Wes Anderson's quirky coming-of-age adventure is whimsical, delightful, and blisters with eccentric charm

Rating: 8/10 (23 September 2017)

One thing viewers can walk away with when sitting through Moonrise Kingdom is that Wes Anderson has a gift for storytelling and style without resorting to conventionality. This coming-of-age adventure blending in both comedy and drama is a whimsical journey Anderson's signature style with a brimming sense of substance many, if not all, teens and adults can come to admire. Of course, Anderson does not take a leap deep into reality. Instead, it presents a roster of eccentric characters and quirky situations to tell a story of two children who vow to escape their domestic home lives where they are misunderstood pawns of families who intentionally (and unintentionally) torment their everyday lives. As this is a Wes Anderson picture though, it breathes plenty of idiosyncratic humor in the air that allows viewers to connect with the story while engaging in Anderson's unique style of smarts, humor, and unconventional narrative norms. The film, set in the 1960s New England, follows Sam Shakusky (played by Jared Gillman), a 12- year old boy attending a boys scout under the wing of Scoutmaster Randy Ward (played by Edward Norton) while forced to deal with the torment of his mean-spirited scoutmates; and Suzy Bishop (played by Kara Hayward), a quiet girl of the same age living with her parents (played by Frances McDormand and Bill Murray) and her little brothers who she despises. Determined to escape their home lives, the two venture out into the woods and where they begin to bond and eventually form a romantic relationship. Their absence soon alert the both the boys scout and Suzy's family as they set out along with the town's police Captain Sharp (played by Bruce Willis) to look for them, turning the town into a wild topsy-turvy.
The movie has all of the right feel of a Wes Anderson, from the flat space camera movement, to the limited color palette, to the quirky dialogue. And for the most important part, it works as an eccentric piece of comedic fare. Anderson delivers the goods with his signature quirky dark humor and unconventional characters that feel like more than just two-dimensional figures dwindling beneath his signature methodology. The central core of the story is two preteen children who form a seemingly inseparable bond through their opening in each other's broken lives. Sam is a lonely boy who's parents are dead and is forced to deal with the maltreatment of his fellow peers, while Suzy is a cynical young girl who can't seem to find the love of her family. As the two fall in love, there a subtle chemistry is developed in not meant to convey a sense of charm, but a symbol of freedom. While the sensuality between the two may leave some conservative viewers in slight discomfort, especially when observing them dancing in their underwear, it is the maturity that triumphs over edginess. And kudos to go to both Jared Gillman and Kara Hayward for their mature performances. When the story periodically shifts its focus on the families and the authorities out in search for them, everything remains just as tasteful, but with a quirkier edge. There, we witness a plethora of screwball performances by Edward Norton, Wes Anderson veteran Bill Murray, and the unusually eccentric Bruce Willis in roles that more often than not resemble caricatures. Of course, Anderson is known for his cartoony style, and that is what his films bravely unique. And while they are certainly not the kind of performances that will leave people talking for a while, they deserve to be admired.
Moonrise Kingdom marks a delightful cinematic achievement by Wes Anderson who opens the gates to a whimsical, elegant adventure of freedom and coming to terms with a disillusioned home life. Although I can say it necessarily strikes cinematic gold, which would be saying a lot otherwise, it is a film that a substance and heart that demands to be observed.