I think it’s easily Wes Anderson’s best film and solves many of the problems which made his past films, for me, quite infuriating. For I am one who admires his meticulous nature, but that also made his films quite bloodless and overly schematic and just a little too precious with the whimsy. Rushmore I liked, primarily because of Murray, but Tenenbaums I found insufferable whenever Gene Hackman wasn’t on screen and the law of diminishing returns has applied to his films since. The exception is the absolutely wonderful Fantastic Mr. Fox, which only seemed a validation of how he belonged in a genuine storybook environment and away from live action pieces.
But Moonrise is easily his best film for me, because (a) he sets the film in the past, making it his first period film, and (b) he concentrates on the kids, who are real and believable in their characterizations, unlike the OTT Max Fisher. Also, it may be the most perfect casting of Edward Norton in the last 15 years, and, despite some familiar faces per the thread title, brings new energy with inventive casting too (Frances McDormand, Bruce Willis, Harvey Keitel, Bob Balaban).
Ultimately, it’s a meditation on childhood and being an outcast by virtue of being “difficult” (aka, authentic). It doesn’t shy away from the curiosity about sex and the propensity toward violence that pubescence involves, but makes it feel very real and not sentimentalized or exaggerated. And it’s about the beauty of finding a kindred spirit, someone with whom you can exist in a comfortable shorthand, not because you’re identical, but because you’re a natural fit. It’s really his first believable love story, but it’s not a romance. And by making it a period film, the effect of the little details in music or set design or adult behaviors (none of which are excessive) comes across as charming and nostalgic, as opposed to hyper-self-conscious.
In short, I think it’s marvelous, because it has real emotional weight and not mere posturing (which is how most of his other films have felt like) but it doesn’t lose any of the elements that make a Wes Anderson film distinctly his. I was certainly surprised by how much I liked it, but it will be even more surprising if it doesn’t end up in my top 3 films by the end of the year.