As a foreigner, I say this as a compliment. There's an american feel in this film that makes it special, specific, and special. There's that sense of conquering a place, of being a pioneer, of being self-reliant. And there's even the persecution (in these case, grown-ups) of the law, to make the quest more romantic and meaningful. My words cannot say it any other way, this is not my culture. But it did move me, too.
My favorite Wes Anderson film. The subdued and playful cinematography is akin to sitting through a highly-entertaining theatre play, and the young actors here are amazing. The whole movie feels like a summer day dream, and I'm happy to wander through the cinematic world of Wes Anderson's imagination.
It's as though they took a scenario by Bergman and made it into a Disney film. Tilda Swinton's role is so insignificant, they didn't even give her character a name. Full of big name stars, like Bob Balaban, I got suckered into actually paying to see this film. I guess that trick always works. The only Wes Anderson film I liked was The Fabulous Tenenbaums, and I don't think it would stand up to a second viewing.
Completely winning Wes Anderson film about a young boy scout, misunderstood by his troop and the adults around him, who runs away on an island with an equally misunderstood girl. They find in each other kindred spirits in loneliness, and the adventure of a lifetime. Anderson's formal, symmetrical style adds a droll sense of humor, wholly realizing childhood fantasy. Features a tremendous supporting cast.
The stakes feel rather low here, even by Anderson's standards, and the structure seems somewhat loose and baggy, so it's awfully handy to have the imported grandeur and didactic order of Britten's Young Person's Guide to the Orchestra available to firm things up and inject some pathos. Anderson's ongoing romance with precocity is animated more affectingly in MK than in perhaps any of his other films. Not nothing, no.