Moonrise Kingdom features Wes Anderson at his whimsical best with a strong heart and offbeat spirit driving a film about conviction in youth, bitter adulthood and honour amongst scouts.

Anderson’s films (Rushmore, The Royal Tenenbaums etc.) have been described as quirky, eccentric and (yes) whimsical. But there is also a genuine charm and heart that is driven by the Anderson’s love for his characters, and the love those characters have for one another.

From great love, of course, comes great drama and in Moonrise Kingdom great drama is what we get along with comedy, romance, adventure and perhaps the best endorsement for the Boy Scouts since River Phoenix wore the uniform as a young Indiana Jones in Indiana Jones and the Last Crusade.

The film is set during 1965 on (fictional) New Penzance Island, a place of dense terrain, flowing rivers and a small yet boisterous community. It is here that a love story for the ages is about to take place between 12 year old Boy Scout Sam (Jared Gilman) and troubled Suzy (Kara Hayward). When they runaway together it’s up to police captain Sharp (Bruce Willis), scout master Ward (Edward Norton) and Suzy’s parents Walt and Laura (Bill Murray and Frances McDormand) to bring them back home while dealing with their own problems.

With such big names it is a genuine surprise to find Gilman and Hayward command the screen with such charismatic ease. It is their characters which provide the momentum and heart in Moonrise Kingdom and Anderson has done a great job evoking superb performances from the two, whose offbeat personalities blend to make quite the dynamic duo.

Anderson also guides his talented cast of star players to performances unlike they’ve done before, the highlight of which belongs to Bruce Willis who plays his sad sap police captain with a wonderfully portrayed restraint that proves Willis is capable of superb acting if given the right material. And what a great script Anderson and Roman Coppola have written, filled with wonderfully cooky characters and scenarios that are sure to put a smile on your face and warmth in your heart.

While the film is presented as a comedy, the seriousness that these characters – especially its star lovebirds – approach their situation is endearing in its innocence. Anderson’s deadpan approach to his work has been off putting to some, yet still works a treat here as it heightens the pureness of this untouched community plunged into scandal by the act of two souls that, although young in heart hold more conviction than their parents, teachers and leaders.

No wonder Anderson featured the Boy Scouts so prominently, as they are an organisation which focuses on honour, conviction and individual achievement. Give Anderson a badge for great filmmaking.