Tag Archive: Moonrise Kingdom


Review by C.J. Bunce

One of the failings of many creators for kids is talking down to them.  If you treat children from the very beginning like adults, they will step up to the task and embrace acting like adults.  Kids know when adults are speaking down to them.  They also will be excited when you give them the straight dope.  So if you’re creating anything for an audience that includes kids, whether they are seven to seventeen, don’t hold too much back.  And that applies double for relationships–kids are smarter than you think and they listen to everything and absorb everything.  One of the best parts of Troop Zero is that you can’t tell if its a coming of age movie for adults or kids.  And that’s a great thing.

Troop Zero is a new Amazon Studios direct-to-streaming release, and a great movie to watch while sitting at home with your family this weekend.  We love coming of age movies (scroll through several we’ve discussed over the decade here at borg), and Troop Zero easily makes our top 20.  This is the more nostalgic, sweet, genuine brand of coming of age film (the best kind), part The Bad News Bears, part Paper Moon, and it’s obviously a little bit Moonrise Kingdom and maybe even enters Shirley Temple territory like in The Little Princess.  It also ties into one of our favorite NASA accomplishments, the Voyager space probes and golden records prepared by Carl Sagan with voices and music from Earth (also add the PBS documentary The Farthest–Voyager in Space to your must-watch list, reviewed here).

The movie stars the then-12-year-old actress McKenna Grace, who performs like someone with 20 years of experience.  This girl has done everything, from playing young Sabrina in Chilling Adventures of Sabrina, to young Captain Marvel in last year’s hit film, young Tonya Harding in I, Tonya, and she’s the star of the coming summer release (we hope), Ghostbusters: Afterlife.  Plus Independence Day: Resurgence, Ready Player One, and a regular on The Haunting of Hill House (the list goes on!).  In Troop Zero she plays Christmas Flint, a girl with that same awkward but adorable appeal as Tatum O’Neal in her Oscar-winning performance in Paper Moon.  Christmas has the reputation at school for still wetting the bed, she wears red galoshes so no one notices one leg is longer than the other, and no matter how much bad is thrown at her she responds with this incredible positivity.  She also loves space, and thinks her dead mother is looking back at her from the stars.  When she learns a member of NASA is in town to select a girl to voice the greeting on the Voyager space record, she assembles a ragtag team of girls (and one boy) to join the local scouts, and earn the minimum merit badge each to qualify to go to Jamboree where the troop with the best performance routine will have their voices recorded.

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Review by C.J. Bunce

In The Oliver Stone Experience, writer Matt Zoller Seitz provided fans of Oliver Stone with an incredibly immersive deep-dive into the thought process of the acclaimed and sometimes controversial director.  Spending five years with Stone debating and analyzing the auteur’s films and influences was the stuff for the ultimate fan of his films, bordering on containing too much information–mostly insightful, but sometimes trivial and the stuff of information overload.  But can you really have too much information when you’re talking about your favorite creator?  Probably not, and it’s with the same gusto that Seitz digs into Wes Anderson–the man, the mind, the films.  Seitz admittedly is a fan of Anderson and it shows as he chronicles the writer/director’s life and career in his massive work of essays and photographs, The Wes Anderson Collection, a coffee table hardcover and collectible for every Anderson fan.

In a series of interviews about his films Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom, with two supplemental books available covering The Grand Budapest Hotel and Isle of Dogs (more on those below), Anderson becomes more accessible, and his films more understandable–even for those who aren’t fans of his work.  With original illustrations and production images, Seitz also makes a statement with the design of the book, incorporating the film frames, the quirky nostalgia, and the memory box-like set-ups seen in Anderson films, to highlight and explore the journey the filmmaker has taken with each new film.  The distinct tracking shots and color palettes that define Anderson’s films are featured in shots from the films and in behind the camera images of props, sets, and actors that come together to form these distinct stories.

Readers will find some overload of data here, but it’s also fun to watch a fan who has done his research interviewing a filmmaker.  Equally fun are Anderson’s reactions to complex questions the writer-director never himself pondered about his own work.  Yes, expect plenty of “Hmmm” responses, but much more content of the thought-provoking variety.  Every fan should have a book like this to go to for his/her favorite creator–the closest I’ve seen like this is surprisingly James Cameron’s interviews of directors in his Story of Science Fiction (reviewed here), and the James Bond books Bond on Bond (reviewed here), and The Many Lives of Bond (reviewed here), and the above-mentioned book on Oliver Stone.

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