Dir: Wes Anderson, 2012

1965: the summer of love for two twelve-year olds who elope to the woods of their New England island. And so begins a hectic chase led by the local sheriff, a boy scout master, worried parents and a squadron of unnaturally violent scouts.

Anderson’s five-year break from picturesque feature films that saw him depict a Roald Dahl classic via motion-capture has clearly sent the visionary artist into aesthetic withdrawal. Now, back on track, Anderson sets out to capture his most elegant and hearty feature yet.

Unfortunately, Wes Anderson’s desire to fool around with photography techniques stifles his stellar cast, Bill Murray, Frances McDormand and Harvey Keitel having very little to contribute. The two adolescents in love are the melting heart of the film, with Edward Norton in tow as the hilariously inept camp leader and Bruce Willis playing, well, Bruce Willis.

It’s no surprise that Moonrise Kingdom presents itself similar to a stage play on a projector screen so keep in mind, Wes Anderson’s films are for Wes Anderson fans. Those fair-weather filmgoers who view his pieces with a tepid sense of enthusiasm may be weary of his steady-cam panning shots and his dollhouse sets. However, those with a light sense of humour and a passion for beautiful landscapes will find Moonrise Kingdom an absolute delight.

One of the biggest disadvantages of Anderson’s cherubic tale of young love is it feels a little rushed. Clocking in at 93 minutes, Moonrise Kingdom’s second act is so short it’s almost non-existent. A little more time to dwell on the relationship between newcomers Jared Gilman and Kara Hayward would’ve cemented the narrative and kept the story where it needed to be most.

Moonrise Kingdom doesn’t have intriguing characters as of the families Tenenbaum or Zissou and the storyline may not be his most original but what may be scant in story is made up for with style. Ultimately an experiment in directorial flair, Moonrise Kingdom will dazzle some and jade others. Opinions aside, without a doubt Wes Anderson’s most Wes Anderson film.

Watch the trailer here


Andrew Hates… LOOPER


Dir: Rian Johnson, 2012

By 2074, time travel has been invented and outlawed. With the disposal of corpses near-impossible due to DNA tracking, the mafia secretly sends people they went killed back to 2042, where assassins known as ‘loopers’ finish the job. Joe, one of the most prolific loopers in employ, accidentally lets his target escape after realising his target is his future self. On the run, Joe must find his older self and terminate him and evade his sadistic employers until he does so.

Looper is the latest in a series of films with interesting theories that unfortunately are too convoluted for their own good. The laws of physics are strict when it comes to the impossibility of time travel and Johnson enforces them only when it benefits his film. A sequence involving an on the-run loop suffering deformities inflicted on his past self is creative and chilling in its practicality and yet the simple rule of the butterfly effect isn’t taken into account.

Johnson tries to avoid explaining his intricacy as much as he can, even giving Willis the line of “I don’t want to talk about time travel because we’ll be here all day”, which is an all too convenient cop-out for the lone writer/director. This would be an acceptable diversion if Johnson chose to spend his time fleshing out the characters rather than including arbitrary subplots of telekinesis, narcotics and a farmhouse retreat that dwells far too long.

However amateur the content its presentation is lush with Johnson’s vision of the future pleasantly simple. There are no ambitious Back to the Future-style gadgets nor Minority Report-class weapons. 2044 Kansas may look a little brighter but its core is stricken with socio-economic collapse and gangland crime. Even the blunderbusses the loopers use on their victims are firearms that have been considered obsolete since the 17th century.

In terms of casting, Johnson reunites with his (and Hollywood’s current) golden boy JGL but his forged appearance in the film bundles any chance of a reasonable lead performance. Interestingly enough, for an actor whose placement demanded Gordon-Levitt to be swathed in prosthetics, Bruce Willis is remarkably underutilised, instead portraying a voiceless background assassin – a Terminator without the dread or urgency. Emily Blunt rounds out the leading trio in a particularly superfluous role for an actress of her calibre. All in all, Johnson’s morally ambiguous characters demand no emotional reaction from the viewers but worst of all, don’t demand interest.

Rian Johnson’s endeavour in Hollywood box office has become a financial success due to the present popularity of his friend Gordon-Levitt and the attention of Willis but feels like it belongs as a twenty-minute episode of The Twilight Zone. Looper may pique your curiosity but it rarely holds your attention on its painfully dull journey to an anticlimax that will have audiences shrugging.

★ ★ ☆ ☆ ☆

Watch the trailer here