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Moonrise Kingdom (2012) Online

Moonrise Kingdom (2012) Online
Original Title :
Moonrise Kingdom
Genre :
Movie / Adventure / Comedy / Drama / Romance
Year :
Directror :
Wes Anderson
Cast :
Jared Gilman,Kara Hayward,Bruce Willis
Writer :
Wes Anderson,Roman Coppola
Budget :
Type :
Time :
1h 34min
Rating :

A pair of young lovers flee their New England town, which causes a local search party to fan out to find them.

Moonrise Kingdom (2012) Online

Set on an island off the coast of New England in the 1960s, as a young boy and girl fall in love they are moved to run away together. Various factions of the town mobilize to search for them and the town is turned upside down - which might not be such a bad thing.
Cast overview, first billed only:
Bruce Willis Bruce Willis - Captain Sharp
Edward Norton Edward Norton - Scout Master Ward
Bill Murray Bill Murray - Mr. Bishop
Frances McDormand Frances McDormand - Mrs. Bishop
Tilda Swinton Tilda Swinton - Social Services
Jared Gilman Jared Gilman - Sam
Kara Hayward Kara Hayward - Suzy
Jason Schwartzman Jason Schwartzman - Cousin Ben
Bob Balaban Bob Balaban - The Narrator
Lucas Hedges Lucas Hedges - Redford
Charlie Kilgore Charlie Kilgore - Lazy-Eye
Andreas Sheikh Andreas Sheikh - Panagle
Chandler Frantz Chandler Frantz - Gadge
Rob H. Campbell Rob H. Campbell - Deluca (as Rob Campbell)
L.J. Foley L.J. Foley - Izod

The dance scene on the beach was saved for the very end of filming, so that the two young leads would be comfortable around each other, and was done on a closed set (just the two leads, co-Writer and Director Wes Anderson, and the cameraman).

In the film, Laura Bishop shouts at various family members through a bullhorn. The idea came from co-Writer Roman Coppola's childhood, as his mother Eleanor Coppola used a bullhorn in a similar fashion.

After filming was completed, Kara Hayward got to keep the kitten owned in the film by her character Suzy, and Jared Gilman got to keep the backpack used by his character Sam.

During filming, Bill Murray taught Jared Gilman how to tie a necktie for the first time.

This is the first Wes Anderson film without any involvement from Owen Wilson.

According to Wes Anderson, Suzy's discovery of the "Coping with a Troubled Child" pamphlet was based on a similar experience from his own childhood: "It wasn't anything terrible. It's just something that at the time, when I found it, I was like, 'What is this?!' I immediately knew who that troubled child was, even though hypothetically, it could have been someone else."

During filming, co-Writer and Director Wes Anderson rented an old mansion in Newport, Rhode Island for him, Editor Andrew Weisblum, and Director of Photography Robert D. Yeoman, in which they had a room set up for editing the film. It had been arranged for the cast to stay in a nearby hotel called "The Vanderbilt Grace", but eventually some of the cast members also decided to stay at the mansion, including Edward Norton and Jason Schwartzman. Murray later joked that the theory was to have everyone close by so that they could all work "ungodly art-movie hours".

When Suzy is reading "Disappearance of the Sixth Grade" at the Mile 3.25 Tidal Inlet campground and continues onto "Part Two" after Sam says to read on, it is just about the exact midway point of the film: the spoken words occur at 46:59, with 46:56 left in the movie. This moment also marks the transition of the film's plot, of course, so Suzy's "reading" also informs the audience of the shift in the movie's tone and direction.

Commenting on the film's connection to the first time he fell in love, Wes Anderson has said, "Well, what I wanted to do was re-create the feeling of that memory. The movie is kind of like a fantasy that I think I would have had at that age. When you're eleven or twelve years old, you can get so swept up in a book, that you start to believe that the fantasy is reality. I think when you have a giant crush when you're in fifth grade, it becomes your whole world. It's like being underwater, everything is different."

According to Jared Gilman, the scene that required the most takes was the one where he held up the beetle earrings to Suzy. Each time he did it, either the earrings weren't entirely in the frame, or he wasn't holding them correctly.

The film opened in only four theaters, two in New York City, and two in Los Angeles, but earned 167,250 dollars per screen, the all-time record for highest per-theater box-office average of a non-animated film.

Kara Hayward applied her own make-up.

Before filming, neither Kara Hayward nor Jared Gilman had ever seen a typewriter in person. Hayward later said, "Fran (Frances McDormand) had a lot of fun with that. She couldn't believe it. She showed me that the keys are in the same place as now (on computers)."

There are numerous references to corn. Added to the film being bathed in yellows and oranges, remarks are made about maize, Scout Master Ward is seen reading "Indian Corn Magazine" twice, Sam constantly smokes from a corn cob pipe, the three Bishop boys are eating only corn on the cob in one dinner scene, the coffee pot in his Sam's foster parents kitchen has the famous Corning Corn Flower pattern on the exterior, and the end of the film mentions the best corn crop the island has had in fifty years.

The words "For Juman" appear in the corner at the very end of the movie. This refers to Wes Anderson's girlfriend, Juman Malouf.

While Suzy's books in the movie are fake, "Noye's Fludde", is a real 1957 opera by Benjamin Britten. The text is based on an edition by Alfred W. Pollard of an early fifteenth century mystery play from the Chester Mystery Cycle. The opera is written to be performed by a cast primarily of amateurs, and Britten requested it be performed in a church or a large hall, but not in a theatre. Hence, why it is being done by children in a church.

When Sam is surrounded by the Scouts in Lightning Field, he says, "On this spot, I will fight no more, forever!", which is from the Surrender Speech by Chief Joseph of the Nez Perce tribe. In 1877, Chief Joseph attempted to lead his people on an eleven hundred-mile journey to Canada to escape the U.S. Army. They made it within forty miles before they were surrounded, and Chief Joseph made his speech.

Wes Anderson's sixth collaboration with Bill Murray.

Opening film at the 65th Cannes Film Festival in 2012.

Alan Rickman and Jeremy Irons were considered and offered the role of Social Services.

Made on a budget of six million dollars, which is Wes Anderson's smallest budget since Petarda (1996), which was made on a budget of seven million dollars.

Though it was filmed in part on Prudence Island, Rhode Island, the map of the island of New Penzance is based on Fisher's Island, New York.

In the fine print of Sam's Khaki Scouts of North America register, it says "The organization will be held harmless in the event of accident or injury."

The science fiction book that Suzy carries, "The Girl From Jupiter", bears the name "Isaac Clarke" as the author. This name references Isaac Asimov and Arthur C. Clarke, two of the best-known writers of science fiction novels.

Most of Wes Anderson's classmates who were Scouts, were in Troop 55.

