GurlyIamBeach Instant Favorite.

Helloturia I have absolutely never seen anything like this movie before. You have to see this movie.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

DFagundes Moonrise Kingdom has the spirit of a free child, dreaming of running away from all the bad things in their lives, and looking to connect with his/her childhood sweetheart. And you really feel like you are this child. The film has the power to transport you to your early ages, where dreams were more common, more romanticized and captured your deeper desires without all the strains that come with adulthood. But funny enough, this is a film for adults, with no appeal to children, I suppose. The nostalgia feeling is a trademark from writer director Wes Anderson, and although some may say that his style overshadows the meaningfulness of his stories, this does not happen in this film. There is enough realism for us to connect as adults, and enough romanticism and surrealism to create unique feelings of childhood romance, and desires for escapism. It has an even bigger appeal to introverts, who will more easily connect with the main characters, who are tired of social constraints. The film has a world of itself, a tiny island where everyone knows evereyone, and a lifestyle dictated by traditionalism and a superficial kindness that makes every adult hurt on the inside. For me, this is the strongest message of the film. It is not just nostalgic and romantic for the sake of it, but it carries a deeper meaning that we all must be more true to ourselves, and kinder to the people that really matter to us. This desire is expressed by two children that had enough, and ended up teaching the adults a valuable lesson of letting love take control of their actions, and being more sensitive to the world around them, and mainly the people around them. It is indeed a very sensible film, that has very interesting artistic choices such as the depiction of the adults personalities, and the surrealism of extraordinary natural events (rain, fire, storm, thunder, explosions, etc). The romance of the two children is lovely to watch. It forces us to question all the prejudices and restriction we have regarding children romantic and sexual maturity in our culture. As it approaches these subjects, it does so with such honesty and tenderness that it might sensibilize adults to look at these constrains from another perspective, a more natural and naive perspective something that only children can offer.

gcsman The only reason I rate this 10/10 is that the IMdB scale doesn't go any higher. I'd give it 11/10 if I could. This is pure movie magic.Before I forget to mention it, the end credits might be the best thing about this thoroughly great film -- Benjamin Britten's "Young Person's Guide to the Orchestra" plays while a child's voice narrates it and the credits go by in graceful, colorful script. Don't leave till you've seen every last bit. It's genius.But the movie itself -- I like Wes Anderson's work a lot but I'm still struggling with how to pin it down in words. It's eccentric charm -- absolutely every speaking role in the film is an eccentric persona -- but somehow more than that. Many or even most of the characters are fairly serious, straight-ahead personalities who don't see their own eccentricities, and when they collide with each other or with the real world is when the fun begins. That's especially true of the young preteens Suzy and Sam (newcomers Kara Hayward and Jared Gilman) around whom the plot revolves. The cast has lots of the Wes Anderson regulars like Edward Norton, Frances McDormand, Bill Murray, Bob Balaban, Tilda Swinton, and Bruce Willis in the bigger roles. Every one of them adds to the chaotic mix that the storyline becomes.Anderson's "Grand Budapest Hotel" (2014) followed Moonrise Kingdom a couple of years later and got more acclaim. It's great too but I don't agree. "Hotel" is thoroughly entertaining but it's SO stylish that it kind of outweighs the human beings underneath. Moonrise Kingdom has style and charm to burn, but it also keeps its human heart at the center. You end up feeling a sense of affection for each one of them. The characters are flawed human beings worth caring for, particularly Suzy and Sam who go off together to have an adventure that at least temporarily releases them from their confining environments. They're both mildly crazy, but as the old saying goes, they click because the rocks in his head somehow perfectly fit the holes in hers.

The Movie Diorama That talent mostly being Wes Anderson who has crafted an authentic drama with some contemporary flavours. His direction is so quirky that it's hard not to fall in love with it. The centralisation of characters and objects with the camera, the still shots of the excellent production design, the side track panning as characters walk along and a nice 360 degree scene within a house. The stages built for those scenes just ooze design excellence and I have to admire the simplicity. We follow two 12 year olds who fall in love and plan to run away, but various authorities attempt to track them down. It's a basic plot but the animated characters and young performances help reinvigorate this exhausted genre. Our typical Anderson cast (Norton, Swinton, Keitel, Murray etc.) are all here again and give great performances. The awkward yet loving chemistry between our two young leads was moulded with care and tenderness that I found somewhat relatable. I'm sure back in our youth we all fell in love with a crush and wanted to run away from everyone...no? Just me then. Again, the production design was genius. I love how it purposefully look like it's built for a stage show as opposed to a cinematic piece, there is something so idiosyncratic about Anderson's choice of style that just makes it wonderful. Whilst all the above is all plain sailing, my major issue was with the narrative. I found myself somewhat disengaged until about halfway through. Right from the start, you are thrown in straight away with about 47 characters (completely accurate...) and a geography lesson of the island. Honestly I needed to get a notebook out. It was intimidating! Like an onslaught of quirkiness. It took so long for me to catch up and become invested that the short runtime of 94 minutes was nearly over. It's a shame, wish it was longer so that the plot development could take its time. However, it's a sweet film and Anderson's style is impeccable.

Anthony Iessi Truly, if you've seen one Wes Anderson film, you've seen them all. Moonrise Kingdom is just one of the many deadpan classics of the Anderson catalogue. Nobody can set up a frame better than him. Nobody could write a script as eclectic. Nobody can make better use of a cast of Hollywood favorites. Moonrise Kingdom has all of what we love about Wes Anderson and more. The coming- of-age tale fits his universe fantastically. He knows how to make the conventional seem completely unconventional. Sometimes, it's too quirky for it's own good. But that is the risk you take with Wes Anderson. Either you get it, or you don't.