The year is 1965. A “troubled girl” (Kara Hayward) and a nerdy orphan boy (Jared Gilman) run away together in the wilderness. Chasing them are the girl’s parents (Bill Murray and FrancesMcDormand), the boy’s Khaki Scout master (EdwardNorton), a local cop (Bruce Willis) and Social Services (TildaSwinton).
That’s about the gist of Wes Anderson’s second collaboration with co-writer Roman Coppola (following the underrated The Darjeeling Limited), but as is always the case with Anderson’s movies, the plot is just the framework for an endless series quirky, witty, trippy traits and touches, starting with all these Scouts who take themselves way too seriously and recklessly toy with violence and danger…
Then of course there is the hazy, 60s-movie quality of the cinematography, the impeccable shot composition and perfectly timed camera movements, the meticulous, dense art direction, the typically great soundtrack (the use of Françoise Hardy’s Le Temps de l’amour during the underwear dance/gawky teen make-out scene being the most priceless music cue), not to mention the wonderfully arch dialogue and all those priceless non sequiturs (“I’ll be out back. I’m gonna find a tree to chop down.”).
The only slight drawback, for me, is how the two young leads (both first-timers) seem to be having trouble with line delivery. They look the part and their characters remain adorable nonetheless, but they’re just not that great as actors, not yet anyway, especially compared to the incredible adult cast, which also includes Jason Schwartzman, Bob Balaban and Harvey Keitel
Still, Moonrise Kingdon remains a major treat, packing big laughs and building up to an unexpectedly touching resolution.