This is the first Wes Anderson film to be shot in the 1.85:1 ratio since Petarda (1996), and also the first to be shot on 16mm film.

It was originally explained that Sam's parents were hit by a drunk truck driver. This information did not end up in the final version of the movie.

The fish hook earrings Sam gives to Suzy are made of iridescent greenish-blue beetles called Fiery Searchers. They are common all over North America, and are found in moist forest floor areas.

Some of the ranks shown on the patches of the Khaki Scouts include Scout Master (Randy Ward), Field Mate (Shakusky), Reptile Patrol (Roosevelt), Woodmaster (Skotak), Judo Expert (Redford), H2O Purifier (Deluca), Bear Spotter (Panagle), Flint Chipper (Panagle), and Petty Bugler (Lazy-Eye). Some have multiple ranks (in addition to Panagle, Gadge also holds multiple ranks: Signal Scout, Arrowhead, and Knife Hunter) whereas some have only one (Cousin Ben is only a Legionnaire).

The flag of the United States that is shown several times in the movie is the Betsy Ross flag, with thirteen stars in a circle instead of fifty stars.

Wes Anderson is a huge fan of, and was heavily influenced by, the movie Melody (1971). Anderson has stated that this film is essentially his remake of Melody.

Bob Balaban also played a cartographer in Artimi trečiojo laipsnio kontaktai (1977).

The Bishop residence contains several paintings of various locations around the movie, including the Bishop residence, Camp Ivanhoe, the New Penzance Post Office, and Fort Lebanon, as well as numerous paintings of ships. The paintings of the locations around the movie are later seen in the credits.

An abandoned Linens 'n Things retail store outside of Newport, Rhode Island was used as a soundstage for the film.

All the Khaki Scouts have a pendant tied to their neckerchiefs, at the base of their necks. Some of these include raccoon hair (Sam), a lobster figurine (Lazy-Eye), a miniature canoe (Gadge), an ax (Deluca), an ice cream bar on a Popsicle stick (Nickleby), and a campfire (Scout Master Ward).

Commander Pierce is introduced during the last act, but his character is shown and mentioned throughout the film. His picture is on stamps on the letters that Sam and Suzy send, his picture is on Scout Master Ward's desk, and his picture is also in an editorial of the magazine Scout Master Ward reads called "Indian Corn".

During the closing credits, the voice of a young person introduces various instruments as they join in playing a song, a reference to the records played in the Hayward home. This method of spoken introduction has also been used outside of education recordings, such as in the obscure 1967 song "Intro and Outro" by The Bonzo Dog Doo-Dah Band where atypical and strange instruments are introduced as played by unusual and unlikely musicians (such as John Wayne and Adolf Hitler), and in Mike Oldfield's seminal 1973 work "Tubular Bells" where Part One is concluded by Vivian Stanshall as "Master of Ceremonies" crediting one by one the instruments used earlier in the piece. Also, tubular bells are listed as part of the deconstruction of the Alexandre Desplat piece.

The board game that Lionel, Rudy, and Murray play is Parcheesi (known in the UK as Ludo, and also has other names throughout the world), a cross and circle board game that originated in India.

At Camp Ivanhoe, there is a sign visible that says "Fort Lebanon". Wes Anderson's girlfriend Juman Malouf is originally from Lebanon.

Film debuts of Jared Gilman and Kara Hayward.

The article in the Indian Corn Magazine about Commander Pierce (Harvey Keitel), shown towards the beginning of the film, has the quote "Are we men, or are we mice?" next to his photo. This is a reference to Blogas leitenantas (1992), also starring Keitel, in which he asked his sons similarly, "What are you, men or mice?"

On the map of New Penzance, a pair of islands right next to each other can be seen labelled as "Fidelity Island" and "Honesty Rock".

A location on the map of New Penzance is labelled "Yeoman Lane", a reference to Cinematographer Robert D. Yeoman.

All the Khaki Scouts have their last names etched right below their rank on the left side of their chest. Cousin Ben's last name is never mentioned by anyone in the movie, but the name "Mazursky" can be seen upon close inspection. This is possibly a reference to Paul Mazursky, another director of whom Wes Anderson is a fan.

The film cast includes two Oscar winners: Frances McDormand, Tilda Swinton; and five Oscar nominees: Bill Murray, Bob Balaban, Edward Norton, Harvey Keitel, and Lucas Hedges.

The brief shot of the inside of Scout Master Ward's "Indian Corn Magazine" reveals that the magazine is based in Clinton, New Jersey 01012. However, the ZIP code, "01012" is the real-life ZIP code for Chesterfield, Massachusetts, a location mentioned in the movie as where Sam's foster family lives. Jared Gilman (Sam) is from New Jersey.

During one scene they listen to a recording of Camille Saint-Saëns' "Carnival of the Animals". "The Swan", probably its most famous movement, was not played. However, the scene ends with the image of a swan, perhaps as a reference to it.

Several scenes were filled at The Yawgoog Scout Reservation including the sailboat (Camp Three Point dam), Fort Lebanon (H. Anthony Cushman Stockade), Wedding Chapel (Adams Gate), supply and resource center (Order of the Arrow Information Center), trampoline kid (Camp Medicine Bow waterfront), various troops camping on field and marching (Challenge center field/high ropes course).

On the map of New Penzance Island, the island is listed as both 32.265 square miles and 170,359.2 square feet.

Lucas Hedges (Redford) played a pump attendant, who fills Jopling's motorcycle in Viešbutis Didysis Budapeštas (2014) (another Wes Anderson film). Redford also rides a motorcycle.

During the conversation after Redford is carried off to the airplane, there is an old U.S. flag of the original thirteen states seen flying in the background by the police station.

American Humane Association monitored some of the animal action. No animals were harmed in those scenes. AHAD 02926

Lucas Hedges and Kara Hayward later worked together in Mančesteris prie juros (2016).

Bill Murray and Frances McDormand later appeared in Olive Kitteridge (2014).

To date, this is Wes Anderson's only live-action film to not be rated R.

The scene with Sam and Suzy dancing on the beach appears to be based on the painting "Jive" by Jack Vettriano.

This production participated in the New York State Governor's Office for Motion Picture and Television Development Post-Production Credit Program.

Cooper Murray: The Indian Chief Khaki Scout is Bill Murray's real-life son.

Wes Anderson: ["Peanuts"] The dog is named "Snoopy", and the story is set in the debut year of the groundbreaking cartoon Čarlio Brauno Kaledos (1965). Rušmoro koledžas (1998) and Tenenbaumu šeima (2001) also contain numerous "Peanuts" and Charlie Brown references.

