Ty Burr: 4. “Moonrise Kingdom”
Apparently, those of us who were waiting for Wes Anderson to grow up were wasting our time. By relocating his patented adolescent angst into the bodies of actual adolescents — Jared Gilman and Kara Hayward as runaway sweethearts on a 1960s New England island — Anderson made his most confident and completely satisfying work since 1998’s “Rushmore.” The director’s hallmark eccentricities — the swatch-ready colors and dollhouse interiors, the deadpan dialogue harboring a weary nostalgia for an Eden that may have never existed — at last become a worldview instead of a collection of heartfelt tics. “Moonrise Kingdom” is as much about windswept community as “Beasts of the Southern Wild,” but in place of primal drama it offers self-consciousness as a kind of beautiful curse. What kind of bird are you?