When compiling lists of classic movies, many critics pass over films from the current decade, claiming that modern movies have diminished in quality and cannot compare to those of the past. However, I assert that modern films consistently rank among the best of all time. Wes Anderson’s Moonrise Kingdom (2012) is hard to ignore as a modern classic and has earned a spot on my personal must-watch list.

Moonrise Kingdom shares a story about the adventures and relationship of twelve-year-olds Sam and Suzy as they run away from home. Set in an isolated island community in 1965, Moonrise Kingdom paints a vivid picture of the power and reality of young love, wrapped in a blanket of light-hearted fun and innocence.

The first thing that struck me when watching this film was the artistic style put into the cinematography. The film opens with a minute long moving shot that tracks and pans between five eloquently framed static shots while the opening credits play. Static shots, defined by the camera remaining in one place, bring the setting to life by allowing a better representation of the environment, the characters, and their interactions with both the environment and each other. By consequence, static shots require careful attention to be paid to the staging of both actors and props. In this area, Moonrise Kingdom excelled. Each shot was composed as if it were its own painting, allowing the film to take on a new level of artistic expression.

The next aspect of the film I noticed was the unique style of the acting and script. On the surface, the characters seem to lack depth. Lines are fairly blunt and given with very little emotion. At first I was slightly confused, wondering what sort of mistakes must have occurred in order to cast incapable actors as the lead roles. However, I soon realized the lack of emotion was a stylistic choice made by Anderson, much like the cinematography. Although a little foreign at first, I grew to enjoy the decision. Surprisingly, the characters almost seemed slightly more relatable in their simplistic forms.

Unfortunately, Moonrise Kingdom fell slightly short due to its plot. Moonrise Kingdom gives viewers nothing new or unique in this regard. It employs the classic, albiet slightly overused, trope of “boy meets girl; boy and girl run away together.” The unique style of Moonrise Kingdom takes the story in a slightly different direction. However, I could not help but think I had seen this movie many times before. To be fair, this slight shortcoming detracted very little from the film as a whole.

In a sea of movies characterized by absurd cinematography, excessive special effects, and dull intensity, Moonrise Kingdom stands like a rock as a testament to the artistic power of film. Although slightly irregular, Moonrise Kingdom truly is a refreshing film. I give Moonrise Kingdom a 9/10 and recommend it to all movie fanatics.

Keaton Maier

A&E Editor