Fifth about The Seventh

Moonrise Kingdom – Revisit

Moonrise Kingdom: the love story between two smart, misfit kids is very sweet, and well-told by Wes Anderson. This, like everything he does, is a work of utmost precision: from the meticulous, rich, beautiful production design and costume design (done here by Adam Stockhausen and Kasia Walicka-Maimone, respectively) to the precise, fully utilized, often symmetric framing (which, along with the many camera movements, are nailed by cinematographer Robert D. Yeoman), also including the wonderful use of music (both the original score by Alexandre Desplat and pre-existing tracks). The general tone and the low-key performances are odd at first, but they get more appealing, particularly because the two central characters (nicely played by Kara Hayward and Jared Gilman) are very charming and relatable in their outsiderishness. The adult cast is impressive and is in very good form: Edward Norton gets the more fleshed out character to play, and does it well, but every other presence is a good one. It bears repeating: Wes Anderson has a clear cinematic voice, one that is very specific and stylized; how appealing it is, is in the eye of the beholder.

Read what I wrote before: Moonrise Kingdom

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