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Generally favorable reviews- based on 552 Ratings

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  1. Negative: 40 out of 552

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  1. Nov 4, 2012
    A film filled with simple pleasures. Wes Anderson films are an acquired taste. Like all acquired tastes, you can understand why other people don't enjoy them, but you pity them for it.
  2. Nov 3, 2012
    All well(direction,actors and screenplay).The boy made mistakes but he solved it too fast;it's a great character.It's better than Skyfall and one of the best romance movies I ever seen.
  3. Nov 3, 2012
    Moonrise Kingdom is probably Wes Anderson's most accomplished movie... Everything is beautiful : the colors are dreamlike, the music is exuding the 60 's and the scenario joyfully childish. Did I forget to mention how good every actor ?

    If I had one movie to take on a desert island, it would definitely be this one !
  4. Nov 2, 2012
    A great story but Wes Anderson's trademark tweeness and arty shannanigans just take me out of the moment. There's that air of unrealism that typifies most of his films. Also a bit dissapointed to see great actors like Bill Murray being wasted in shallow roles. I switched this film off when the two kids started dancing on the beach. Was too cheesy and made me want to vomit.
  5. Nov 1, 2012
    This movie is great, I went in not knowing anything about it, and was very glad I saw it. Its certainly different and very interesting. Recommend to anyone
  6. Oct 28, 2012
    A very likable movie. It made me feel like I was a teenage again, The movie captured the whole idea, of how young people think. They both ran away from home, and the director filmed it in a way, that it seemed like they were on this great adventure! I only had a problem with the films ending, other then that, great movie!
  7. Oct 27, 2012
    Directed by: Wes Anderson Written by: Wes Anderson and Roman Coppola Running Time: 94 min Rated: PG-13 Starring: Bill Murray as Walt Bishop Frances McDormand as Laura Bishop Bruce Willis as Captain Sharp Edward Norton as Scout Master Randy Ward Tilda Swinton as Social Services Jared Gilman as Sam Shakusky Kara Hayward as Suzy Bishop Jason Schwartzman as Cousin Ben In 1965, two 12 year olds decide to leave their lives behind and run away to a hidden inlet on the island of Penzance. Or so goes the plot for Wes Anderson's latest film, Moonrise Kingdom. The two kids, Sam and Suzy, meet when Sam sneaks backstage at a play and finds Suzy dressed as a raven. When she tells him that she cut her hand on a mirror when she lost her temper, you can see in Sam's eyes that he is smitten. The two are pen pals for a year and hatch a plan to run away together.

    Sam is an orphan and is a member of the Khaki Scouts, a very serious group of campers that appear to be modeled on the military and, of course, the Boy Scouts of America. He and his troop are camping at Camp Ivanhoe when his scout master, Randy Ward, notices that Sam has "flown the coop". An APB is put out on Sam, and the troop, along with the local police captain, begin a thorough search of the island.

    Meanwhile, Suzy has also fled from her home, carrying with her the necessities: a kitten, kitten food, a record player and her favorite record, a suitcase full of stolen library books, her lefty scissors, and her binoculars. She meets Sam in a meadow and follows him to an inlet where they set up camp. Both on the line between childhood and puberty, the two settle into life together. Sam impresses Suzy with his camping ability, and Suzy is compassionate when Sam reveals he sometimes wets the bed. After discovering Suzy's stash of letters from Sam, the search party steps up their efforts to find the two lovebirds.

    I have always been a fan of Wes Anderson's films for their unique style. Each time I see one, I spend days afterward contemplating his approach. The camera pans from one room to the other in the houses as if you are looking into a dollhouse. The nature of living right next to other people and yet separate at the same time is clearly demonstrated with this technique. The settings looks like old fashioned paintings that have come to life with the characters. The colors are antiqued, almost sepia toned. The actors have their usual expressionless faces we have come to expect from Anderson's films, and yet so much emotion is being conveyed.

    Once again, he has assembled a first class cast. Bill Murray and Frances McDormand played two attorneys who are married but just going through the motions. Bruce Willis is the local unmarried police captain having an affair with Frances McDormand's character. Edward Norton is sincere as the serious scout master. But the breakout performances of the film come from the actors playing Sam and Suzy, the star crossed lovers. I was mesmerized as I watched them fall in love for the first time in their young lives, as they carefully navigated the delicate balance between childhood and adulthood.

