A new Wes Anderson film is always a treat worth undertaking. The director's precision and craft can sometimes threaten to make his film's cold and devoid of emotion. But Isle of Dogs, with its politically-tinged narrative and warmth to its canine characters, might be one of his most soulful films to date.
Set in a future
Isle of Dogs has a visual and audio beauty to it. Alexandre Desplat's score is wonderful, especially when coupled with the film's magnificent stop-motion animation. Where Fantastic Mr Fox threatened to morph into stuffed-animals being puppeted for our amusement, here the characters seem to live and breathe. The movement of the dogs' hair, caused by the animators, gives a sense of the wind surrounding them. For such a perfectionist as Anderson is, there is an impressive scrappiness to Isle of Dogs that is particularly endearing. But it wouldn't be a Wes
The voice cast is impressive, filled mostly with previous
The one misstep for me is to not subtitle the Japanese characters. It is cute for their words to be relayed via a translator when necessary for the story but it feels a block between the audience and these characters. The cultural appropriation debate surrounding the film is fascinating and there is probably some merit to it. But for the most part
Isle of Dogs is a film packed with detail, a treat for anyone in the mood for a more adult-focused film. It slides alongside last year's My Life as a Courgette and The Red Turtle as an example of the breadth of themes this genre of cinema can explore and is another triumph from a director who just keeps doing his own thing. Long may he continue to do so.