Wes Anderson: [strained marriage] The twice divorced Bill Murray plays a character that has marital issues in this movie. His character also has marital issues in several of his previous collaborations with Wes Anderson, including Rušmoro koledžas (1998), Tenenbaumu šeima (2001), and Gyvenimas po vandeniu (2004). His character in Šaunusis ponas Lapinas (2009) is happily married, however.

Wes Anderson: [divorce] Suzy's parents are on the verge of divorce; the parents in Kelyje su Dardžylingu (2007) and Tenenbaumu šeima (2001) are also divorced.

Wes Anderson: [absent or deceased parent] Sam is an orphan.

When the movie first shows the scene of Scout Master Ward (Edward Norton) recording his log on his tape recorder, there is a framed picture of Commander Pierce (Harvey Keitel) next to his recorder. At the end of the movie, the picture is replaced with Becky (Marianna Bassham), the switchboard operator.

The movie opens with a painting of Summer's End, and ends with a painting of Moonrise Kingdom. The camera then fades to a shot of the actual campsite Sam is painting from memory, after he and Suzy renamed it.

DIRECTOR TRADEMARK (Wes Anderson): (dead or endangered dogs): "Snoopy" died in the battle in the woods, just as "Buckley" died after being run over by Eli Cash in Tenenbaumu šeima (2001), and the three-legged dog in Gyvenimas po vandeniu (2004) is abandoned by its pirate owners, and mistreated by Hennessey.

The title of the movie comes from the name Sam and Suzy give Mile 3.25 Tidal Inlet when they decide they don't like the name; however, it is only seen at the end, written on the beach in Sam's painting of Moonrise Kingdom/Mile 3.25 Tidal Inlet.

The underlying tune of Alexandre Desplat's main theme for the movie, "The Heroic Weather-Conditions of the Universe", strongly resembles "The Sound of Silence", referencing another film about an elopement, Absolventas (1967), in which the Simon & Garfunkel song was heavily featured.

Many of these scenes were shot at Yawgoog Scout Reservation in Rockville, Rhode Island. Scenes include Fort Lebanon and the marriage and chase scenes. The one hundred-year-old camp hasn't appeared in any movie but this one.

Suzy's house is decorated with paintings of locations around the island, at the end of the film Sam is making an addition by painting Moonrise Kingdom. This painting is the last record of this location, because the Mile 3.25 tidal inlet/Moonrise Kingdom is destroyed by the hurricane.

There is a parallel between this movie's and Pabegimas iš Šoušenko (1994)'s escape scene: when the warden discovers Andy Dufresne had escaped through a hole in his cell's wall behind a poster and when Scout Master Ward discovers the hole in the tent covered by a map.

When Captain Sharp demands to know where Sam and Suzy went in the church near the end of the movie, the scouts of Troop 55 are in disguise when one points Captain Sharp up a ladder to the roof. The one that points Captain Sharp towards Sam and Suzy has a cleft chin, and only Nickleby has a cleft chin.

User reviews



Saw this just now in a small indie cinema in Heidelberg, Germany and I have to say, it was a romp. In my humble opinion this film manages to be both Wes Anderson's funniest picture so far and his most melancholic. The utter uncompromising stylishness of his other work is also present here, perhaps even heightened, but in contrast to The Life Aquatic (and to a certain degree The Darjeeling Limited), the emphasis here is firmly on plot. The brave and often odd visuals never overwhelm the story and the audience never feels like they are not quite in on the joke, like in The Life Aquatic. The tone does tend to become a bit erratic, especially in the last third of the film when Anderson seems to want to pack so much into every frame that the film becomes a bit cartoonish at times (hence the not-perfect score from me). All in all, though, the plot is very balanced and the pacing is great. The two young leads are superb and the brave move by Anderson to place unknown actors front and centre pays off beautifully. The rest of the cast is on paper even more star-studded than The Royal Tenenbaums and yet Anderson never steers into unnecessary character development just to accommodate his stars. A touch here and a touch there are more than enough to paint a picture of a group of people who are eerily similar in their dissatisfaction with their lives and yet react quite differently to the two young lovers' dash (literally) for happiness. In conclusion, a must-see for Anderson fans and highly recommended for everyone else.


Let's try to understand the miracle I have just witnessed. Director Wes Anderson is 12 years old, has just experienced his first love while at Summer camp, and immediately rushed to a camera to tell us, his pen pals, the story. A slightly embellished story which follows the perfect scenarios we would draw at night in our beds at this age. It has all the tiny details, the sense of adventure and the freshness of youth. How someone 43 years old in real life could do this movie is beyond me. The drawback of this miracle for the viewer is that such a jump back into the kind of idealized feelings you had in your early teens leaves you with quite some melancholy when you leave the cinema.

It could be that some people do not connect to the movie and just see it as "adorable" or "cute" and nothing more. But I suppose most people will feel connected, notably because the movie has this straight-to-the-point attitude in both the technique and the story-telling; the story is read to you, not force-fed with dramatic music and whatnot. Just like one of the characters who reads bedtime stories to the others.

You might complain about the lack of character development for some of the big names in this film (Norton, Willis, Murray - McDormand less so as she gets more detailed screen time than the others) but I suppose this is wanted: kids will see hints of the issues adults are facing, but can't understand them fully. And remember this is a movie shot by 12-year old Wes Anderson.
Error parents

Error parents

The year is 1965 and a remote North Eastern coastal community is plunged into confusion when it discovers that two kids have run away. Sam, a discontented Khaki Scout, and Suzy, a put-upon older sister and forgotten daughter, abscond into the forest to escape their dissatisfying existences. The responsible adults – Sam's Scout Master Ward (Edward Norton) and Suzy's parents (Bill Murray and Frances McDormand) – and the entire town set out on a frenzied search, which gets wild when the largest storm in recorded history touches down and puts everyone's life into question. What ensues is a battle between youth and age, hope and disillusionment, faith and cynicism.

In terms of story and character, Wes Anderson's previous films, especially The Royal Tenenbaums and The Darjeeling Limited, are superior. Even in the most compelling relationship in the film between Captain Sharp (Bruce Willis) and Sam doesn't embody Anderson's ability to take his characters into deep emotional places of hurt and healing without melodrama. However, the newest addition to the Anderson canon is a cinematic experience.

Moonrise Kingdom's story, co-written with Roman Coppola, takes a definite backseat to style, as Anderson saturates the entire film with a "Norman Rockwell-type of Americana". Stylistically, it may be Anderson's most masterful work, as the costumes, sets, and settings transport the viewer to an alternate universe, a place of wonder and adventure. The soundtrack is especially effective, as it recalls a time when things were simpler: Hank Williams was on the radio, and children listened to records instead of playing video games. However, Anderson isn't content with reminiscing about the year 1965. He takes this nostalgia and twists it, infusing the film with a twinge of sadness through the reality of life's disappointments. He doesn't reject the Rockwellian view of America, but argues that it doesn't tell the whole story.

