Thoughts on Wes Anderson’s Moonrise Kingdom

I almost forgot that I had seen Moonrise Kingdom (written by Wes Anderson and Roman Coppola) last weekend, Wes Anderson’s latest quirk of a film.  My boss saw it and came in the next day, very adamant that I must see it because, he said, and I quote: ‘I left the movie and thought, this is a script Melissa would write.’

It’s true, my boss has seen me come in with some very strange proposals throughout the years working at the ‘toy factory.’   Perhaps the most eye-brow raising character, an ocean wave monster (but, really, not such a monster, just having fun wiggling through the ocean, just misunderstood, as any wave would be.)  And, so, now apparently I have a reputation for a Wes Anderson brand of weird.

I love the premise of the film. Two young misfits, one a restless orphan and Khaki scout stuck at summer camp, the other a misunderstood girl who sees the world through binoculars and fantasy books, run away together just before the biggest storm in history.   

It’s classic Wes Anderson, the entire film choreographed with a perfect staccato rhythm, characters who speak only what’s on their mind with expressionless faces, each shot strategically and geometrically framed.  After a while I got a little tired of the rhythm of speech and the story went to such a ridiculous place, I, personally, couldn’t stay with it.  But, I guess when you take a film to such an extreme weird, this is what you allow for: total suspension of disbelief.  It was fun, in a way, but I just found it a little tiresome.

To be honest, I love the trailer (below) SO MUCH that I want to suggest you just watch the trailer instead of spending money on the movie. But I also think the first twenty minutes and the two main characters are wonderful and might inspire some middle grade writers out there (or really any writer writing characters) so I can’t say it’s not worth a little escape to the theater.

Has anyone seen Moonrise Kingdom?

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6 thoughts on “Thoughts on Wes Anderson’s Moonrise Kingdom

  1. Thanks for the review, Melissa. Anderson has such an oddball sensibility. His style is very recognizable–how he frames shots, style of the settings and especially the awkward, deadpan dialogue. I often have moments “this is great” and “this is ludicrous” with every one of them.

    Weirdly enough, I find they kind of grow on you with the second or third viewing. I felt that about The Royal Tennenbaums especially. Maybe I'll wait for streaming for this one.

    Like

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