Wes Anderson is one of those film makers that I trust will always make a good movie. His style inspires my own style of writing. I didn’t get a chance to see Moonrise Kingdom in theaters, but I have to say that it was worth the wait. This is the best movie he has made since The Royal Tenenbaums, and one that will stay with you for a long time.
In the summer of 1965, the small New England island of New Penzance is thrown through a loop when two young children in love Sam Shakusky (Jared Gilman) and Suzy Bishop (Kara Hayward), run away together. Now it’s up to the eccentric townsfolk to find them before the worst storm to ever hit New Penzance hits. Sam and Suzy give them a run for their money showing the adults that love, no matter how young, is still strong.
This is kind of a bad summary because this isn’t a very easy move to explain in just a few sentences. There’s the main plot with the two children running away, but the story of everyone on the island is just as interesting. Each and every character has their own sets of personal problems that make them eccentric and unforgettable. For a Wes Anderson movie, I had very little trouble connecting with these characters and feeling the dysfunction.
Part of me being able to connect with the characters has a lot to do with the performances. Bill Murray and Frances McDormand have the exact brand of awkward chemistry that is needed for a couple growing further and further apart. Bruce Willis and Edward Norton are the scene stealers as the two authority figures who just don’t have the ability to keep everything under control. Finally, in a small but worthwhile role, Jason Schwartzman rounds up the laughs as a Khaki Scout who knows exactly how the system works. It’s a motley of characters that mesh very well. Even Jared Gilman and Kara Hayward do a fine job, if not a bit too deadpan.
And of course, there’s no way I can talk about any Wes Anderson movie and not talk about the impeccable composition of the shots. Every shot is so symmetrical. Even if a character is placed at the left side of the screen, the use of empty space is experimented with so well that nothing seems uneven. Along with the composition are the colors and costume design. This all fits into the idiosyncratic style of Wes Anderson that makes all of his movies special.
I’m not quite sure if I can call Moonrise Kingdom Wes Anderson’s best movie, but it definitely ranks in the top tier. It’s a surprisingly hopeful movie amongst all the melancholy, which is a bit of a change for this director. It’s a great conglomeration of characters, stories, and messages that are both funny and tragic. I don’t just like Moonrise Kingdom, I love Moonrise Kingdom.