Moonrise Kingdom (Blu-Ray/DVD Combo) / Moonrise Kingdom (Blu-ray/DVD Combo) (Bilingual)

***This review contains spoilers***

I have to admit that I hadn't seen any Wes Anderson films until two or three years ago and Moonrise Kingdom is the first that I have had the pleasure of seeing in the theater.

My first Anderson experience was Bottle Rocket, and it didn't strike me as remarkable the first time I saw it. However, I found myself thinking about it over the next few days and ended up buying the Criterion Blu-ray.

I think there are a couple of important things to understand about Anderson's films:

The first is the level of detail. It's an assault on the brain and I've come to appreciate subsequent viewings more than with most films. Many lesser comedies fall flat because they run out of ideas and end up repeating them until they approach 90 minutes. Anderson's films have so many ideas it's ridiculous, but five of his seven films are also over by the 94-minute mark. The difference is that they are crammed with ideas and feel fresh and original.

The other major thing to note is the brand of humor. Call it offbeat or quirky, or whatever you like, but it's certainly distinctive. It's the type of humor that uses a phrase or situation which is familiar to you, but surprises you by giving it a different meaning. Think of Police Squad, Naked Gun, or Monty Python, and you'll understand what I mean. Like David Lynch, I think Anderson's mind makes unusual connections that most are incapable of. In order to appreciate his films, you need to investigate all of his worlds and understand the way that he thinks. It might be too much work for the casual viewer.

Let's get to Moonrise Kingdom.

The film is set in the 1960s on a small island off New England. It evokes a sense of nostalgia that's present throughout. This is a time in which cell phones and most electronic entertainment didn't exist. Take a look at the primitive record player for example. The story focuses on the budding romance between Sam (Gilman) and Suzy (Hayward). Sam is a scout and invites Suzy to run away with him, causing the small town to send out a search party.

The supporting cast includes some big names and a few Anderson favorites. The local cop is played by Bruce Willis and he's particularly effective in the role. The Scout Master is played by Edward Norton, who has an exaggerated sense of his own importance. He provides a lot of the humor in the few scenes he is in. Look out for the homage to The Shawshank Redemption when he discovers that Sam is missing.

Frances McDormand and Bill Murray play a married couple and both are lawyers. Jason Schwartzman's appearance is brief, but he makes good use of the time. One of my favorite characters is played by Tilda Swinton, and she is simply referred to as Social Services. Even Bob Balaban's narration is funny. It's hard to go into any more detail without ruining the entire plot, such as it is, so I'll stop there.

I mentioned that Anderson's films require several viewings to take in all the details, but I have to say that Moonrise Kingdom had an immediate impact on me. This is my style of humor and it felt like a Coen brothers movie, such as Burn After Reading, at times. Nothing much happens, but it's the style that's important. If you like Anderson's other films, you will almost certainly appreciate this.

I sometimes wonder what kind of childhood Anderson had. Are these characters based on his own experiences? Most are intelligent and suffered something of a troubled upbringing. When I think of Sam, or Max (from Rushmore), am I seeing the way Anderson views his own early life? Dysfunctional families are a favorite topic of his and Moonrise Kingdom is filled with them. Perhaps I had such an immediate connection to the film because it felt familiar after seeing his other work?

I'll close by saying that Anderson's films won't have universal or even large appeal, but if you appreciate his quirky style, you might just end up loving everything he does. I know that's true for me. I'll always remember that I first watched the film on my 50th birthday with two friends I have known since I was 11. That was a great experience and I would like to watch Moonrise Kingdom again right now.

Overall score 4.5/5 (with the potential to rise to 5/5 after repeat viewings).

IN A WORLD WHERE films must shock, where films must employ impossible stunts, extreme violence and outrageous characters, comes Moonrise Kingdom - with none of it. This is a real STORY, with real characters, in which everything that happens is actually possible. What a concept. Told with humor and compassion, the film sweeps you along without the dreaded need for suspension of disbelief. Its stars - seven of them! - are all totally out of character. This is not a Bill Murray vehicle or an Edward Norton vehicle or a Bruce Willis vehicle. The stars fit in, almost as afterthoughts. It's the story that counts. Most impressively, it has style. From the opening shots of Susie, face on with her binoculars in various rooms of the house, you know this film will be stylish. And understated. It is worthy of any screen in the world, in a world where American films have become overpoweringly boring and repetitive and entirely predictable. This is the kind of film that France would have originated, and which Americans would have remade into a noxious overkill of action and adventure. It is therefore rare and precious. It will endure long after Transformers XXVII has faded. Kudos to Wes Anderson and team for resisting the urges that every other Hollywood production takes for a granted as a requirement. Bob Balaban as the narrator, making his own appearance in the story, is inspired, as is his framing in the shots. That kind of attention to style gives Moonrise Kingdom the ability to sweep you away. On these shores, this is the first must see in years.

With Wes Anderson, you either buy into his odd, very idiosyncratic and distinctive style, with it's touches of
twisted, surreal fairy-tale tone, and performances that are both restrained on yet not at all naturalistic -
or you don't. For me, I find his style almost always endearing, and both very funny and very touching (The
Life Aquatic with Steve Zissou was the one time it didn't really work for me).

As always the performances here are remarkable from Bruce Willis, Edward Norton, Bill Murray (the quintessential
Wes Anderson actor), Francis McDormand and Tilda Swinton as the adults, to two luminous and unique
performances by the film's pre-adolescent lovers Kara Haywood and Jared Gilman.

While imposing a seemingly astringent style, all right angles (almost every cut within a scene is at 90 degrees or
180 degrees to the shot before it), and carefully composed tableaux, this film captures the wonderful, surreal
weirdness of first love (or at least one's childhood fantasy of first love) with a moving and hilarious honesty.

Somehow, while the story of Sam and Suzy's attempt to escape from the insane adult world that surrounds them
has little to do with the realities of day to day life as we know it, it has everything to do with the realities of the
budding heart.

I can't remember when a film so reminded me of my own first fantasies of love and (tasteful but honest) sexuality.
I love when a film makes a tear fall from my eye at the same time I'm laughing, and that's the rare trick Anderson
has accomplished here.