| Moonrise Kingdom | |
|---|---|
 Theatrical release poster | |
| Directed by | Wes Anderson |
| Written by | Wes Anderson Roman Coppola |
| Produced by | Wes Anderson Scott Rudin Steven Rales Jeremy Dawson |
| Starring | |
| Cinematography | Robert Yeoman |
| Edited by | Andrew Weisblum |
| Music by | Alexandre Desplat |
Production companies | |
| Distributed by | Focus Features |
Release dates |
|
Running time | 94 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $16 million[2] |
| Box office | $68.8 million[3] |
Moonrise Kingdom is a 2012 Americancoming-of-agecomedy drama film directed byWes Anderson, written by Anderson andRoman Coppola, and starringBruce Willis,Edward Norton,Bill Murray,Frances McDormand,Tilda Swinton,Jason Schwartzman,Bob Balaban, and introducingJared Gilman andKara Hayward. Largely set on the fictional island of New Penzance somewhere off the coast ofNew England, it tells the story of an orphan boy (Gilman) who escapes from a scouting camp to unite with his pen pal and love interest, a girl with aggressive tendencies (Hayward). Feeling alienated from their guardians and shunned by their peers, the lovers abscond to an isolated beach. Meanwhile, the island's police captain (Willis) organizes a search party of scouts and family members to locate the runaways.
In crafting their screenplay, Anderson and Coppola drew from personal experiences and memories of childhood fantasies as well as films includingMelody (1971) andThe 400 Blows (1959). Auditions forchild actors took eight months, and filming took place inRhode Island over three months in 2011.
Moonrise Kingdom premiered at the2012 Cannes Film Festival and received critical acclaim, with its themes of young love,child sexuality, juvenile mental health, and theGenesis flood narrative being praised. Critics cited the film's color palette and use of visual symmetry as well as the use of original composition byAlexandre Desplat to supplement existing music byBenjamin Britten. It was nominated for theAcademy Award for Best Original Screenplay and theGolden Globe for Best Musical or Comedy. In 2016, theBBC included the film in itslist of greatest films of the twenty-first century.
On theNew England island of New Penzance, 12-year-old orphan Sam Shakusky attends Camp Ivanhoe, a Khaki Scout summer camp led byScout Master Randy Ward. Suzy Bishop, also 12, lives on the island with her parents Walt and Laura, both lawyers, and her three younger brothers in a house called Summer's End.
Sam and Suzy, both introverted, intelligent, and mature for their age, meet in the summer of 1964 during a church performance ofNoye's Fludde and becomepen pals. The relationship becomes romantic over the course of their correspondence, and they make a secret pact to reunite and run away together. In September 1965, they execute their plan. Sam escapes from Camp Ivanhoe while Suzy runs away from Summer's End. The pair rendezvous, hike, camp, and fish in the wilderness with the goal of reaching a specific location.
Meanwhile, the Khaki Scouts have become aware of Sam's absence, finding a letter he left behind stating he has resigned. Scout Master Ward tells the Khaki Scouts to use their skills to set up a search party and find Sam. Island Police Captain Duffy Sharp and Ward contact Sam's guardians the Billingsleys, learning they are actually his foster parents and Sam is an orphan with a history of behavioral issues at home.
Eventually, a group of Khaki Scouts confronts Sam and Suzy and tries to capture them. During the resulting altercation, Suzy injures the Scouts' de facto leader Redford with a pair of scissors, and a stray arrow fired by one of the Scouts kills Camp Ivanhoe's dog Snoopy. The Scouts flee, and Sam and Suzy hike to Mile 3.25 Tidal Inlet which they name "Moonrise Kingdom." They set up camp and as the romantic tension between them grows, they dance on the beach and share each other's first kiss.
Suzy's parents, Ward, the Scouts, and Sharp finally find Sam and Suzy in their tent the next morning. Suzy's parents take her home. Ward gives Sam a letter from the Billingsleys stating that they no longer wish to house Sam. He stays with Sharp while they await the arrival of a Social Services worker, who will likely place Sam in an orphanage and possibly treat him withelectroshock therapy.