Moonrise Kingdom is that place of beauty and passion that we all have been in at least once in our lives – the one place on earth where we believe that anything is possible. It has since been lost, but it persists in our memories in moments of nostalgia.


Despite the dreadful title, Moonrise Kingdom is simply wonderful.

Since his flying start with Bottle Rocket and the triumph of Rushmore, I felt that Wes Anderson had rather tottered off a true path. The Royal Tenenbaums was hit and miss, The Darjeeling Limited was too twee, and The Life Aquatic was simply AWFUL. I take against ANY film that wastes Bill Murray.

Moonrise Kingdom doesn't repeat that error. Despite covering ground Anderson's already visited to an extent in Rushmore, MK looks at a teenage crush with fresh eyes, and surrounds it with a fantastic cast of oddballs and misfits. Unlike his films where the characters are irritatingly quirky for the sake of it, these oddballs seem organic to their strange island home. Star among them is Ed Norton as Scout Master Ward, who looks as if he's having the time of his life in shorts and woggles, in charge of a troop described as 'beige lunatics'.

Bruce Willis, Frances McDormand and Bill Murray all play their parts but never feel as though they're elbowing for the spotlight, which keeps the mood kind, befitting the hearts of all involved in the search for runaway scout, Sam, and his pen-pal, Suzy.

Visually, it's a feast of saturated colour and fabulous design, but - as with the best of Wes Anderson - the devil's always in the detail. The laughs come from minutely observed accessories (keep an eye on the scouts' badges!) and from throwaway truths. And the soundtrack is a great mix of wistful Western and classical pieces. Definitely buyable.

Anderson flirts with surrealism, but never gets Burtonesque, controlling his story with a firmer hand and to better effect. His situations might be bizarre, but the people in them are always painfully, wonderfully human. It's also a rare film - one you could watch with your grandmother or your grandchildren, with only a couple of moments where young eyes would have to be covered, and no real violence or swearing.

There is an overwhelming feeling of innocence and good will throughout.

I loved it from the opening frames, and it only got better from there.


In the past, Anderson has whirled us from melancholy dreamscapes set deep below the Pacific to tales of inter-generation betrayals in the name of love, from doomed romances in Paris hotels to deliriously bizarre animal revolutions in the English countryside. But for all the retro-stylings his films so proudly wear, Moonrise Kingdom is Anderson's first period piece - a tender love story set in the sepia-soaked sixties of Anderson's youth that have worked their influence into every one of his movies. It is fitting that this film is his most childlike - not in any way any simpler than his other films (as anyone with an accurate memory of childhood will remember all it's complexities; the way each trivial thing became a nest of thorns), but an accurate and deeply heartfelt depiction of childhood. It is not aiming to be as crushingly dramatic as Life Aquatic or as deeply tragic as Hotel Chevalier, because that wouldn't be appropriate for the story it's trying to tell. Instead, while still bearing Anderson's still surprising streak of black humour (some acts of violence really catch you off-guard; then again, children are violent so hats off Wes), it is largely concerned with the dramas and tragedies of youth. Yes, it is less ambitious than say The Life Aquatic but it also has none of the flaws that that film does (and believe me, I am a massive Steve Zissou fan). Instead, it is perfectly executed, wonderfully acted poignant beauty, with fantastic performances across the board (especially from newcomers Gilman and Hayward). This, while not his most ambitious, is certainly Anderson's most perfect work so far. You owe it to yourself to see this movie.


The thing that I enjoy most about Wes Anderson films is that they each feel like a great adventure and in this sense I think Moonrise Kingdom is his best yet. It tells that tale of Sam, an orphan on scout camp, and Suzy, a misunderstood girl, as they run away together. At first I found the two actors playing the kids to be kind of limp but after a few minutes I warmed to them and I actually think they were both pretty good overall, particularly Jared Gilman who plays Sam and even more so knowing that it's the first acting he's ever done. The rest of the cast are all pursuing or helping them in some way and there a couple of sub-plots with the island's policeman (played by Bruce Willis) and the parents of Suzy (Bill Murray and Frances McDormand).

I thought that the rest of the cast was great. In fairness I am a bit biased because I love Bill Murray, Edward Norton, Bruce Willis and Frances McDormand but even so I have to say that they were all really good, especially Edward Norton who plays the scout master, and Bill Murray. There are also a couple of minor roles for Jason Schwartzman, Harvey Keital and Tilda Swinton who were also a lot of fun. Everyone in the cast fits into their role really well which is obviously exactly what you want, but not only is that the case for the main roles but also for the less important ones, like the scout troupe (especially Sam's 'enemy'), Suzy's three brothers or the oddball narrator.

Cinematography wise I didn't think this movie was particularly spectacular, especially in comparison to other Wes Anderson movies like 'The Life Aquatic' or 'The Royal Tenenbaums'. There were a couple of shots that were cool though, some really long zoom outs (which sounds clichéd but it worked) and the doll house type ones that I love and think are awesome.

I wouldn't expect to wet your pants laughing at any moment in 'Moonrise Kingdom' but it is funny. There are a couple of laugh out loud moments and as a whole the jokes are pretty sharp and intelligently done. The reason I like the humour in this movie is that it's a part of the ambiance and feel of it, it won't make you crack up but it will make you have a smile on your face for pretty much the whole thing and leave you feeling strangely happy.

That kind of ambiance is really why the movie is so good, and is possibly Wes Anderson's best movie. The whole story is this fantastic blend of reality and child-like dreaming and it's wonderful. At times I felt kind of nostalgic and sad that I'm not a kid anymore. On the other hand it feels like a tribute to those myths and dreams of being a child and it works so well. This is the kind of film that I feel I could watch over and over again, each time spotting something new but also feeling good and enjoying the overall purpose.

Definitely go and see it!
Knights from Bernin

Knights from Bernin

I loved this movie! One of Wes Anderson's best - up there with Rushmore and Fantastic Mr Fox. Top reasons to see this movie:

The love story between the quirky dark characters was so sweet. The casting for the 2 lead kids was spot on! You can take kids to this movie. They won't get all of the subtle humor but you will. The music and the film setting. The quirkiness of the filming, scenes, and narrator. Everyone in short pants... classic! Bruce Willis is actually good in it. Beautifully shot. You leave the theater with a smile on your face and a tear in your eye. Best movie so far this year.

Anyone who said they did't like it, doesn't get Wes Anderson. If you like his movies, you will love Moonrise Kingdom!


