Isle of Dogs

The production of Isle of Dogs spanned only two years, and director Wes Anderson released it only a week after “March for Our Lives” took place in Washington D.C., a real event that matches the events of this film to perfectly resonate a timely sense of duty for its release. I was finally able to see it this week, and to prepare I watched Wes Anderson’s other stop-motion film, Fantastic Mr. Fox. I was utterly shocked to see how different these two films were. Fantastic Mr. Fox focused on how messy and complex family can be, while Isle of Dogs stood as an example for the next generation to take charge in their world.

The characters of this film span a range of emotional quality. There is a heartwarming sense of camaraderie between the dogs and the boy, but there are so many dogs and humans with various intentions and stories that they begin to elbow between each other for space within the story. The story frequently cuts from the dog-pilot storyline to the government-civil rights storyline, and sadly it drags against the urgency of both conflicts. In the final act, they come together abruptly and reveal something very special with what Anderson is trying to show; it is time for the next generation to take hold of the world. The adults in Isle of Dogs are scheming, backstabbing, and corrupt, and they are responsible for the miserable state of their world. The public follows their commands blindingly, until a crowd of teenagers fights back so their pets can come home. The fact that this film was released during the hot topic of “March for Our Lives,” also gives a timely perspective for today’s youth to see as an icon to aspire. Anderson’s films always put the spotlight on children, giving them more knowledge than their parents, but this film takes it a step farther. The children save the day; they are the heroes of Japan.

This story, as important and unique as it is, would not be made without its medium of stop motion. There are many scenes with blood, death, and violence against dogs, but it never strays too far into the realms of reality; the stop-motion detaches the violence, makes it almost cartoonish, but keeps its texture. In general, this animation is a wonderful experience in theaters, but Isle of Dogs brings more to the table than just dolls being fiddled into stiff positions between frames. The visuals are intense and powerful. Each dog looks alive: their fur flows with the wind, their teeth and jowls snarl menacingly, and each one is completely different from the others. There is an entire scene where a chef prepares sushi for one of the characters, and Wes Anderson’s eye for detail makes it breathtakingly realistic as well as aesthetically immersive. The characters and action is very impressive, but the world they live in breathes life into the theater by being beautiful through its filth. Trash Island is plagued with rats, rust, and flying scraps of paper, but with its muted greys and savage inhabitants, there is a palpable sense of life in the dead wilderness.

Overall, I wish films would not use the Politics-card to get a bigger audience, but when the story truly calls for it, I will enjoy what it has to say. Wes Anderson is one of my favorite directors, and is the most identifiable when it comes to consistent style and design. I highly recommend this film, if not for its heartfelt story or quirky characters, then for something to look at in wonder. Also, do not worry about driving to an Indie Theater to see this film; Isle of Dogs comes out for wide-release next week. Although it was made by the same person, Fantastic Mr. Fox is a very different story, but the fact that both of these films were made using stop-motion is something to marvel.

Story Rating: 8/10

Character Rating: 7/10