    Another area in which I feel that Wes Anderson's excels is in his choice of music. After watching this film 4 times in a row (yes, I love it that much!), I downloaded the soundtrack. I'm not sure it holds up as a whole, but the parts are excellent. First there is the song that Sam and Suzy dance to on the beach, Francoise Hardy's Le Temp de L'Amour. I know it sounds silly but I love to put it on and act like I know what I'm saying when I try to sing along. Then there is the Young Person's Guide to the Orchestra. I put this on for my 6 year old and he loved it. It reminds me of how much I used to love listening to Peter and The Wolf when I was a kid. I love watching him as he discovers the nuances of each instrument and how they come together to make magic.

    I highly recommend both the movie and the soundtrack. This is one movie I'm going to purchase to watch again and again. It's like a good book. In fact, I'm going to purchase all of Wes Anderson's movies and revisit them. Let me know what you think of the movie after you watch it.
  8. Oct 20, 2012
    This was an odd film across the board mainly due to the visuals, the actors, and their acting. First, the story is just a run-of-the-mill coming of age story centered on some 11 year olds. It's the type of story you've seen a dozen times before on Lifetime, A&E, CW, etc. But this particular film stands apart from them because of the elements I noted above, but doesn't apart in a good way. The film is set in 1965 and the film is quality is intentionally set to be grainy with yellow tinting, so my Blu-ray experience was obviously dampened. Then the actors - the principal stars (two kids) are unknowns but the supporting adult cast are all-stars. You'd think that would be great, but not so much. In fact, none do any better than unknowns could've but then this would've been an art-house flick instead of mainstream. Finally, I have to agree with "dafuq" below who notes that there's no emotion or passion in any of the performances. Much of the dialogue is done in emotionless monotones and it's just a horrible shame. Obviously director Wes Anderson did this intentionally but why ?? It's not a fully wasted effort but it could've been so much better. Expand
  9. Oct 16, 2012
    Wes Anderson´s Moonrise Kingdom is one of his greatest achievements since Rushmore. This film is simply lovely, it´s intimate and original and it truly defines what love really is. The entire cast is fabulous, that goes from Bill Murray till Bruce Willis. The film is funny when it has to be and dramatic at the right moments, it´s the perfect combination.
  10. Oct 14, 2012
    This is a cute movie, with some witty dialogue, and some mild emotion attached to it. However, like most Wes Anderson movies, it is pretentious, self-indulgent, and tries to be a deep, profound statement, not realizing that it's merely just a cute, quirky comedy. That honestly takes away a lot of its appeal for me, and that's why I docked it a points. I would put this movie in the same boat as something like Crazy, Stupid, Love. It was cute, funny in some parts, and heartfelt in others, yet there was nothing groundbreaking about it. I would have given this movie a slightly higher score if Wes just allowed the movie to just be the cute little movie that it was. When it's reaching to be a profound statement about the lives of these kids, it fails to do so, and it just leaves a bad taste. The most emotional moments have all been done before in many other movies. It does feature a cast of strong, respected actors, like Frances McDormand, Edward Norton, Tilda Swinton, and Bill Murray, although I wouldn't put this in the discussion for being one of the betters performances, or one of the better movies, for any of those people. They were cute and quirky, just like the script. Something both Wes Anderson and his pal Noah Baumbach need to work on is knowing their limits though. That haughtiness they seem to have comes across in their movies, and ruins their appeal. Expand
  11. Oct 3, 2012
    Excellent film. Fantastic performances all round and wonderfully original. I honestly do not understand the extremely negative reviews here. This probably isn't a 10/10 film but at least an 8.
