Wesley Morris: 6. “Moonrise Kingdom”
In which Wes Anderson simultaneously overcomes himself – the dioramas, the dollhouses, the disconnection from any reality — and becomes himself again. You could dismiss this film, about two runaway teenagers in love on a made-up New England isle as more indulgent folly. The indulgence resonates. This is the most exuberant movie Anderson’s made in a decade and a half. It’s as meticulously made as his other opuses. But this time that meticulousness doesn’t embalm emotion or our response to it. The melancholy he conjures doesn’t feel like a pose. In his 40s, Anderson seems ready to build his textile fetishes and pop allusions into an art that doesn’t simply speak but that speaks to us.