All Critics (96) | Top Critics (28) | Fresh (91) | Rotten (5) | DVD (1)
Like all Wes Anderson movies, it is na?ve, mannered, pretentious and incomprehensible.
Wes Anderson's mind must be an exciting place for a story idea to be born.
Wes Anderson's most intimate film since Bottle Rocket (1996) and maybe his most deeply felt overall.
Hayward and Gilman are newcomers who are asked to carry much of the film and pull it off with lovely understatement and extraordinary believability.
Its moments of transporting beauty and visual brilliance overcame my growing aversion to Wes Anderson's brand of ultra-stylized archness.
We may look back on Anderson's works as we do on the boxes of Joseph Cornell -- formal troves of frippery, studded with nostalgic private jokes, that lodge inexplicably in the heart. In Moonrise Kingdom, that lodging is already under way.
A gossamer fable of adolescent romance, played out with the cheekily whimsical, visually delicious style for which Anderson is famous.
Wes Anderson's most sartorially significant film yet.
At once funny and melancholic, whimsical and poignantly true.
One is at times reminded of AE Housman.
Moonrise Kingdom is a delight... stuffed full of the quirky details and gags that are Anderson's trademarks, but it also possesses an emotional undertow that will tug at those viewers in tune with its singular sensibility.
Capturing our inner children
If the deadpan sensibility of the film ultimately leaves it feeling a tad lightweight, that isn't to say that Moonrise Kingdom isn't a funny, witty and well-crafted film.
Typically quirky Wes Anderson dramedy has lots of heart.
A bittersweet and evocative period piece that's both a visual and narrative delight.
No one has an eye or sensibility like Anderson's, but this is a chilly disappointment. The unaffecting kids are meant to be the emotional center, yet the adults steal the film.
I really wanted to like this film. I respect Wes Anderson and his distinctive voice as a writer-director ('Rushmore' is one of my favorite films of the 1990s), but this latest endeavor is so precious and self-aware that it nearly smothers itself.
Those who find the director's work flawed by preciousness, however, may grow impatient well before the movie reaches the 90-minute mark.
Anderson has imagined the '60s on the East Coast as if from an Eddie Bauer catalog and Boys' Life, with the sensibility of The New Yorker.
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