While in their treehouse, the Camp Ivanhoe Scouts have a change of heart and decide to help Suzy and Sam. They help Suzy and Sam sneak out and then together paddle to neighboring St. Jack Wood Island to seek out the help of Ben, an older cousin of the scout Skotak. Ben works at Fort Lebanon, a larger Khaki Scout summer camp on St. Jack Wood Island run by Ward's superior, Commander Pierce. Ben decides to try to take Sam and Suzy to a crabbing boat anchored off the island so that Sam can work as a crewman and avoid Social Services. He performs a wedding ceremony, which he claims is not "legally" binding, before they leave. Sam, Suzy, and Ben set off for the crabbing boat in a sailboat, but quickly return so that Sam can retrieve Suzy's binoculars. As Sam returns to the camp chapel to look for the binoculars, he is confronted by Redford, who alerts the camp to Sam and Suzy's presence. Suzy's parents, Captain Sharp, Social Services, and the Scouts of Fort Lebanon, under the command of Ward, pursue them.
A violent hurricane and flash flood strike, and Sharp apprehends Sam and Suzy on the steeple of the church in which they first met. Lightning destroys the steeple, but Sharp saves them. During the storm, he decides to become Sam's legal guardian. The hurricane erases Mile 3.25 Tidal Inlet from the map. At Summer's End, Sam is upstairs painting a landscape of Moonrise Kingdom. Suzy and her brothers are called to dinner, while Sam slips out of the window to join Sharp in his patrol car, telling Suzy he will see her the following day.
DirectorWes Anderson had long been interested in depicting a romance between children.[4] He described the starting idea for the story as a memory of fantasized young love:
I remember this feeling, from when I was that age and from when I was in fifth grade, but nothing really happened. I just experienced the period of dreaming about what might happen, when I was at that age. I feel like the movie could really be something that was envisioned by one of these characters.[5]
When he was 12, Anderson lived inTexas with two brothers. His parents were separating, and influenced his later depictions of crumbling marriages.[4] He was briefly aScout,[6] and had played inNoye's Fludde, an opera for children aboutNoah's Ark.[7] A childhood incident inspired the scene where Suzy reveals her parents' bookCoping with the Very Troubled Child. He found a similarly titled book belonging to his father and remarked, "I immediately knew who that troubled child was."[8]
After working on the screenplay for a year, Anderson said he had completed 15 pages and appealed to hisThe Darjeeling Limited collaboratorRoman Coppola for help; they finished in one month.[7] Coppola drew on memories of his motherEleanor in giving Mrs. Bishop abullhorn to communicate inside the house.[8] Anderson described the 1965 setting as randomly chosen, but added it fit the subject of the Scouts and the feel of a "Norman Rockwell-type ofAmericana".[9] While preparing the script Anderson also viewed films about young love for inspiration, includingBlack Jack,Small Change,A Little Romance andMelody.[10]François Truffaut's 1959 French filmThe 400 Blows about juvenile delinquency was also an influence.[4]
After his 2009 filmFantastic Mr. Fox underperformed, Anderson said he had topitchMoonrise Kingdom with a smaller budget than he would have otherwise requested. The budget wasUS$16 million,[11] and his producersSteven Rales andScott Rudin agreed to back the project.[12]
The crew scheduled a substantial amount of time for casting the Sam and Suzy characters. Anderson expressed apprehension about the process saying, "there's no movie, if we don't find the perfect kids".[5] The auditions took eight months at different schools.[4] Anderson choseJared Gilman finding him "immediately funny" thanks to his glasses and long hair, and for his voice and personality at the audition.Kara Hayward was cast because she read from the screenplay and spoke naturally as if it was real life.[9] Hayward had seen Anderson's 2001The Royal Tenenbaums and interpreted Suzy as having a secretive nature, similar to that of Margot played byGwyneth Paltrow.[13] All thechild actors were novices. Anderson believed they had never even auditioned before. He put the successful candidates through months-long rehearsals. He assigned Hayward book reading, and had Gilman practice scouting skills. Although Anderson could not envision one young auditioner,Lucas Hedges, as Sam, he felt the boy was talented enough to be given an important role and cast him as Redford.[8]
