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An island off the New England coast, summer of 1965. Two twelve-year-olds, Sam and Suzy, fall in love, make a secret pact, and run away together into the wilderness. As local authorities try to hunt them down, a violent storm is brewing offshore... Wes Anderson’s Moonrise Kingdom stars Jared Gilman and Kara Hayward as the young couple on the run, Bruce Willis as Island Police Captain Sharp, Edward Norton as Khaki Scout troop leader Scout Master Ward, and Bill Murray and Frances McDormand as Suzy’s attorney parents, Walt and Laura Bishop. The cast also includes Tilda Swinton, Jason Schwartzman, and Bob Balaban. The magical soundtrack features the music of Benjamin Britten. (Criterion)

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Kaka 

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English An oddity for indie lovers, hipsters and various other weirdos who will probably drool over the film of the year. For a normal viewer, however, except for a few moments, it is almost non-stop suffering with oddly chosen music and a convoluted ending. At least in terms of actors there is someone to lean on. ()

gudaulin 

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English Wes Anderson is a unique character who you don't see in world cinema too often. He always manages to surprise me, whether positively or negatively. Moonrise Kingdom is supposedly heavily inspired by his own childhood, and in that case, I wouldn't want to be his father or scout leader. Just as Miloš Forman became a role model for firefighters, Anderson has become one for scouting. Moonrise Kingdom is a film about children, love, determination, and bad weather. This film about rebellion against the adult world and the journey to fulfill a first love resonated with me. So far, this has been my most delightful encounter with Wes Anderson's work. The director's sense of absurdity, irony, and nonconformity definitely triumphed here. Overall impression: 95%. ()

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Marigold 

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English Anderson's scout sale - contrived, copied from previous deeds, atypically unfinished (so many ideas simply just fade out), and more than anemic in terms of the storytelling. I accept the poetry of the first loves and boy's camping, but I expect more from Wes than the amusing shallowness, which mainly turns into a total spasm in the end. ()

J*A*S*M 

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English I have to say that this time the whole is less than the sum of its parts. In Moonrise Kingdom, Wes Anderson works everything (everything that the eye can see) to the tiniest detail, which is nice and I appreciate it, but the charm of the story gets drowned under all that heavy and refined splendour. Visually, it’s beautiful – it was a lot of fun to pour over each scene and notice how Anderson moves with the camera (the opening credits!) – but I never got into the story and it didn’t affect me at all on an emotional level. All of Anderson’s films are standoffish, but you can find in them places to feel sad or moved… but here I missed them. The same applies to his characters, they are all (very) weird, but this time I missed the vitality I felt in Mr. Fox, Zissou and others. In Moonrise Kingdom I only found that vitality in Bill Murray’s character (the night scene in the bed), who was given very little space. Immediately after watching it, an unenthusiastic 80%, but it needs to lager a couple of days. ()

Necrotongue 

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English One of the four Wes Anderson films that I really enjoy. The two leads were perfect, well supported by a great cast of supporting characters, especially Edward Norton as Scout Master Ward. The film has a quirky melancholic atmosphere, which is underscored by an aptly chosen soundtrack. It is also full of unexpected traps, such as arrows, left-handed scissors, fishhook earrings, lightning, fallen totems, and child protective services. I had a great time and, unlike during Life Aquatic, I didn't fall asleep. ()

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