  12. Oct 3, 2012
    I'm not especially a fan of Mr Anderson's output. I found Rushmore to be bombastic and distastefully immature, if ambitious. Tenembaums never really peaked my interest. I started to get his approach with Zissou, allured as I was by his iconic visual style. I found the feature to be flawed, but it made me chuckle in a way no other film has before. His subject matter is somewhat pretentious, but for his treatment of an older man's coming of age, the splendid supporting cast and his perfect casting of Bill Murray in that role, he should and was commended. To my own detriment, I cheapened the experience by loitering in the auditorium after the screening to catch the sequel to a well known Wachowski brothers film, which, although sophisiticated in its own technical way, wasn't even in the same league. It begets a repeat viewing, but I've yet to get myself in the right frame of mind to fully appreciate it again. I was enticed into watching Darjeeling, once again by it's casting, and it's immaculate promotional poster. Unfortunately, I found that film to be somewhat self important, and, once again, undermined by distastefulness. I was drawn to this, his latest release, yes, once again, by his refreshingly unique style, which is both retro and very contemporary. On first viewing it failed to capture my interest. On a whole, for an adventure, the movie is dull: drawn out in places and rushed in others. His cinematic gags becoming a bit gimicky by this point. I did enjoy the universe he had created and, if I'm using the term correctly, the general mise en scene of its framing, to be most pleasing on the eye, but almost too much attention has been paid on this aspect (his priorities are almost inverted). The lack of worldliness is understandable in the younger cast, but I personally found the older characters to be somewhat one dimensional, the story to be slight, and the stilted delivery of its dialogue infuriatingly monotonous. (It's just not as funny as it thinks it is.) Arguably, this is intentional, and I'm sure there is a post-modern justification for the film's overall flatness. I'm sure he would likely use terms such as 'distancing effect', at which he has been succesful (the film's opening admittedly does resemble a dolls house - as Zissou's sub resembles a schematic). Maybe it's was just that there was such a large younger cast, I couldn't quite connect with the film's emotions (the word autism did surface in my consciousness a few times during viewing). Then, maybe perhaps I'm not meant to, for this seems to be a grown up film for young people, and very much an experience for those within it. I did find myself compelled to watch the film again, if not in it's entirety. Mainly to immerse myself once again in his rich universe, which I longed to re-inhabit shortly after the films close. Also, to share the company of its familiar cast, in fittingly new guises. At the risk of not being cooly understated, as most critics seem to be aware such fare requires, we are blessed by the presence of the sultry young Kara Hayward, a future screen siren in the making. This is very much her film. A gift. Expand
  13. Oct 1, 2012
    El cine es un mundo que se va llenando de las llamadas
  14. Sep 30, 2012
    This review contains spoilers, click expand to view. To depart from the other comments Ive read on this movie. I will not use this as a way 2 love or hate Wes Anderson. The people who say their in love with it, and Anderson classic style is nothing shrt of genius n this film.... These people r phony. They r followng a trend of seemingly hving 2 comment on Andersons work on this film and make some lofty type of remark 2 make sure ther not berated by the artsy crowd who worship Wes. And 4 those who say they hate it b/c Anderson took his style of film n used it 2 cmptly take out any persnality or character formation b/c of his need 2 stay ironic above all else, incld. the script. These people r phony. They wnt 2 slam Wes as hard as they can by trying 2 come up w/ a lofty type of remark tht makes them above all the artsy types who will no doubt love this film. As 4 me I will jst make simple comments on the movie tht I watchd. It was a coming of age film based on a classic love story of boy meets girl. After they meet they keep in touch from a far but they realize their both outcast types and bond on this commonality. Eventually they hatch a plan 2 run away together. Trapped on a small but well to do Island the boy, Sam has to escape a boy scout platoon where he is constantly picked on and bullied. The leader of the troop, Scout Master Ward is a naive math teacher who feels the Khaki Scouts is his real work in life. Its a purposely overblown way of life on the island. In the sense The Khaki Scouts are a very well, very regimented group of 10-13 year old boys, who eat, sleep, and live the scouts. Suzys challenge isnt as bad. She is the spoiled girl in a family of individuals who is prone to being overlooked and does as she pleases with no real parental involvement. So the plan is hatched n Suzy meets Sam n the designated spot that he plannd for her using his skills from the scouts. He has a plan to go to a certain part of the island, but 1st they have to pitch camp at another spot b/c the destination is futher off. Once S. M. Ward learns of