Bill Murray andJason Schwartzman were regular actors in Anderson'sfilmography.[14][15] Schwartzman said he accepted the role of Cousin Ben without asking for a larger part, because in his experience Anderson always planned thoroughly what was best for his films, including casting characters.[15] Unlike Murray and Schwartzman,Bruce Willis,Edward Norton,Frances McDormand andTilda Swinton had not worked with Anderson. Journalist Jacob Weisberg characterized them as "theensemble cast".[16] While Anderson said that he wrote the part of Captain Sharp imagining the deceasedJames Stewart playing him, he thought Willis could be the "iconic policeman" once the screenplay was completed.[12] Willis said he had seen all of Anderson's films and was interested in collaborating with the director.[17] Anderson also hoped Norton would play Scout Master Ward, commenting, "he was somebody who I thought of as a scoutmaster ... He looks like he has been painted by Norman Rockwell."[6]Harvey Keitel joined the cast in June 2011.[18]
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In the film, 12-year-old Suzy packs six fictitious storybooks she stole from the public library. Six artists were commissioned to create the jacket covers for the books, and Wes Anderson wrote passages for each of them. Suzy is shown reading aloud from three of the books during the film. Anderson had considered incorporating animation for the reading scenes but chose to show her reading with the other actors listening spellbound. In April 2012, Anderson decided to animate all six books and use them in a promotional video where the film's narratorBob Balaban introduces each segment.[19]
Anderson described designing the maps for the fictitious New Penzance Island and St. Jack Wood Island saying: "It's weird because you'd think that you could make a fake island and map it, and it would be a simple enough matter, but to make it feel like a real thing, it just always takes a lot of attention."[20] In addition to the books and maps, Anderson said the crew spent a substantial amount of time creating the watercolor paintings, needle-points and other originalprops. He wanted to ensure that, even if a prop is only briefly seen in the film, "you kind of feel whether or not they've got the layers of the real thing in them".[20]
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Anderson usedGoogle Earth for initiallocation scouting, searching for places where they could find Suzy's house and "naked wildlife", considering Canada, Michigan and New England. The filmmakers running the Google search also looked atCumberland Island in Georgia, and theThousand Islands.[21] Camp Yawgoog, an actual Scout camp in Rhode Island, served as the inspiration for the Khaki Scout sets, and many items were borrowed from the camp for props.[22]
Kasia Walicka-Maimone was the costume designer. Anderson presented her with concepts of how the characters should look. She drew on photographs from the 1960s and the uniforms ofBoy Scouts when designing Suzy and Sam's costumes. (Their characters inspired manyHalloween costumes in 2012.)[23] While the filmmakers planned to model the animal costumes on those in realNoye's Fludde productions, they decided instead to fashion them as if they were made for U.S. schools, consulting photographs from Anderson's former school.[22]
Principal photography took place inRhode Island from April to June 2011.[24] The film was shot at various locations aroundNarragansett Bay, Rhode Island, including:Conanicut Island,Prudence Island,Fort Wetherill,Yawgoog Scout Reservation,Trinity Church, andNewport's Ballard Park.[25][26] A house in the Thousand Islands region in New York was used as the model for the interior of Suzy's house on the film's set. The set for the Bishop home was constructed and filmed inside a formerLinens 'n Things store inMiddletown, Rhode Island.[27][25]Conanicut Island Light, a decommissioned Rhode Island lighthouse, was used for the exterior.[21] CinematographerRobert Yeoman shot the film onSuper 16mm with a 1.85:1aspect ratio, as opposed to Anderson's usual 35mmanamorphic format, usingAaton Xterà andA-Minima cameras.[28] Anderson said the Aaton cameras were ideal for photographing child actors, as they were roughly the same height as the camera set up.[7]
