I can never ever understand why children apparently don’t count when it comes to film credits. It riles me to see that a relatively inconsequential character such as Tilda Swinton appears in the opening titles whilst the two young stars of the film go unmentioned. That said, I suppose they are a bit of a surprise treat as a result. Kara Hayward and Jared Gilman star as Suzy and Sam, two world-weary children who, following an extensive pen-pal correspondence, plan an elopement. The attempt is an escape from the social tyranny they experience on a daily basis, be it at the hands of a parent or a khaki scout bully. They are a wildly (if a little awkwardly) romantic pair who are not afraid to express themselves and stand up for one another. It is when the star-crossed kids realise they’re being pursued that the shit really hits the fan. Amongst violent stabbings, getting to second base and the hero of the tale being hit by lightning, Wes Anderson takes us along on a turbulent jaunt down the path towards meaning.

The ensemble cast makes for nutritious viewing with as many colourful characters with tribulations and revelations as there are scout badges. Bruce Willis cuts an unusually sympathetic figure as the humble, dejected police officer whilst Anderson veteran Bill Murray adds some balancing bitterness to the overall flavour as the slob father. Meanwhile, Edward Norton occupies our compassion as his unwavering good nature brings a comforting positivity and linearity to the unfolding plot. Of course, it is the two young’uns who make the biggest impression, managing to deliver enchantingly realised and mature performances in heightened and sometimes downright ridiculous character-driven circumstances.

With comically timed cinematography, a melodramatic score and witty script writing, Moonrise Kingdom is a highly embellished but simple story that reminds me of a spilt box of treasure-something for everyone. The best advice I could give to a would-be viewer is not to expect too much.

Two things I learnt from this film:

Blue eye shadow can look great.

Wes Anderson clearly has some sort of pet-hate for dogs.

I watched this film during a rainstorm, which was good because the Loire-based landscapes warmed me right up, making me forget how dreary it was outside…not that I left feeling particularly any less glum in mood. This is the story of two young lovers and probably because they are in France or something (a land where prudishness is banished) it is apparently very normal to be having sex at the age of fourteen. That said, Romeo and Juliet were younger I suppose, but it’s all ok because they are IN LOVE, which means that the sex is innocent and not damaging in the slightest. Lola Créton plays Camille, the sulky sexy object of Sullivan’s (Sebastian Urzendowsky’s) affections and the film documents her progress from heartbroken teen to university student and finally her transformation into adulthood…sort of.

Unfortunately, it is the immaturity of the story alongside some overly self-conscious acting that really undermines the realisation of this film. Créton was not yet eighteen years old during shooting and the latter part of the film suffers from the transparency of the actress’ inexperience, with a little too much focus on her constantly thrust-forward chest and not enough on the tragedy that should be subtly etched into her facial expressions. That said, the girl never seems to smile even when she is supposedly happy and this makes her a rather difficult personality to sympathise with, especially when her lack of remorse for her cheating ways fails to appear. It seems to me that Sullivan is well shot of her.

There is one singularly lovely moment though when, after a tantrum Camille has had, Sullivan continues to treat her kindly and serves dinner at a comically long table with them both seated at either end. Camille accepts the ridiculousness of her reproaches and, on hands and knees like a cat, inches forward ashamedly towards Sullivan who accepts her apology warmly.

Really, this is Camille’s story…which is a real shame because it probably would have been more interesting to witness Sullivan’s coming of age trials and tribulations. Instead, we get the transformation of Miss Misunderstood into Mrs Moody. She cuts her hair off. She grows it back long. She becomes an architect (as if) and goes out with a much older man. It’s all daring stuff but sadly, it failed to convince me…and really, when it comes to romantic stuff, I am usually quite convincible. 

The soundtrack, featuring the musical stylings of Johnny Flynn, is very pleasant.