velocity & vitality

buzz:

I always have a bit of trepidation about a new Wes Anderson movie, mainly because I love “Rushmore” and “Royal Tenenbaums” so much and many of Anderson’s later movies haven’t always quite hit me right. I saw “Moonrise Kingdom” yesterday to start the Memorial Day weekend, though, and the romantic and former scout in me couldn’t help but love it. I like the New Yorker review’s take on the film’s transcendent themes:

What makes the film thrillingly different—in content and in affect, in emotional energy and in visual imagination—is its metaphysical and religious element. There’s an expressly transcendent theme in “Moonrise Kingdom” that raises the tender and joyous story of young lovers on the run to a spiritual adventure. The moral vision of the world, which was always implicit and latent in Anderson’s other films, here bursts out as a distinctive, ecstatic, visionary new cinematic dimension. Anderson has always been far more than just an exquisite stylist—his style is an essential part of a consistent spiritual vision. But in “Moonrise Kingdom,” his world view is projected beyond personal experience into a cosmic fantasy. It’s Anderson’s own counter-Scripture, a vision of a moral order, ordained from on high, that challenges the official version instilled by society at large—and he embodies it in images of an apt sublimity (as well as an aptly self-deprecating humor).

So excited to watch it.

(Source: cinemolesters)