If you've been following Mr. Anderson's relatively short career, you'll find more of the same here: a film that is full of quirkiness, which I find to be parables of the troubles we encounter in life. I came to this film without any expectations, having read nothing about it in the news so I was pleasantly surprised that the main protagonists are a couple of tweens. Any fears of mine finding a sappy or saccharine story were vanquished and replaced with wonderment following the journey of the two main characters. Both actors didn't seem to have formal training but this didn't stop them from serving the story well. It is down to the genius of Mr. Anderson capturing their human performances which are nothing less than beautiful.

I can't recommend this film highly enough!


It's 1965 and pre teen pen pals, Sam (Jared Gilman) and Suzy (Kara Heywood) agree to run away from home and meet up a year after meeting for the first time. While the two of them head off into the wilderness of Suzy's twelve mile long home island a search party that includes Island Policeman Bruce Willis, Scout leader Edward Norton, Suzy's parents Bill Murray and Frances McDormand and Sam's fellow Scouts set about trying to hunt the eloping children down in the days preceding a huge storm. I should say from the outset that I am a huge Wes Anderson fan and have absolutely loved all of his films with the exception of Fantastic Mr Fox so I went in expecting great things. My expectations were matched and even perhaps exceeded. I loved this film. Anderson sets up Suzy's home life in a fantastic opening sequence which features some exquisite tracking shots through the family home. Before anything is said it is already obvious to the audience that Suzy is a loner who longs for something bigger, something more. Her parents do not get on and are never even seen in the same room, let alone talking to each other. She has three younger brothers who appear to get along very well. Her house is large and well furnished, indicating wealth if not happiness. All of this is established in one long sequence of beautiful camera movements which last no longer than a couple of minutes. Sam's life with his Scout troupe is shown in a similar manner although it soon becomes apparent that he has already escaped in search of his love, Suzy. One of the things I love about all of Anderson's films is that you could turn on the TV at pretty much any moment during any of his films and within a few moments be sure that you are watching a Wes Anderson film. His style is very distinctive and it's all over his latest work. The shots are framed to perfection and each camera movement feels measured but not forced. There is a vague pastel and brown tint to everything which matches the film's period setting. Everything from the sets to the characters also feels slightly off centre and as though they inhabit the same world as The Royal Tenenbaums and The Darjeeling Limited. Anderson not only creates his own world for each film but his films feel somehow connected and as though they too inhabit the same slightly odd world. The plot is absolutely delightful and sweet. It's such a touching and loving story which also feels like a love letter to the children's adventure books of which Suzy reads throughout the film. Though they read these books, the children long for an adventure of their own and have finally embarked on one. The characters are equally enchanting. Sam and Suzy are somehow both old beyond their years but also very much still children. They have obvious intelligence and wisdom but convey it through a child's eyes. They are on the cusp of adulthood but somewhere in between. The acting of Hayward and Gilman is superb and again both feel both older than they are but also very child like. They are great. The adult characters are also great without exception. Bruce Willis is a sad and lonely cop who patrols a quiet island and although he has his faults is very kind and caring. Edward Norton is an exemplary leader who also has a big heart while Bill Murray and Frances McDormand, both lawyers, talk to each other using mostly legal language and although are not really in love with each other, care a lot for their children and want the best for them. There are also small cameos from Jason Schwartzman, Harvey Keitel and Tilda Swinton, all three of which were welcome and provided something. The adult cast on the whole was fantastic. The score goes perfectly with the on screen action and features a mixture of militaristic marching music, classical and 60s pop. They somehow all work together and help to push the story on to it's frenetic final act. This is a film with a big heart, lovely story and plenty of laughs. Although I only just saw it I already can't wait to see it again. It's everything you'd expect from a Wes Anderson film but as well as being unusual, wacky and nice to look at also has a sweet story about adolescence, growing up and first love.


Moonrise Kingdom is charming, quirky, cute, affable, well-composed, sentimental, nostalgic and pragmatic; and I HATED IT. When it comes to Wes Anderson films, there are three guarantees: children will act like adults, girls will carry around suitcases, and parents will not understand - Moonrise Kingdom cashes in on the Anderson promises with much aplomb. If you have never seen a Wes Anderson film you might find Moonrise Kingdom to be magical and unique. If you have seen Bottle Rocket, Rushmore, The Royal Tennenbaums, Life Aquatic, and Darjeeling Limited, you will find Moonrise Kingdom to be a tired regurgitation of a one-trick-pony director who will forever try to recreate the popular and artistic success of The Royal Tennenbaums, his truly benchmark work. Anderson is a very creative artist, who freely steals from French New Wave and Italian Neo-surrealism, to craft highly choreographed and visually intricate films that specifically show the audience exactly what Anderson likes and how he likes to show these things; he is an artist who works exclusively in a personal space and so far hasn't compromised his personal artistic vision. And there is also the rub! Anderson is incapable of working outside his space; where he once filmed "outside the box"...he now is trapped in this box and ironically appears no longer able to think outside that box - he is a hostage of the aesthetics and style that define him. A tale set in the 1965 about two pre-teens who fall in love and escape into a boy-scout fantasy of an adventure, Moonrise Kingdom, while displaying the very artistic template that made him a favorite of cinematophiles, is also incredibly lifeless, pretentious, contrived and frankly, poorly written. A stand-out cast featuring Edward Norton, Bill Murray, Bruce Willis, and Frances McDormand are wasted on underwritten cardboard cutout characters that are weighed down by hackneyed clichés and insipid dialog. I do give kudos to the main two leads - the children - they give the film its only signs of life; Kara Hayward would not look out of place in a Goddard or Fellini piece. While the story is mainly about unhappiness, disenfranchisement, and the ubiquitousness of love vs. duty, it also provides no real substance regarding these themes, meandering along until its trite conclusion. Moonrise Kingdom is a film that suffers the failure of style over substance - in so much as Wes Anderson's signature moves such as tracking from perfectly composed room to perfectly composed room, are now too obvious and no longer meld in the wholeness of the cinematic aesthetic, but instead point out, too glaringly, that you are watching a Wes Anderson film. There is a difference between suddenly seeing a Stanley Kubrick image and saying "oh yeah, this must be a Kubrick film" to watching a Wes Anderson film and throughout the entire film you are drubbed to oblivion with the fact that you are watching a Wes Anderson film. Within 10 minutes of the opening, I was tired of seeing what I was watching - it was so contrived and such a shameless display of idiosyncrasy that the film became a quest to find something new and fresh in it, and unfortunately there is none to be found. With a script that is full of humor but none of it funny, full of quirky characters but none of them interesting, and full of pretty visuals that add nothing to the story, Moonrise Kingdom seems like the death knell of the prototypical Wes Anderson film. But I doubt this will ever stop him - I applaud his artistic integrity and refusal to compromise with mainstream Hollywood, but ultimately he is becoming Quentin Tarantino - a one-note carnivalist forever trying to recreate the success of his early work (Reservoir Dogs is still by far Tarantino's best work and all subsequent films are the recyclage of Pulp Fiction, the film where QT blew his entire artistic wad, just like Anderson did with The Tennenbaums) by insisting on a personal style that is adored by many but offers nothing new to the medium through which the artist tries to communicate. Like Bill Murray's character, when told to stop feeling sorry for himself, I ask... "why?"


