Moonrise Kingdom, review - Telegraph 12A cert, 94 min: Dir Wes Anderson, starring Jared Gilman, Kara Hayward, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman Sam has the frontiersman smarts of a 12-year-old Davy Crockett and the coonskin cap to go with them. He also smokes a corncob pipe. Suzy is both old and cool before her time; after Sam pitches an immaculate camp on the beach, she teaches him how to dance to a Françoise Hardy record. She reminded me of a younger version of Gwyneth Paltrow's Margot from Anderson's 2001 film The Royal Tenenbaums; appealingly unknowable and an emotional Rubik's Cube. The elopement takes place on an archipelago close to the (fictional) New England town of New Penzance, as does the subsequent search-and-rescue operation involving Suzy's fractious parents (Bill Murray and Frances McDormand), local police officer Captain Sharp (a wryly stunt-cast Willis), Scout Master Ward and the rest of 55 Troop. Later on, Tilda Swinton swoops in as a professionally concerned social services officer, dressed as a kind of space-age air hostess. The island setting is typical Andersonian territory, governed by its own set of laws and located a good many nautical miles away from reality. Sailboats glide through the water the second their sails are raised, and hooks dangled into a stream for more than a couple of minutes will always come up with a fish attached. A luminous sunset rose-tints a romantic moment on the beach, while the paper and canvas deluge of the Sunday school play prefigures a thunderous, splashy finale. Many shots are boldly symmetrical and 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. Alexandre Desplat's pizzicato-led score rubs up against Hank Williams songs and Britten's A Young Person's Guide to the Orchestra. Woven throughout are enjoyably silly nods towards pictures as diverse as The Shawshank Redemption, Walt Disney's adaptation of Peter Pan and Ferris Bueller's Day Off. Wes's film, Wes's rules. Whimsical, quirky, kooky: none of these words is quite strong enough to describe just what an extraordinarily affected piece of filmmaking this is, and yet because all of these quirks fit together so well, the result isn't annoying, but exhilarating. Much like the hidden bay where Sam and Suzy set up their camp for which the film is named, Moonrise Kingdom is a beautiful, self-contained idyll. Like many holiday locations, you wouldn't want to live there, but a mini-break from the norm can be a real tonic.