|on the run for love|
around them and contained in the tiny New England island of New Penzance, the youngsters run away, making their way to an undisclosed location and being pursued by the many quirky people that populate their lives. Until the children go missing, they don't exist. Which probably has as much to do with why they run away as their love. Once they fly the coop, everyone is stirred into a frenzy, or as much of a frenzy one can be stirred into in a Wes Anderson film. What follows is a film of discovery, adventure, and love.
The film is also very funny. Bill Murray is obviously amazing, but surprisingly humorous turns from Bruce Willis and Edward Norton (whose sad, pinched face and pained expressions lend themselves really well to comedy) take the film to a new level. Some nice third act cameos and Tilda Swinton evilness also make the film a heck of a lot of fun. It's especially fun once characters start fighting. Instead of getting louder, characters eyes just get wider and their lips thinner, as of they are desperately trying to contain the fear and anger boiling right below the surface. Yelling, it seems, is disallowed.
So where does this stack up against Anderson's other films? Not to get everyone into a huff, but we'd say somewhere above Life Aquatic and below Rushmore and Royal Tenenbaums, the latter of which is his best film in that it is almost perfect. As for Moonrise Kingdom: in the middle of the film, Sam says to his paramour that poetry doesn't have to rhyme. It just has to be creative. With this, his seventh film, Wes Anderson has created just that.
Film Grade: 7 out of 8 stolen library books which may someday be returned.