As the acclaimed opening feature in this year’s Cannes Film Festival, it’s almost intimidating just how “Wes Anderson”, Wes Anderson’s Moonrise Kingdom is. After dabbling with stop motion animation in “don’t call it a kids’ movie” Fantastic Mr. Fox, the corduroy connoisseur returns to the big screen with a predictably intricate take on childhood romance.
But is it all style over substance? Does Anderson supply the familiarly quirky, irreverent dialogue which we all know and love/hate? What the hell is John McClane doing there? Polarising audiences since 1996’s Bottle Rocket, I mulled over the film with friend and bloody great bloke Robert Fred Parker; asking the big questions, and receiving whopping answers.