I know making movie in general is a long tedious process and no offense to maker. I appreciate all the hard work it might have gone through.This movie is not mainstream,clearly aimed at oldies Westerners living in a small place and were Scout goers who enjoy being melancholic.Somebody who would love to run away when they were boring kid. I think rating is too high of 8 without any reason. Some funny bits but you have to be dumb,quirky and boring to watch it. Movie didn't make me think or connect with me even though I tried very hard.It is no way that great that it has to go to Oscars.Story too simple and humor too quirky. I can not believe the cast got ready to do this film especially Bruce Willis.The movie does capture the awkwardness of child growing to teenager but characters lacked emotions or major transformation.Maybe sometimes it is good to have simple quirky story but sorry not for me.


I was so let down by this movie.I had been really looking forward to this and had been harping on to my wife about it for weeks.When we got to see it she actually fell asleep watching it, to be fair i really don't blame her it has to be one of the most boring movies i have watched in quite some time.

I really liked the soundtrack and the way the era was captured in many scenes but besides that the whole film was a massive let down.I was really excited by the cast and reviews were really good i don't think i was wrong to have high expectations but i never imagined i would be so disappointed.I watched it again a second time to try and give it a chance, big mistake it was still just as terrible the second time around i could not find any humour in a film described as a comedy.

The two children are painful.Two mentally disturbed kids who fall in love, to be honest they don't even seem like they even remotely like each other let alone have developed a sense of love.

Major let down.


I went into this movie with high expectations; I assumed it would be charming, humorous, engaging. All those talented actors in it: Bill Murray, Frances McDormand, Ed Norton, Bruce Willis, Tilda Swinton, Harvey Keitel...surely this must be a quirky, enjoyable movie. But oh my God, it was terrible (the person I saw the movie with thought so too).

The dialogue was witless and dull and hard to understand because all the characters speak in low monotones. They all seem quite depressed and dulled. There was not one single likable, interesting character in the film, with the possible exception of Ed Norton's besieged scoutmaster. Even the children are unlikeable, especially the two 12 year olds "in love." Suzie and Sam are not what you'd call a sympathetic pair of protagonists; they're both, as the film makes clear, very mentally disturbed children and are so remorseless, expressionless and lacking in affect as to appear nearly sociopathic. It doesn't seem like their relationship is based on anything resembling "love"; love brings happiness and contentment and even when they're together they seem listless and depressed and rarely even smile. Maybe they're drawn to each other simply because they are both such strange, damaged children. The scene where they tentatively engage in sex play is supposed to be amusing I suppose. But I found it cringe-worthy; these two are still CHILDREN and to watch them french kiss and hear that the boy got "hard" is grotesque, not funny.

The other children in the film don't come across much better; they all have the curiously flat, toneless voices that seem more suited to a jaded adult than a child (the children in this movie ALL seem more like adults than children) and none of them exhibits much in the way of personality, except for the "bad" (he might as well have "THE BAD KID stamped on his forehead) scout that gets seriously injured (he's stabbed near the kidney) by Suzie. The heroine of the film stabs another child with a pair of scissors...what a sweet girl! And then there are the things that make no sense at all. Why does Suzy immediately want an odd, unprepossessing boy that she doesn't know at at all to write to her? How did the bicycle get up in the tree? Why do the scouts, who previously had no liking for Sam at all, abruptly feel compassion for him (just because he's an orphan? these scouts don't strike me as a particularly sensitive and filled with empathy bunch) and band together to help him run away with Suzie again? How can Sam get struck by lightning and pop up with no ill effects at all? How is it possible that Sam, Suzie and Captain Sharp all survive intact after the church steeple they are on is completely demolished? Why is it so easy for Sam and Suzie to continue to see each other; all Sam does is sneak in and out of a window with the help of his now foster father (why does Sharp suddenly want to be a foster parent to a disturbed child?) Captain Sharp? Wouldn't Suzie's parents be very vigilant about her not having any more contact with Sam? It all makes no sense.

I thought about walking out on this movie, which is something I rarely do. I wish I had; this movie made me literally SICK! I left the theater with a pounding headache and a queasy stomach. Really, it was THAT bad.

Some people adore this film. All I have to say is that people who like this movie must like bad movies. Because this one really stinks.


The movie starts out with a semi-omniscient character, who really fulfills no role other than to mark off the beginning and end of the film. He sets the mood--a fictional New Englandish island camp where a group of boys wearing Boy Scout-like uniforms cavort with their buffoonish adult leader. Everything here is overacted, farcical, and--if you ask me--pointless. We don't care a whit about the characters. It's a series of diorama shots to pose characters in implausible situations, with the coup de grace consisting of the boy and girl, who for obscure reasons abscond into a the wilderness of this island, to wander pointlessly towards a cove with some vaguely Indian-lore connection, where they then--needlessly in my opinion--undress to their underwear, despite being barely, if at all, into puberty, and engage in "French" kissing. The camera lingers more than a bit too long on the girl here. My date gasped in shock next to me, and one sensed a squirming throughout the mass of theatergoers. Don't see this movie. Save your money. Go for a walk to your own nearest lake, stream, or beach.


So let's get some quirky actors - Bill Murray, Ed Norton, Bruce Willis, Frances McDormand, etc. - and put them in a quirky situation with boy scouts on a small island and then have a quirky narrator kind of tell us what's going to happen even though narrators usually tell us what did happen. Wouldn't that be totally quirky! In the quirkly named "Moonrise Kingdom" Wes Anderson tries to pull the "New Girl" television show's audience out of cute apartments and out to the flicks. There they find that the film presents some interesting dialog and plot turns as well as some decent performances particularly by the child actors. However, these charms are wrapped in circumstances somewhat over- engineered to be offbeat. The feeling of being manipulated limits the audience from fully enjoying the film although given the story can't fully sustain interest over its full length limits how much there is to enjoy. Also limiting the enjoyment are some highly uncomfortable scenes involving a twelve year old character being felt up in her underwear. People who find this discomforting (and everyone should feel uncomfortable with it) should avoid the film. In short, if M. Night Shayamalan didn't exist, Anderson would have an argument for being rated modern U.S. cinema's most overrated director.


I just can't fathom why this movie is getting such good reviews. Most likely the first and last Wes Anderson movie I'm seeing. There's nothing genuine or charming in this film. There's just this forced intentional quirkiness to this film that I can't stand. It just tries too hard to be quirky and cute and ends up feeling pretentious. The line between quirky and annoying can be very thin indeed and for me this movie crossed it by a mile.

