We could talk about the film’s use of language and the way much of its dialogue is left in untranslated Japanese (luckily for American viewers, many puppy-related words, such as “petto,” “bisuketto,” and “fetchi” happen to be loaned from English). We could talk about the film’s politics-its anti-dog, science-hating, megalomaniacal villain and its possible (read: definite) real-world applications. For example, we could talk about the technically magnificent use of stop-motion animation. ![]() It’s about lovable characters on a dangerous quest, scrambling from one unpredictable scenario to another, as they desperately try care for one another in a world run by corrupt jerks who are trying to tear them apart.There are a lot of aspects of Wes Anderson’s Isle of Dogs that we could talk about. Isle of Dogs is not about pulse-pounding suspense. His fight scenes are just cotton ball dust clouds full of limbs punching each other, and sometimes he’ll go to all the trouble of setting up a horrifyingly elaborate death machine of violence and then watch in bemused fascination as it simply breaks down. Wes Anderson has unusual ideas of what constitutes an adventure, of course. But Chief gets dragged along for the adventure despite his objections, and so they all journey from nuclear waste sites to abandoned amusement parks and beyond. Or, if that’s too cuddly an explanation for you, he’s never been domesticated so he just doesn’t care. ![]() The naysayer is Chief, a stray who doesn’t understand what true friendship is all about. And since Atari (Koyu Rankin) is the only human being who has ever come collect their dog, most of the dogs in the pack are willing to do anything to help him out. Play Six months after their exile, a pack of scrappy dogs - Chief (Brian Cranston), Rex (Edward Norton), King (Bob Balaban), Boss (Bill Murray) and Duke (Jeff Goldblum) - stumble across a twelve-year-old boy who ran away from home, stole an airplane and flew to the Isle of Dogs to find his best friend, Spots.
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