With Moonrise Kingdom, Wes Anderson has finally put his directing craft so far ahead of his narrative, the narrative doesn’t matter. Neither, in Moonrise‘s case, do the actors. There isn’t a single outstanding performance in the film… maybe because Anderson and co-writer Roman Coppola don’t write one. They’re to the point of using Jason Schwartzman as a gag cameo.
Moonrise is purposefully, aggressively artificial–Bob Balaban plays an omnipotent, future narrator who interacts with the characters. But it doesn’t really matter because Anderson’s craft is outstanding and the writing is still decent. A lot of the scenes between preteen outcasts Jared Gilman and Kara Hayward are lovely.
Anderson shoots as much of the film as he can in profile; the camera pans to introduce new action instead of cutting. Partially due to the film’s artificiality–partially to Anderson and cinematographer Robert D. Yeoman’s photography–it works. Moonrise isn’t supposed to be real. For instance, Tilda Swinton’s reduced to her job title.
Swinton’s no great shakes in the picture, but she’s not supposed to be. She’s gag casting, much like Schwartzman and Harvey Keitel. Keitel’s the best of those three. Bruce Willis and Edward Norton both do pretty well, though neither have enough material. Anderson and Coppola give Bill Murray absolutely nothing–he doesn’t even interact with his kids in the film, just barks near them. As his wife, Frances McDormand is better.
Moonrise Kingdom‘s a masterfully produced film. It’s just pointless, save demonstrating Anderson’s abilities as a director.