Bill Murray descends a staircase. He’s in a chateau or something of that ilk. Bill Murray glibly introduces himself. Bill Murray methodically introduces the rest of the cast of Wes Anderson’s latest film Moonrise Kingdom.

He makes wryly opaque statements like “Tilda Swinton is hot and Scottish and icy” (or something to that effect). He makes a joke about Bruce Willis being typecast (Editor’s note: Never joke about Bruce Willis). Jason Schwartzmann is involved (of course). Frances McDormand and Edward Norton too.

Bill Murray moves with purpose and precision. Everything he says sounds silly, deliberately so. And what about the plot Bill Murray? You didn’t tell us that Moonrise Kingdom tells the tale of two twelve year olds who fall precociously in love in the New England summer of 1965. You didn’t tell us that they run away together, that they preciously hoard their love in the wilderness where grown-ups can’t ridicule it, or even worse, break it into pieces. You didn’t tell us any of that Bill Murray.

But still, Bill’s tour of Moonrise Kingdom is charming. Endearing too. You begin to suspect that there is a warmth and honesty beneath the quips and silliness and precision. In fact, it’s an accurate harbinger of Wes Anderson’s painstakingly built cinematic world, where all the symmetry, the deceptively forthright dialogue, the population who dance to and fro between character and caricature, slowly open themselves up to reveal and revel in the fundamental truths of humanity. Love. Family. Youth. Whimsy.

It’s textbook Bill on textbook Wes but hey, if it ain’t broke…