a scout gone missing he contacts the authority since its a 1 cop town. Along with Ward Caption Sharp set out on a search for the boy. Ward makes plans with his troops for a rescue mission and Capt. Sharp learns of Suzys escape from home from Suzie's parents. Along with S. M. Ward, Capt. Sharp and the troops, the parents, n a tour guide of sorts from the Island set out on a massive search for the two star crossed lovers. Set as a satirical comedy the movie follows a supposedly innocent trail of two kids finding love for the first time and goes even further for no apparent reason. Through the clumsy run ins with their would b captures, and dark humor moments like Suzy stabbing a scout with her lefty scissors. The film takes a inappropriate and careless turn into what can only be described as soft core child porn. I understand that when your 12 or 13 years old or you first start your curiosity of the other sex, (or same sex) its a very innocent n sacred process Weather your 1st kiss or 1st touch a girls body and vice-versa for the girl feeling through a boys pants when he is aroused. Is something that most of us go through. And I am not saying thers anythng wrong with this process of innocence and curiosity of ones sexuality. But Im not sure what the point of it is in this film other than to push the envelope and stand behind the protection of artistic integrity. The only reason it bothers me is because of the two child actors, especially the 13 year old Kara Hayward have to act out their delicate sexuality for the camera and for the enjoyment of the filmaker and everyone else involved. He (the director) could have easily gotten his point across without going as far as he did. The only reason for someone to take a scene further is for information purposes. To let the audience know what the characters are going through. But I dont think ther is a lack of understanding of what happens between a boy and a girl, we know what happens w/o him havng to strip a 13 y.o. Suzy is the love interest in the film and the boy Sam finds a way to run away w her for a night or 2. She is wearing a short school girl dress with stockings and Sam is in his scout outfit. So as they set up camp their talking n interacting when u get ur 1st shot of n up-skirt of this 13 y.o. Ok not that big of deal but whatever But when he decides to later play out their first kiss and him touching her breast from the outside of her training bra, and then commenting on Sams hard-on I think he went to far. By what standard. The standard of protecting childrens innocence, mind, body and soul. I think they could hve kissd n he could hve touched her breast on the outside of her dress, rather tht hve her n her training bra and panties for a few mins. of tha film. Thers even 1 scene where she pushes her undevlp Expand
  15. Sep 24, 2012
    Wes Anderson , he has an unique way to direct a film . And i thing this was him best direction . it was an amazing movie . Good story , there were some really funny moments but i they could make it more funnier with all those things happened . Good acting good location good idea but above of all its Wes Anderson's amazing direction . it was like a live action stop motion movie . so freaking love that style ! Expand
  16. Sep 24, 2012
    The premise seemed very interesting, an orphan loner escapes from scout camp to elope with a young girl. The authority figures (police, scout masters) search the island trying to find them, with the help of the girls parents and the rest of the scouts. It sounds like a classic coming of age story between two socially inept outcasts, were it conjures the isolation of adolescence and the awkwardness of youth as it enters into sexual maturity. But the film wasn't really about the story at all and this is were it fell massively short. Moonrise kingdom is basically about how many visually symmetrical shots Wes Anderson can put onto a screen within 1 hour and 30 minutes. The colour scheme is typical Wes Anderson, vibrant red, greens, yellows and blue's, little bobble hats on most of the characters. The man has a 5 minute sequence at the start of dolly shots going up and down a house. Then followed by a dolly shot that travels left to right tediously for about three minutes with Edward Norton as he wakes up and goes outside for breakfast. He repeats this shot about 3-4 times during the film for similar lengths of time. When a letter appears on screen it's shot from birds eye view from above, when the main character reads a map it's shot from a birds eye view from above....everything is perfectly symmetrical. When they go to open a tent it's shot dead centre, then it's shot inside perfect symmetry as you see the zip being opened Expand
  17. Sep 23, 2012
    A gem of a movie! Visually stunning with a warm and genuine story and every character absolutely lovable. This movie strengthens the hope that Hollywood can still offer something new. Excellent acting and I'm glad to see that all of the actors gave maximum, even though most of the roles have short screen time. I have also found the two young leads very believable. Every scene of the movie is like a precious miniature in itself. Also, the scenery is unbelievably beautiful and at some moments I had a feeling that I was inside a landscape. The music was well chosen. This is one of those movies that you can watch again immediately after you finish it. Expand