According to Anderson, the kissing scene between Sam and Suzy was not rehearsed so it could be "spontaneous"; it was the first kiss, on or off screen, for both actors.[29][30] Hayward was given the cat seen in the film as a pet after the production was concluded.[13]
Professor Peter C. Kunze wrote that the story depicts "preteen romance", exploringchild sexuality in the vein ofThe Blue Lagoon.[31] Several critics interpreted the ear-piercing scene as symbolizing the characters losing their virginity.[32][33] Author Carol Siegel judged the portrayal to be a positive take on "youthful sexual initiation", from a mainly male perspective, but like many other U.S. films she said it missed a female perspective.[34] AcademicTimothy Shary placed the story in the cinematic tradition of exploring "young romance" and the resulting strife, withTitanic (1997) andBoys Don't Cry (1999).[35]
The film scholar Kim Wilkins rejected the notion thatMoonrise Kingdom is a romance film. She argued the severity of Sam and Suzy's behavior, and their "profound existential anxiety", indicate the characters were created as products of a more widespread concern for juvenile mental health. Wilkins wrote that the story dealt with "existential" questions, with the two young protagonists rejected by society and allying to escape to "a limited existence beyond its boundaries".[36] According to aChicago Tribune analysis,Moonrise Kingdom represented Anderson's most focused study on a theme running through his work, "the feelings of misunderstood, unconventional children".[37]
J.M. Tyree ofFilm Quarterly argued the story illustrated both an affinity with and "arch skepticism" of the "comedy of love", where inShakespearean comedy lovers, after courtship and marriage, would "return to a reconstituted civilized order". Sam and Suzy escape civilization but are always taken "back into twisted knots of communal ties".[38] CriticGeoffrey O'Brien wrote that, while camps are common settings for stories about "innocence" lost, the truer theme was "the awakening of the first radiance of mature intelligence in a world liable to be indifferent or hostile to it".[39]
The narrative features collapsing families,[40] represented by the Bishops' failing marriage. Professor Emma Mason suggested their large house serves as a "mausoleum-like shelter".[41] Sam is also disowned by his foster family for behaviors like arson while sleepwalking. While he told Suzy "I feel like I'm in a family now", academic Donna Kornhaber argued Sam, as an orphan, has a realistic perspective on the difficulties of building a family.[40] As an adoptive father Sharp may not be ready, Tyree wrote, "but [his] lack of self-centeredness sets him apart from other would-be fathers or mentors in Anderson's world".[38]
Professor Laura Shakelford observed how Suzy as the raven inNoye's Fludde is followed by a historic rainstorm echoingNoah's flood.[42] Scholar Anton Karl Kozlovic suggested that while the film includes no quotes from theBook of Genesis and no shots of a copy of the Book, Noah's story is used for symbolism. The children dress as animals before floods cause them to seek shelter in the church, Kozlovic observed.[43] Following the Genesis narrative, after the New Penzance flood, there is "abundant regeneration" with great harvests of high-quality produce.[44] Shakelford read the story as a commentary on the characters grappling with the relationship between "the material world" in "postmodern cultures" and that of animals.[42]