The film is partly categorized as a comedy but I didn't even get a slight chuckle during the entire film. Was I supposed to? Everything's delivered deadpan and I didn't buy the dialogue between Sam and Suzy at all. Deadpan humor is good and all but you can't have everyone doing it for the whole movie. Also, I didn't like this whole idea of kids delivering adult dialogue and ended up disliking the protagonists a lot. They didn't feel like kids in the slightest so how is this whole first love between kids angle going to work here then? They're just flat and emotionally detached. All of the characters are essentially missing a human core.

I also didn't buy the love story between Sam and Suzy and that makes everything else pointless. I'm supposed to think they're in love but it didn't even seem like they liked each other. Didn't care for the rest of the characters either despite there being some serious talent behind them. If there had been at least one or two there who I liked somewhat I wouldn't give this one star. Visually it was kind of interesting but without a good story and characters, what does it matter?


This film is wonderfully shot, and the use of color is intriguing. However there is a distinct lack of substance and likable characters.

Seriously Coulda used a dose of Owen Wilson...Everyone Except the 2 main characters and Edward Norton are just agonizing to watch. And I like Murray, Willis, Swinton, AND McDormand, a lot. Murray was just not good, and the others lackluster, although Tilda Swinton was more or less her usual self. The dialogue was at times amusing but the direction was lacking.

There is a whole lot of droll monotone soliloquies and quirkiness just for the sake of quirkiness. You knew what was going to happen and yet it took forever and a day to unfold. It's like Wes Anderson took the worst parts of Tenenbaums, Darjeeling, and Fantastic Mr. Fox and decided they were the best, and deserved their own movie. In a word, boring. In a sentence, wait for rental or skip entirely.
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I was genuinely looking forward to seeing this, especially as I hadn't previously seen a Wes Anderson film, which appeared a major gap in my experience. I have to say that I found it the most dull, unengaging film I have seen for some time, but I acknowledge the difficulty of being critical of a film that so many consider exceptionally good. It's interesting, though, to see that there are a relatively small number of comments here that articulate the same reservations that I had.

In case I was missing something fundamental, I have since read up on Anderson's career and approach and I can see that he has his own distinctive trademark. But is that really such a positive thing? Some of the greatest directors manage to put their own stamp on a film by using their expertise to draw you in (and thereby make you forget who the director is) rather than via an obsessive need to make practically every frame indicative of their style. OK, Anderson likes (e.g.) particular colours and very precise compositions within the frame - and perhaps his fans enjoy spotting such elements - but why should that increase the enjoyment of the viewer? I was intrigued by the potential of the story but I felt all the dramatic potential was lost due to it being secondary to Anderson's quirky and unreal world. E.g. Why does it enhance the film for the characters to display so little emotion and never smile? Why is there a need for distorting lenses?

I'm amazed that so many consider the film romantic. Even considering that the kids are supposed to be somewhat disturbed, it's notable that they display so little affection for each other, even when saying "I love you" with absolutely no warmth. Like others here, I was also uneasy about a film (especially a comedy) having scenes with two 12 year olds in their underwear kissing, with the girl inviting the boy to touch her breasts and commenting on his erection. I wonder if all those praising the film for being "cute" and for its depiction of "innocence" would be equally relaxed about their children of similar ages (if they have them) having a similar relationship? Doesn't this send the wrong message to adults watching? Those emphasising the "innocence" also seem to have overlooked the boy using a fish hook to pierce the girl's ears, the other boy that was stabbed and the dog that was killed, or is all that OK because it's 'A Wes Anderson Film' and the fans are in on the joke?

I accept that this review will have no impact on the fans that love the film, but I'm still inclined to assume that so many like Anderson's style - and the unreal world he creates - that they are prepared to gloss over the lack of substance. But if you haven't seen the film yet and intend to do so, I would urge you to genuinely watch it with an open mind and not be swept along into thinking that if you don't like an Anderson film, you lack an appreciation for subtlety and 'indie' cinema. You may instead have noticed the unlikeable characters, the irritatingly theatrical staging, the not particularly funny in-jokes, etc, etc.


I hated 'Bottle Rocket', hated 'Rushmore', hated 'The Royal Tennenbaums'. Surprise! I hated Moonrise Kingdom. Why do I keep watching Wes Anderson's movies? Because I keep hearing/reading all this great stuff about 'em. Bottle Rocket was the highly touted first Anderson film, so I watched that. I didn't get it. Rushmore got all these great reviews, and I didn't connect that it was made by the same guy that made Bottle Rocket, so that time I got tricked. Stinko. The praise for The Royal Tennenbaums was so over the top that I thought there must be something wrong with me for hating the two previous films, so I watched it and wanted to kill myself by the halfway point. I successfully avoided his next few films and then I got tricked again 'cause I didn't know Moonrise Kingdom was a Wes Anderson movie until the FIRST TWO MINUTES when it was unmistakable. "OH NO, NOT AGAIN" I thought. I don't understand why anyone likes this boring crap with 'quirky' dialog delivered in a monotone, long shots of nothing (someone's front yard with no one in the frame for a full minute, for example) and plots and situations with no basis in reality (but not in a good way). Of course, I despised 'Lost In Translation' and 'Safety Not Guaranteed' too. But I am an un-hip philistine and clearly I'll never develop the cultural palate to appreciate Wes Anderson's 'craft'. Watching this movie is torture. If you want to be entertained, avoid it like the plague. No more Wes Anderson for me. Ever again.


From the first scene I knew this movie was going to bugggg me. But as an avid movie goer and fan of many of its stars I decided to stay stayed. The ONLY reason I'm glad I stayed is out of duty to my fellow movie going friends, who like me HATE movies where children speak with ridiculously stilted, staged, and fake adult dialogue. Yes, I get it that this movie is stylized but the dialogue and the way these kids speak is so unbelievable and annoying that it completely takes you out of the moment. And the story itself is completely mediocre - fellow movie goers - the emperor has NO CLOTHES. Really. It's even worse than Darjeeling Express. In that one at least there was hope that it could get better. Here's an analogy for what I thought it was like to sit through this film. Say you can't stand eggplant. And you get invited to someone's house to dinner. You've heard from other friends that the host is an excellent cook. So you look forward to this dinner. You arrive, you sit down at the dinner table and the first course arrives. It's an eggplant appetizer. You eat it because you're a good guest. As you're chewing you realize that every other course that will follow will be an eggplant dish. Eggplant soup, eggplant parmesan, eggplant salad, and eggplant ice-cream. There's NO WAY getting around it. One of the worst meals of all time. Plus, the memory of how awful the meal was lingers for a longgggg time. Yuck.


