The fussiness is what people love, or love to hate, about the movies of director Wes Anderson: the immaculate retro tailoring, the clockwork regularity of arch one-liners, the precise camera dollies over even more precisely ornamented sets. And Anderson’s latest movie Moonrise Kingdom outdoes all of his films except 2009’s stop-motion Fantastic Mr. Fox for obsessive compulsive design, from the coonskin cap on its adolescent hero down to the aggressively plaid pants on Bill Murray. (You get the sense that Anderson would use Murray’s body as a stop-motion puppet too if he could.) But there’s something new in both Fox and Kingdom, something that makes them Anderson’s best films yet – the dollhouse worlds that Anderson has devised are as cutesy as ever, but he also seems newly willing to smash his own creations to pieces.