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Academic James MacDowell evaluated the film's style as displaying "the director's trademark flat, symmetrical, tableau framings of carefully arranged characters within colorful, fastidiously decorated sets" with "patent unnaturalism and self-consciousness".[45] Considering the emphasis onsymmetry (as opposed to other photographic composition strategies such as therule of thirds) and color, authors Stephanie Williams and Christen Vidanovic wrote, "Almost every frame in this movie could be a beautiful photograph."[46] Critic Robbie Collin added that besides the symmetry, many shots are "busy with detail, and if something visually dull has to happen, Anderson embellishes it: when Sam and Suzy retreat to have a quiet heart-to-heart, he places their silent conversation on the left hand side of the frame and an enthusiastic young trampolinist on the right".[47]Roger Ebert identified thecolor scheme as emphasizing green in the grass,khaki in the Scouts camp and uniforms, and some red, creating "the feeling of magical realism".[48]
Scholar Nicolas Llano Linares wrote that Anderson's films are "distinctivelyandersonian to the limit", "filled with ornate elements that create particular worlds that define the tone of the story, the visual and material dimensions of his sets". Linares particularly commented on the use of the animated maps, which make Anderson's universe more credible, and also have metaphorical significance.[49] Macdowell pointed to the characters' books and the production ofNoye's Fludde as examples of the "indulgent, excessive, yet attractive neatness" that children in Anderson's films enjoy. He also interpreted the animated maps as showing a naïve style.[45]
In the scene where the Khaki Scouts meet with Cousin Ben, writer Michael Frierson observed how thetracking shot is combined with "clipped, military dialogue". The tents in the background in the tracking shot are in symmetry. Frierson also judged the moving camera as "smooth" and "stabilized".[50] Joshua Gooch observed thedissolve between Sam's artwork and the Moonrise Kingdom beach tied together art with desire.[51]
The dialogue is similarly "stylized" and "mannered" as in other Anderson films, which O'Brien viewed as fitting for "alienated twelve-year-olds who, on top of everything else, must invent a way to communicate with each other".[39] This dialogue is spoken with "self-aware deadpan" performances.[52]
Alexandre Desplat composed the original score, with percussion compositions by frequent Anderson collaboratorMark Mothersbaugh.[53] The film's final credits feature a deconstructed rendition of Desplat's original soundtrack in the style of English composerBenjamin Britten'sYoung Person's Guide, accompanied by a child's voice to introduce each instrumental section.[54]
The soundtrack also features music by Britten, a composer notable for his many works for children's voices. At Cannes, during the post-screening press conference, Anderson said: "The Britten music had a huge effect on the whole movie, I think. The movie's sort of set to it. The play ofNoye's Fludde that is performed in it—my older brother and I were actually in a production of that when I was ten or eleven, and that music is something I've always remembered, and made a very strong impression on me. It is the color of the movie in a way.[55]
With many Britten tracks taken from recordings conducted or supervised by the composer himself, the music includesThe Young Person's Guide to the Orchestra (Introduction/Theme; Fugue), conducted byLeonard Bernstein;Friday Afternoons ("Cuckoo"; "Old Abram Brown");Simple Symphony ("Playful Pizzicato");Noye's Fludde (various excerpts, including the processions of animals into and out of the ark, and "The spacious firmament on high"); andA Midsummer Night's Dream ("On the ground, sleep sound").[56] Also featured are extracts fromSaint-Saëns'sLe Carnaval des animaux,Franz Schubert's "An die Musik",Wolfgang Amadeus Mozart's operaCosì fan tutte and tracks byHank Williams.[57] The soundtrack album reached number 187 onBillboard'sTop Current Albums chart.[58]
Focus Features acquired world rights to the independently produced film.[24]Moonrise Kingdompremiered on May 16, 2012, as the opening film at the2012 Cannes Film Festival,[59] Anderson's first film to be screened there.[10]Studio Canal released the film in French theaters on the same day.[60] The U.S.limited release followed on May 25,[14] inNew York City andLos Angeles.[11] Ashort film,Cousin Ben Troop Screening with Jason Schwartzman, also directed by Anderson, was released onFunny or Die to promote the film.[61] By its fifth week, the release was expanded to 395 theaters.[11]