  18. Sep 21, 2012
    Quirky, whimsical and charming does not begin to describe, Moonrise Kingdom, which is one of the year's finest films and Wes Anderson's personal best (in my opinion). The movie follows a mature romance between people that are barely even mature yet (in terms of age). These kids elope from their damaged homes and have become the subject of a town-wide search to rescue them before "the storm" hits. The kids are played very well and with incredible maturity by Kara Hayward and Jared Gilman, and the all-star supporting cast, particularly Bruce Willis, did a fantastic job in their respective roles. They had a lot to chew on, thanks to Wes Anderson and his brilliant screenplay, which brimmed with colorful, distinct and flawed characters; and also deep story arcs. Despite the film's charming exterior, there was something deeply melancholic underlying its surface. It tackles some impressive themes like bullying, dysfunctional households and adultery (just to name a few) in an unapologetic and sometimes deadpan fashion. The perfectly symmetrical flow of the film will please any fan of the director and the grainy cinematography resembles a beautiful vintage postcard. I really have no complaints about this movie. I'm just hoping this gem does well in awards season. Expand
  19. Sep 18, 2012
    Moonrise Kingdom is a peculiar and beautiful movie, treats the story of a boy and a girl who met on a school play and fall in love, so they start to sending letters to each other and one day plan to escape together, in order to have a new life, far away from the adult world, which they both hate. It is interesting the dynamic that is generated between these two characters, because they both give to the other what their family does not provide; he compensates the understanding and support that needs the girl, and she pay off with attention and love. This story is so charming and magic because is the one that everyone wanted to have during their first love, although is not a complete happy ending; it has the precise end to make the story believable. Another exciting topic of the picture is the contrast and comparison between the child and the adult world. We see that the children do whatever they want and live guided by their imagination; however the adults do want they have to do and live guided by social conventions. Then we notice that the roles are change, the grown-ups cannot have a relationship or manage the children, but the boys have relationships and do not care of what the adults say. All of this happens because the story develops in the moonrise kingdom, a mixture between dreamland and neverland (the idea that the island where they live is fictional, also contributes to this concept). The performance of the protagonist couple is just brilliant. Expand
  20. Sep 4, 2012
    It was much to my surprise that my movie date leaned over half way through the film and whispered in my ear 'I don't get it... it's funny? yes?' Particularly when I had just spent the last hour with a big smile on my face... So I did what any reasonable male would do in similar circumstances. Never called her back.
    But it is now, as I put down these words, that I realize Wes Anderson
    might invent the kind of humor that speaks in sly remarks and intelligent repartee. After all, this is the gentleman responsible for "The Royal Tenenbaums" and "Life Aquatic." Films filled with all kinds of quirky characters that are never obvious to decipher.
    Perhaps is my European upbringing that allows me to relate to his flavor of sense of humor. In the old country it is rare to have a laugh at someone smashing a pie in your face, a-la-Jim-Carrey. Too obvious. We do it more with combinations of words that require three different explanations and a day to marinade. Neither is better. It just tastes different.
    With or without my rather attractive yet long-gone companion, Wes Anderson delivered quite the good film. On the surface the story follows the romantic quest of a teen couple determined to come together and run away whether the adults like it or not. Which is a good thing, because the adults seem to be the ones out of touch with things in this Anderson microcosm. The kids are on point, determined, and ready to make all the adult decisions. Which is the humor of the thing. While the adults are always at a loss, indecisive, and in total disarray, specially in their personal lives.
    The dramatic performances were exacted with such surgical precision that it is obviously directed as such. No human takes their words and emotions to that extreme wax-museum-like delivery. Again, that is the humor of the thing.
    I found the marriage of music and imagery fantastic. It opens as it ends. The visuals leave no room for mistaken identity. There is always a haunting quality of being trapped inside a doll house within a little kid's story book. A compromise of innocence and seriousness from which to tell a story of painfully contrasting human emotions. The unrelenting honesty of a true heart ache versus the hopeless defeat of a disappointing adult world. Fantastic.
    One last thing... To the gorgeous girl whose calls I didn't return... Call me back. I found a movie with lots of smashing pies.
