Moonrise Kingdom review

Sam: What happened to your hand? 
Suzy: I got hit in the mirror. 
Sam: Really? How did that happen? 
Suzy: I lost my temper at myself. 

Director: Wes Anderson
(2012)

In a way, it’s a shame just how little of Wes Andersons work I have seen. A weird and wonderful director, I was instantly drawn to his 2012 film Moonrise Kingdom due to the delightful Fantastic Mr Fox (2008). While my love for stop motion animation did factor somewhat on my enjoyment of the film, the oddball and erratic sense of humour was the true reason for my affection. With what felt like grand expectations I viewed Moonrise Kingdom, a film that’s as challenging as it is wonderful.

The story of Andersons latest is incredibly basic, lacking in any form of narrative complexities. Sam Shakusky (Jared Gilman) is the most unpopular member of the Khaki scouts, lead by the often hilarious scoutmaster Ward (Edward Norton). On the other side of the Island of New Penzance resides Suzy Bishop, a young girl with aggression issues and an affection for reading. Both are feeling stifled from their respective lives and hatch a plan to run away together as a storm approaches the island. With the help of Scoutmaster Ward, Police Captain Sharp (Bruce Willis) sets up a search party to find the youngsters before the weather ravages the island.

Staying true to form, Moonrise exhibits the same charm Anderson is renowned for. An emphasis on children, who often possess grown up tendencies, a bittersweet tone and lots of quirky situations; it’s all here. Yet in spite of this delightful front, Moonrise Kingdom feels remarkably half-hearted. It’s not as kooky as some of his other works (such as Fantastic Mr Fox) but doesn’t possess a strong core narrative to make up for the lessened charm. It makes for a bizarre film, one that equally hard to define as it is to appreciate. A fine example is Suzie’s parents, played by Bill Murray and Frances McDormand. Both of these talented actors are squandered in almost throwaway roles, their lawyer lifestyles and almost eccentric tics being severely underutilized by a director who smothers his films with such actions.

Other members of the cast aren’t squandered in the same manner however, with both Norton and Willis stealing a good few scenes. They're helped by an extravagant script from Anderson and Roman Coppola (the duo’s second collaboration after The Darjeeling Limited) consisting of some of the oddest humour you’ll ever come across in films. From electroshock therapy for orphans to fishing hook earrings, the use word bizarre would be an understatement. While the dry humour has been retained, Moonrise hasn’t been written to make its audiences sides ache, but rather to make them chuckle instead. The restrained comedy sits well with the overall tone of the film itself, which exudes a gentler, mellower feel. This is unmistakably Anderson and detractors won’t find solace in this latest outing, the humour remains as wet as any desert.

Set in 1965, Moonrise Kingdom is steeped in immersive period touches that bring this small island community to life. Augmenting this is the choice of shooting the film on 16mm, bathing scenes in a smeared, mystical hue. The format’s restrictions rears its ugly head every once in a while-especially with long shots- but Robert D. Yeoman’s cinematography is strong. While the distinguishing visuals may signal otherwise, Moonrise Kingdom is unmistakably a Wes Anderson film. The man clearly has a formula and his love for having focus on youthful characters, whether in age or spirit, is fully intact. Yet the final product feels a tad disappointing, under cooked somewhat. It’s not a bad effort, but doesn’t feel as fleshed out as one would expect from such a talented director. A film to watch and enjoy, but not to love and cherish.

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