SCREENS

• MOONRISE KINGDOM

The way Wes Anderson sets up his surreal, often abstract shots has become his calling card. He is not afraid of a dolly, nor a slow-motion cast-walking sequence. He is in epic form in Moonrise Kingdom, where the community of Penzance Island chase after a lovelorn 12-year-old couple. It is funny and also reminds you exactly what it is to be 12; dramatic, romantic, fearless and wild. Watching it, you can’t help but wish your parents were Bill Murray and Frances McDormand and the local policeman a solitary Bruce Willis. Jason Schwartzman makes a very brilliant cameo as a bad-boy scoutmaster. Compulsory viewing, if only for the best pen pal sequence put to screen.

• ON THE ROAD

Passionate literary sparks waited with baited breath to see what Walter Salles would do with this, the most hallowed of the beat novels. The cast was to die for; Garrett Hedlund – as Dean Moriarty – world is so imbued with freedom and wildness you want to jump right in despite the obvious danger and the numerous women he had left behind. There is a certain sadness about Moriarty – Paradise is going to take his story and turn it into a novel whilst Moriarty remains on the road. The directionless of the film is a factor of the novel, it is not supposed to be a plot-driven piece, rather a photograph of the time – and what a photograph this is. Sweeping landscapes, one jaw-dropping shot after the other. More than anything, it transported you to that era and despite all the hardship, made you want to live there. A real film to dream to