  21. Aug 14, 2012
    This review contains spoilers, click expand to view. The year was 1955. Thereupon Ngo Dinh Diem's launching of a propagandist campaign("Denounce the Communists") against the Viet Cong, his collectivist-minded opponent, the war began, in earnest. During the intervening time, before our boys entered the fray, the South Vietnamese president killed 12,000 of these so-called commies, and for good measure, imprisoned 40,000, no doubt, innocent men, but still we supported the ROV despot. Ten years later, our consortium with a nation that allegedly shared the same democratic principles and ideals with our forefathers continued, bombing Diem's enemy to the north in the process, as part of an operation called Flaming Dart, which knocked out North Vietnam's industrial infrastructure. 1965 was also the year that President Johnson deployed the 3rd Marine Division(the first Americans to arrive in the Southeast Asian country) to quell the uprising of North Vietnamese insurgents at Da Nang Airport. Meanwhile, Keith Richards was dating Linda Keith, the groupie who would serve as his muse when the debauched musician penned "Ruby Tuesday", an elegiac ballad from The Rolling Stones album Between the Buttons. The song serves as the soundtrack of forbidden love in The Royal Tennenbaums, when Richie declares himself to his adopted sister Margo, and has the razor cuts on both wrists to prove it. They lie down in Richie's tent, sharing the same sleeping bag they used as children, when the pair ran away from home and camped out in a museum. Not for nothing does the on-screen narrator establish the year in Moonrise Kingdom, since this period piece film is a humanist riff on the French New Wave classic Pierrot le fou, Godard's polemic against the Vietnam War. The exposition is stealthily laid out in The Young Person's Guide to the Orchestra, the Benjamin Britten album that Suzy's brother plays on his phonograph, which indirectly explains how the film could be interpreted as Francois Truffaut's take on the 1965 film, when the scratchy female voice deconstructs art, explaining how an artist can play variations of the same theme. Similar to the self-aware French gangsters, Sam and Suzy are lovers on the lam, who end up occupying a coastline. Although the children lack their adult counterparts' pessimistic worldview, Moonrise Kingdom has more than Small Change on its mind. Its romanticism is barbed. This seemingly comic film is also politically-charged, sharing with Pierrot le fou, the same anti-Vietnam sentiment, best-exemplified in Sam's resignation from the Khaki Scouts, a thinly-veiled reference to our armed forces, which makes the small boy a conscientious objector. Scout Master Ward runs Camp Ivanhoe with the bombast of a four-star general, treating the boys as subordinates with a regimented severity that is uncannily military-like. When the scout master emerges from his sleeping quarters, it's with ceremony, demanding reports from the Khakis about their respective projects and threatening them with demeritorious citations like a cartoon version of Patton, as he advances incrementally towards the dining area, where the tight ship he commandeers is suddenly undermined by Sam's disappearance. Alone in the tent, Ward dictates his memoirs into a tape recorder, as one would during wartime. (Later, he saves a superior officer's life, which is pure war movie hokum.) When the search party discovers the children's encampment on the beach, and the children themselves, caught, perhaps, under post-coital conditions, reverberations of The Royal Tennenbaums can be felt. This time, the forbidden love, of course, isn't attributed to any quasi-blood relation, but rather, their prepubescence. A manifesto, however, is embedded in the children's actions that transcends the illicitness of their love. Juxtaposed against the representative military base, Fort Lebanon, whose Vietnam iconography can be glimpsed in the background as Cousin Ben walks the underage couple to the chapel, the children's affinity for each other seems like a revolutionary act. It's more than a case of puppy love, more than your typical boy meets girl narrative. Their romance is symbolic, of the anarchic sort, both personal and political, bringing to mind the late-sixties catchphrase: "Make love, not war," due to their preternatural maturity, and what such a relationship entails contextually. Sam is a lover, not a killer. In Pierrot le fou, Ferdinand tells the story of the man in the moon's exile from his sphere, after an American astronaut shoves a Coke bottle in the lunar being's mouth. In Melody, Alan Parker makes the same critique against capitalism when Daniel knocks over a Coca-Cola bottle during a dinner party thrown by his bourgeoisie parents. Not working in the Truffaut spirit, Parker has his students attacking the teachers, in order for Daniel and Melody, the newlyweds, to get away by trolley car. Sam and Suzy are romantics, but they won't be bricks in a wall. Expand
  22. Aug 14, 2012
    After the lightning, I felt like the movie started loosing it's originality and perfect awkwardness. Overall, it's one of the most captivating, unique movies I've ever seen
  23. Aug 12, 2012
    If you like Wes Anderson films you will love this quirkly coming of age story of Suzy and Sam who think they are alone as oddballs in their world till they find each other and run away together. I am not a big Wes Anderson fan but I really enjoyed this movie quite a bit as it crosses back and forth between innocence and ignorance and fantasy and reality. Where do these thoughts/feelings intersect Anderson seems to ask and when did we as adults last care or take notice? The kids run away and explore freedom and their feelings but the director wisely chooses to avoid showing intercourse (god forbid-what could be worse in America?) but they kiss and touching in an innocent way that makes us long for those days when we first loved that way. The acting overall is great- I enjoyed Frances McDormand, Bruce Willis, Harvey Keitel and Ed Norton but was quite disappointed with Bill Murray. Excellent feeling of the sixties era on Long Island or New England, good music added drama and rhythm, and the reading of the letters by Sam (Jared Gilman) and Susy (Kara Hayward) to start their friendship as pen pals and Susy's binoculars are just 2 details thst show Anderson's devotion to his craft. Good film for couples, families, and the young at heart. Expand
  24. Aug 10, 2012
    Definitely an Oscar film, Wes Anderson's offbeat (and at times, dark) sense of humor sets this comedy apart, as do wonderful performances by both the name actors AND younger cast members.
