Moonrise Kingdom

The films of Wes Anderson can be an acquired taste, with some viewers dismissing them as arch and pretentious while others praise his idiosyncratic comic sensibilities and unique vision.

Even his misfires can’t be easily dismissed, but that’s not a problem for Moonrise Kingdom. His latest comedy is one of Anderson’s best, a bittersweet and evocative period piece that’s both a visual and narrative delight.

The story takes place in a remote New England community during the 1960s, and centers on an ostracized member of the pre-teen Khaki Scouts (Jared Gilman) who escapes from his campsite to rendezvous with a girl (Kara Hayward) who has a crush on him. Basically, they want to run away and start a new life together.

When both youngsters are reported missing, it causes an uproar among adults who form a search party, including the oblivious scout leader (Edward Norton), the girl’s attorney parents (Bill Murray and Frances McDormand), a social-services worker (Tilda Swinton) and the local police chief (Bruce Willis) who tries to oversee the investigation.

The film contains some of the eccentricities and peculiarities audiences have come to expect from Anderson, who co-wrote the script with Roman Coppola (The Darjeeling Limited). While the story might not add up to much in the end, it thrives on smaller moments that have a quiet charm or an amusing oddball appeal.

Anderson uses the remote island setting to create essentially his own isolated universe that feels detached from reality yet rooted in humanity. His playfully ambitious visual approach reflects a filmmaker at his most inventive, including everything from sepia tones to bright colors that reflect the period, along with a mix of character close-ups with wider landscape shots. Each shot is meticulously composed and richly detailed, most often without turning self-indulgent.

At its core, the film is a coming-of-age romance that is made convincing through strong performances by newcomers Gilman and Hayward. The more experienced members of the ensemble — many of them Anderson favorites — also get into the spirit of the material, even though story context and character backgrounds are at a premium.

Moonrise Kingdom stumbles through its climax. But for Anderson, following some uneven live-action efforts such as The Darjeeling Limited (2007) and The Life Aquatic with Steve Zissou (2004), it’s a quirky and heartfelt return to form.

Rated PG-13, 94 minutes.