InRegion 1Moonrise Kingdom was released onDVD andBlu-ray byUniversal Studios Home Entertainment on October 16, 2012, withfeaturettes like "A Look InsideMoonrise Kingdom".[62]The Criterion Collection released both a DVD and Blu-ray with a2K restoration on September 22, 2015.[63] It was released onUltra HD Blu-ray by Criterion on September 30, 2025, as part of the ten film collectionThe Wes Anderson Archive: Ten Films, Twenty-Five Years.[64]
In its opening weekend,Moonrise Kingdom earned $523,006 in four theaters, setting a record for the greatest gross per theater average for alive action film of $167,371.[65][66] After five weeks, it made $11.6 million.[11] By September, it grossed $43.7 million, doubling that of Anderson'sFantastic Mr. Fox.[67]
Finishing its theatrical run on November 1, 2012,Moonrise Kingdom had grossed $45,512,466 domestically and $22,750,700 in international markets for a worldwide total of $68,263,166.[68] It was Anderson's highest-grossing film in North America.[69]
Review aggregation websiteRotten Tomatoes gives the film an approval rating of 93% based on reviews from 269 critics, with an average score of 8.24/10. The consensus states, "Warm, whimsical, and poignant, the immaculately framed and beautifully actedMoonrise Kingdom presents writer/director Wes Anderson at his idiosyncratic best."[70] Review aggregation websiteMetacritic gives the film a weighted average score of 84 out of 100, based on 43 reviews, indicating "universal acclaim".[71]Moonrise Kingdom was also listed on many critics' top 10 lists of the year.[72] In 2016, it was voted 95th in an international critics' poll, theBBC's 100 Greatest Films of the 21st Century.[73]
Roger Ebert rated the film three-and-a-half stars, praising the creation of an island world that "might as well be ruled byProspero".[48] A devoted fan of Anderson,Richard Brody hailedMoonrise Kingdom as "a leap ahead, artistically and personally" for the director, for its "expressly transcendent theme" and its spiritual references to Noah's Ark.[74]Peter Bradshaw ofThe Guardian gave the film four stars out of five, calling it "another sprightly confection of oddities, attractively eccentric, witty and strangely clothed".[75]The New York Times's Manohla Dargis reviewed Anderson and Coppola's screenplay as a "beautifully coordinated admixture of droll humor, deadpan and slapstick".[76]Peter Travers positively reviewed the actors' performances, calling Norton engaging, Balaban "delightful" and Willis agreeable. Travers also credited cinematographer Yeoman for "a poet's eye" and composerAlexandre Desplat for his contributions.[77] As novice actors, Jared Gilman and Kara Hayward also received praise.[78]The Daily Telegraph's review stated it was "exhilarating" to see different elements combined, such as the music of Britten and Hank Williams. It called the end result "an extraordinarily affected piece of filmmaking".[47]The Hollywood Reporter's review by Todd McCarthy described the film as an "eccentric, pubescent love story", "impeccably made".[79] ForEmpire, Nev Pierce declared it "a delightful film of innocence lost and regained".[80]Christopher Orr ofThe Atlantic wrote thatMoonrise Kingdom was "Anderson's best live-action feature" and that it "captures the texture of childhood summers, the sense of having a limited amount of time in which to do unlimited things".[81] Kristen M. Jones ofFilm Comment wrote that the film "has a spontaneity and yearning that lend an easy comic rhythm", but it also has a "rapt quality, as if we are viewing the events through Suzy's binoculars or reading the story under the covers by a flashlight".[82]
Dissenting,Leonard Maltin wrote the "self-consciously clever to a fault" approach to depicting the children gave him "an emotional distance" to them.[83]Rex Reed dismissed it as "juvenile gibberish" displaying "lunatic fragments of surrealism".[84]Postmedia News' Katherine Monk gave a mixed review, calling it "kind-hearted and heavily contrived".[85]