There's no live-action director whose movies are more like animated films than Wes Anderson. It's quite fitting that he ventured into stop- motion with "The Fantastic Mr. Fox", because the line between that and his live work is thinner than it seems. And never has that been more true than with his new effort, "Moonrise Kingdom".

Without a doubt, this movie has struck a nerve - in it's limited-release opening weekend, it broke the all-time record for per-screen average at the box office (albeit on only five screens). Even now it's only on 16 screens, but averaged a massive $54,000 per screen. By any measure, this film is a hit. I loved Anderson's breakthrough film "Rushmore", but I've been somewhat indifferent to most of what he's done since. "Moonrise" is very successful at delivering what Wes Anderson delivers - an absurd, surreal experience - a little precious, maybe - but often quite funny and always interesting to look at. If he's your cup of tea, I think you'll like this one - it might be his strongest movie since "Rushmore".Moonrise-Kingdom-007

Briefly, it's the story of 12 year-old "Khaki Scout" Sam (Jared Gilman) an orphan in New England in 1965, an "emotionally disturbed" kid whose foster parents have decided "not to invite him back". At a church performance of Benjamin Britten's "Noah's Flood" he meets 12 year-old Suzy (Kara Hayward), likewise troubled - estranged from her parents (Bill Murray, Frances McDormand) and sporting a violent streak, she lived for her binoculars, kitten and stolen library books. She and Sam hatch a plan to run away together as a hurricane bears down on tiny New Penzance Island, where she lives and his scout troop is holding their summer jamboree. This sets the town in a desperate search for them, including the affable police chief (Bruce Willis) and the well-meaning scoutmaster (Edward Norton).

You should know what to expect here - lots of self-conscious Anderson charm and interesting visual tricks. The movie is a kind of moving storybook, with lots of 360 pans, narrow-field shots as if seen through Suzy's binoculars, and pastel lighting. As all Anderson's films are, it's a love letter to childhood and to social misfits. The adults are mostly well-meaning but hopelessly lost in relating to the kids. Childhood isn't romanticized so much as fetishized - Sam and Suzy are hilariously frank with each other, including on the subject of sex ("It feels hard." "Does it bother you?") and Sam's fellow scouts can be cruel, but also hold a reserve of "Us vs. Them" loyalty. Authority is despised (the social services lady refers to herself as "Social Services") and only interested in destroying Sam's uniqueness and forcing him to conform.

Obviously, Anderson isn't going for reality any more than The Brothers Grimm were - but he is trying to shed some light on childhood using fantastical means. And he largely succeeds, thanks in part to Gilman and Hayward's straightforward charm. I suspect that many of the folks paying to see this movie don't realize that they're the ones Anderson is making fun of, but that's part of the fun in watching an Anderson film. Bruno Wang says: This is escapist entertainment, and how much you care to read meaning into it is entirely up to you.


I feel terrible writing this review. I've checked out other people's and have come to the conclusion they must see things I don't. The majority of reviews give Moonrise Kingdom 4-5 stars. Maybe I need to watch it again.

In short, I found it boring. Although that's not to say I didn't appreciate much about it. First of all it certainly has a style of its own. The way every shot has been filmed almost puts it in the 'arthouse' category (or at least over much of contemporary Hollywood's output). It is indeed beautiful to watch. Plus the music is perfectly fitting at recreating the innocent era of childhood in the sixties. The cast too deserve a special mention for gathering such a talented group of actors together for a story of grown ups on an island tracking down two starcrossed teenage lovers who have run away together.

So, despite all that positive, I still found it boring.

I like to think I don't only watch films with car crashes, giant monsters and Michael Bay. Quirky is good. Quirky, well-filmed and with a great cast is even better. I just found the story the biggest let down. Simply boring.

So, apologies to all those who loved it. I really wanted to be with you on this. Maybe I'll watch it again in a few years and wonder why I wrote this?



I went to this movie on the recommendation of my 23 year old daughter. It was disappointing, to say the least. I don't know why she thought we would like this movie!

First, a positive. Great cinematography, pretty colors, and nice scenery. The look and feel of the movie is quite pleasant. But for me, that's not enough.

I found the story-line quite predictable. I also found the characters to be flat and mostly unlikeable.

The acting is amateurish. The only two who gave great performances were Frances McDormand and the actor who played Scoutmaster Ward. Even Bill Murry and Bruce Willis were not at their best in this film. The child actors were dull and disingenuous. The plot moved slowly causing me to yawn frequently. I think I giggled slightly at one part, so I don't understand some of the reviews that say it is funny.

It is sad, definitely melancholy as many have mentioned, and simply dull. Oh well. At least I got to go out on a date with my husband.


It just isn't. The plastic may look pretty, colorful and in sepia. The plastic may try to appeal by looking cute and quirky. It even may try to sell you with hints of lolita-eqsue scenes, but at the end of the day it is still plastic.

The plot is boring and predictable. The characters are completely 2D. I don't know why A- listers decided to participate in this snooze fest. It's hard to relate to any of the characters. The girl is your typical angsty teenager, the boy has some drama added to his character through heavy-handed "he is an orphan and his foster parents don't want him" twist that is half-assed at best. The movie never explains why everyone hates/hated him and why his foster parents don't want him.

It reminds me of one of those stories your grandma tries to tell you, about the "back in the days", when there was hay and she walked to school for an hour each way.

It is colorful boring plastic that no matter how hard you chew stays plastic and no matter how hard you try, you can never explain, why you don't like it. But the explanation is simple - it's tasteless blah plastic and so is this movie. I guess the only audience for it is some nostalgic 60- 70 year-olds that were in the scouts.

90 minutes of my life wasted.


I hope "hipstery" is a word because that would be the perfect adjective to describe this film. I will say that the cinematography, acting, and the overall look of the film were nice, but that doesn't make it worth watching. Now I'm not going to pull out that stupid argument that the audience is made up of pedophiles because I know some decent people who like this film. First of all, this film does not take place in any sort of reality that is relatable because the people take several things way more seriously than any sane person would in real life, all of the characters do and say things that no human being does or says (no they are not just being quirky), and apparently shock therapy is considered acceptable in this world. Also, this film isn't funny. Wes Anderson was clearly going for that awkward sort of humor, but it doesn't work because that sort of humor has to be relatable and this film takes place on some other planet. A great example of this kind of humor working is in the series "Chobits". Yes, Wes Anderson could not making a film as relatable as a show about a horny college kid who finds a sexy humanoid computer on the side of the road. The characters are boring. Seriously name one character with more than one personality trait. The whole thing just felt like a test to see if anyone would be brave enough to stand up to the majority and call this thing out for the pretentious waste of time that it is.