  25. Aug 8, 2012
    Move over Bruce Willis! Bruce Willis is in town! Wait what? I don't know, but Bruce Willis was great in this and he didn't even punch/shoot/kick anyone or spout any cool catch phrases. Like Lord of the Rings: The Fellowship of the Ring and LA Story before it, Moonrise Kingdom is a movie. Whether or not you like movies may have a lot to do with how much you enjoy Moonrise Kingdom. Ask yourself: Have I ever seen a movie before? If the answer is no, then it is weird that you are reading this. Go see a movie. Should this be the first movie you ever see? Probably not. Go see Nell. It is about you. Then you can see this and Terminator 3: Rise of the Machinerators and Forrest Gump. But why stop there? There are literally thousands of movies you can go see now that are not being like Nell. Also, Bill Murray is in this. If you have seen a movie before, you might know that Bill Murray is pretty funny sometimes. If you are ok with that, and secure in your own level of humor, you might like to see this movie and even laugh sometimes at Bill Murray or even some of the other actors. Oh yes! There are other actors! One of them was in Fargo, and one of them made his mother cry (but I won't say which one!). Movies: the more you know. Expand
  26. Aug 8, 2012
    I enjoy a unique movie going expeirience. Wes Anderson absolutely provides that. Yet Anderson doesnt always blend his unique approach to make a good movie, in my opinion. Rushmore was great, Life Aquatic was a masterpiece, this one falls somewhere in between. Rent at home, enjoy!
  27. Aug 3, 2012
    My fourth Wes Anderson film, a 2D cinema-going, the previous three are THE ROYAL TENENBAUMS (2001, a 7/10), THE LIFE AQUATIC WITH STEVE ZISSOU (2004, an 8/10) and THE DARJEELING LIMITED (2007, a 6/10). With its burgeoning domestic box-office performance (a $38.8M by last week, only second to THE ROYAL TENENBAUMS, which cashed in around 52M in the whole run), MOONRISE KINGDOM has a chance to be elevated into the weighty consideration as the BEST PICTURE contender in the Oscar race for the first time for Mr. Anderson, and a more potent edge is that it has gathered his idiosyncratic innovative creativity and incubates it with a fairly engaging story, therefore it can be conceived as his most developed and fully grown work to date. Apart from Anderson Expand
  28. Jul 31, 2012
    Funny and delightful even on the surface. I remember laughing at the fantastic deadpan humor of this ensemble cast. This film endears at every turn, making this a worthy experience for your money.
  29. Jul 29, 2012
    Sexual feelings directed toward children

    Can someone please explain how watching 11 year-olds kissing and fondling one another is NOT pedophelia? This movie was disgusting.
  30. Jul 24, 2012
    This is my first Wes Anderson movie in quite a few years and have to say I am glad that I gave him another try. As we all now his style is quite unique and while I would not every director to run out to copy it, I found this movie very enjoyable. The way that Anderson makes his characters deliver their lines in the same manner and tome no matter what emotion they are feeling adds humor to situations and dialogue where you would not normally find it. I also found this movie visually enjoyable, each shot can almost be framed like a still picture, this gives the audience a cinema experience unlike any they are likely to find elsewhere. While I don't think Anderson's style makes for difficult work for his actors, it is still hard to argue that any of the performances are less than stellar. Overall a fun enjoyable film that will be worth a second viewing and make me go back and re watch some of his earlier films. Expand

Universal acclaim - based on 43 Critics

Critic score distribution:
  1. Positive: 42 out of 43
  2. Mixed: 0 out of 43
  3. Negative: 1 out of 43
  1. Reviewed by: Steve Persall
    Jun 27, 2012
    These characters don't realize they're funny, and the actors are determined not to push it. Willis fares best, playing against in-control type; Murray fans expecting a comedy explosion won't find it here.
  2. Reviewed by: Mike Scott
    Jun 22, 2012
    A thoroughly endearing journey, and one of the most enjoyable and touching movies to land in theaters so far this year.
  3. Reviewed by: Rene Rodriguez
    Jun 21, 2012
    The film is precious and adorable, but it isn't naïve, and the movie breathes so deep that Anderson even gets a real performance out of Willis (this is his best work in years).