In later years,IndieWire placed Scout Master Ward in Anderson's top 10 most memorable characters in 2015, at ninth place, calling him "completely charming"; the same list also identified Suzy as "one of Anderson's best-drawn female characters".[86] Chuck Bowen ofSlant Magazine judgedMoonrise Kingdom andThe Grand Budapest Hotel as exemplifying Anderson's new leaner style (compared to what Bowen called "bloated speechifying" of past films) and credited editorAndrew Weisblum for "precise, unsentimental editing".[87] In 2018,Variety namedMoonrise Kingdom as Anderson's seventh best of nine films, saying Sam and Suzy did not feel real.[88] In 2025, it was one of the films voted for the "Readers' Choice" edition ofThe New York Times' list of "The 100 Best Movies of the 21st Century," finishing at number 147.[89]
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At Cannes, the film was in competition for thePalme d'Or,[90] although the only award it won there was the unofficial "Palme de Whiskers" in recognition of the cat, "Tabitha".[91] In anticipation of the85th Academy Awards, journalist Lindsey Bahr calledMoonrise Kingdom a "wild card" in the awards campaign given it received no nominations at theScreen Actors Guild orDirectors Guild, but had won theGotham Independent Film Award for Best Feature.[92] Early in the campaign, it was a contender for a nomination for theAcademy Award for Best Picture.[93] Anderson and Coppola were ultimately nominated for theAcademy Award for Best Original Screenplay.[94]
The film was also nominated for theGolden Globe for Best Motion Picture – Musical or Comedy.[95] It received five nominations at the28th Independent Spirit Awards, including forBest Feature,[96] and two nominations at the17th Satellite Awards, includingBest Film.[97]
The Huffington Post journalist Mina Zaher criticized the depiction of the sexual awakening between Sam and Suzy, expressing discomfort with the scene where Sam touches Suzy's breasts, calling it "a step further or perhaps too far". Zaher questioned whether the children's sexuality could have been portrayed in a more appropriate way.[98] Reviewing the scene where the characters dance wearing only their underwear, theCatholic News Service stated "The interlude doesn't quite cross over into the full-blown exploitation of children, but it teeters on that edge".[99] Professor Carol Siegel summed up the portrayal as "delicate and to a large extent inoffensive".[100]
In one scene, the dog Snoopy is killed by an arrow in a scene compared toLord of the Flies byWilliam Golding.[101] This inspired aNew Yorker editorial by Ian Crouch, "Does Wes Anderson Hate Dogs?". Crouch said that in the theater where he saw the film, "the shot showing the dog impaled and inert elicited a shocked, yelping exhale from many people in the audience", and he observed outrage onTwitter.[102]The Washington Post critic Sonia Rao held up Snoopy's death as a prime example of "[A] particular kind of darkness [that] lurks" in Anderson's filmography, where "[p]ets are so often the victims of the writer-director's quirky storytelling", but argued Anderson's 2018Isle of Dogs served to remedy this.[103]
Sam pierces Suzy's ears with fish hooks, adorning her with hand-crafted insect earrings as a fine stream of blood trickles down her neck (a mutual deflowering by proxy).
Pushing the barbed hooks through her unpierced lobes works as a canny metaphor for deflowering.
[T]hey consummate, metaphorically, an enchanted, chaste affair capped with a hilariously symbolic deflowering.
Jared Gilman and Kara Hayward as Sam and Suzy give twobreakout performances. Gilman and Hayward, carrying the weight of the film on their shoulders, handle Anderson's offbeat style with grace and ease and are a delight to watch.
No Hollywood gleam can outshine the fresh faces of Gilman and Hayward, newly hatched thespians who bring a refreshing lack of guile to their roles.
[I]n Gilman and Hayward we have rare young talents who don't need words to communicate what they're feeling.
[I]t all goes a bitLord of the Flies: Suzy stabs a boy in the kidney with left-handed scissors.
Anderson flirts with what could be true danger—aLord of the Flies assemblage of Boy Scouts mounting a violent frontal assault against our protagonists.
The lone fatality is Snoopy, a handsome wire-hair fox terrier, who during a spat ofLord of the Flies-style violence among some children takes an errant arrow in the neck.
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