Moonrise Kingdom [Blu-ray]

If Moonrise Kingdom were a cocktail, it would be two parts childhood adventure, one part deadpan wit, and a generous splash of meticulously arranged aesthetics—served in a vintage thermos. Directed by Wes Anderson, this 2012 film tells the story of Sam (Jared Gilman), an orphaned Khaki Scout with the social graces of an insurance claims adjuster, and Suzy (Kara Hayward), a brooding preteen who reads books about runaways and dresses like she’s perpetually auditioning for a French New Wave film. Together, they decide that love—awkward, dramatic, and wildly impractical love—is worth disappearing into the wilderness for.The Cast: A Symphony of OddballsBruce Willis plays Captain Sharp, a small-town cop who exudes the energy of a man who’s given up trying to make sense of life but still files the paperwork. Unlike his Die Hard days, there are no explosions—unless you count the slow burn of his existential crisis.Bill Murray is Walt Bishop, Suzy’s father, a man who wears matching pajamas with his wife (Frances McDormand) and wields an axe in moments of quiet disappointment. His deadpan delivery is so dry it could sand furniture.Edward Norton as Scoutmaster Ward is possibly the best casting decision since someone thought, You know who should be Batman? Michael Keaton. He runs his scout troop like a military unit, yet crumbles under the weight of minor inconveniences. The man just wants to instill discipline, but his own life is held together with slightly frayed merit badge patches.Bob Balaban, acting as the film’s narrator, drifts in and out like an omniscient weatherman with the gravitas of a middle school history teacher who’s given up on controlling the class.Frances McDormand, as Suzy’s mother, communicates mostly via megaphone—because of course she does.The Vibe: Whimsical Yet Deeply ConcernedThe film is set in 1965 on the fictional New England island of New Penzance, which feels like it was curated by a team of antique shop enthusiasts. Every frame is painstakingly composed, making even a group of emotionally stunted adults look like a quirky postcard.The humor? Bone-dry. The kind of comedy where a character stares blankly into the abyss and just lets the moment linger. Imagine Bill Murray reading a eulogy for a goldfish. That’s the tone.The Romance: A Case Study in Young, Earnest LoveSam and Suzy’s relationship is what would happen if two kids read The Catcher in the Rye and thought, Yeah, society is the problem. Their love is serious—deadly serious. They write letters, they plan, they run away like two middle-aged people who just discovered they can retire early. Their relationship is so deeply committed that it makes the adult characters seem unmoored in comparison.The Verdict: A Love Letter to EccentricityWes Anderson made a film that feels like a perfectly preserved diorama: everything in its right place, everyone performing their quirks with precision. The movie is funny, but not in a ha-ha way—more in a why does that make so much sense? way. If you love stories about misfits, if you enjoy humor that’s drier than a 1960s library archive, and if you want to see Bruce Willis in a role where he’s not shooting anything but his shot at redemption, then Moonrise Kingdom is worth watching.Final score? Four and a half vintage suitcases filled with childhood rebellion out of five.

First, let me get something out of the way: I'm a brainless Wes Anderson fan and couldn't possibly offer you an actual review of this movie. I'm a hipster twit who would love this movie even if it were just a blank screen for 2 hours, etc., etc. If you don't like Wes Anderson's films, and he is entrenched in his style enough that you know what that means, please save yourself the frustration of reading my review...because I do like Wes Anderson and I won't respond to any comments along the lines of the above.I don't think Anderson is a one note director even though there is no debate that his films all share a particular feel, style, and tone. When the opportunity presents itself in this film, quite a bit of it takes place outside in larger spaces, his typical meticulous mis-en-scene is showcased. The dialogue is as spare, direct, and tight as ever. Some people apparently find this off-putting since the two leads are children...I think this betrays a lack of familiarity with Anderson (maybe more, but at least this) since he has always handled children /as they are/ - as young adults. I mentioned RT in the title because I think it is the closest to MK in terms of emotional tone. There is a desperation in all of these characters that cuts through my defenses as a viewer. I won't deny being a willing audience, but I have no trouble finding my way into each moment. Finally, to wrap up the general stuff, there is a touch of the fantastic in Moonrise Kingdom that seems like a holdover from the Life Aquatic - but I don't think it is central to the film and it doesn't change the overall tone.This is an adventure story, and a love story, and an escape story...at times it's tragic, at times funny, at times awkward, and it's almost always exciting. In short this is a movie about being a young (pre-)teen. The leads are in that embarrassing moment in which hormones, desire, and passion meet with inexperience. They are isolated from the world in many ways and alienated from their peers and most of the adults around them. It's the two of them against the world. And the really lovely thing about this film is the way they succeed.The adults are all disconnected from the children to different degrees (for different reasons), but one of the many exceptional things about the film is the way that each adult is a foil for the leads. One easy example is the failed marriage of Suzy's parents contrasted with the feverish and indomitable love between Suzy and Sam. As is always the case with Anderson, not a moment or exchange is wasted or empty.I'd like to say more about the movie, but it would really be best for you to just see it.Product note and two tangents:- The blu-ray release is very fine in terms of picture and sound, but many fans will find the lack of additional features somewhat disappointing. I am sure that a future release (Criterion maybe) will include such features. In the meantime this bare-bones release will either sate your appetite for the film, or just seem like a money grab, etc. I'm not disappointed enough, or cynical enough, to feel cheated...and besides, I don't want to wait...- If you're on the fence about this film because you've heard that there is something voyeuristic, pornographic, or indecent about Suzy and Sam's relationship (a particular scene really seems to have bothered some viewers)...please do yourself a favor and put that out of your mind. I have no idea how anyone could find this so offensive...I could venture a guess, but it would be very mean...if you live in a world in which teenagers do not think sexual thoughts, utter sexual sentences, or do sexual things, then you may very well be offended.- Along the same lines, if you're on the fence because you've heard there is gratuitous violence against an animal...please put that out of your mind also. If you think a good film CANNOT portray an animal being harmed, then you will not think this is a good film. If, instead, you think that a film can portray an animal being harmed as part of a larger story, as part of a particular moment in a character's development, then you should not hesitate to watch the film on this account. For anyone suggesting that the death is unnecessary, callous, or in poor taste, I implore you to watch the film again and consider this moment more carefully. Some people have pointed to RT - since an animal dies in that movie as well - and drawn a larger conclusion about Anderson's lack of concern/care for animals. I worry that these people are not watching the films...these deaths are catalysts for the story, triggers for changes in certain characters, and are deeply emotional moments.Of course, this film is not for everyone. The leads are children, but the film is not for most children. If you have a strong opinion about Wes Anderson, let that be your guide. I think this is Anderson's best since the Royal Tenenbaums and I cannot break the tie between them for my favorite of his movies.

A triumph