film since The Life Aquatic.