‘ISLE OF DOGS’
PG-13 1:41 ★★★
Wes Anderson is a top dog when it comes to creating his own quirky, cinematic language and painstaking aesthetic details.
There’s no shortage of both in his second full-length, stop-motion animated epic “Isle of Dogs.” It’s a weird sorta film, even for him. Swashed in a Japanese-inspired glow, the film follows a pack of dogs who’ve been kicked out of a fictional Megasaki City and dumped at the tick, rat and flea infested Trash Island.
They meet a 12-year-old kiddo named Atari (Royu Rankin) who disobeys his tyrannical uncle and crash lands a Junior-Turbo Prop in search of his furry bodyguard Spots, voiced by Anderson newcomer Liev Schreiber.
There’s a good chance you’ve heard about the film’s alleged use of cultural appropriation. Anderson is a white director combining his world-building imagination with an appreciation for Japanese films. Quentin Tarantino’s twin “Kill Bill” flicks did the same thing 15 years ago without a hint of controversy in my memory. But times are changing, and it’s up to you how much you’ll let that hinder your choice to see the movie. I didn’t find anything too distracting — besides a giddy theatergoer who laughed hysterically at every. Single. Joke.
And I think “Isle of Dogs” works because Anderson is doing all of this with honest love. I have no interest in defending his every choice, but the director didn’t aim to make a documentary here. I don’t look at “The Life Aquatic” as a biopic of Jacques Cousteau or “The Grand Budapest Hotel” as a reliable history of the World Wars. I see these films to visit an auteur’s head space and watch how he builds upon a canvas.
I’m also reminded of the recent Oklahoma-produced documentary “Far Western,” which chronicles several Japanese musicians’ love of country and western music. Who are we to say these musicians don’t appreciate Woody Guthrie or Bob Wills as much as we do just because they don’t come from the same country?
Everything here is make believe. It’s funky film where deadpan-humored dogs voiced by Bob Balaban (King) and Bill Murray (Boss) are normal and puppies creepily whine like human babies. The premise hangs on an evil mayor who campaigns on killing dogs all while he and the other Japanese characters don’t get subtitles.
“Isle of Dogs” is a PG-13 film that looks like it was made for kids, but that’s not the intended audience. I’m a believer that just because a movie is animated doesn’t mean it has to appeal to the G-rated crowd but please know this might not be a fit for youngsters.
If you’ve seen an Anderson film in the past few years then a lot of “Isle of Dogs” will feel familiar. Behind the visual buffet, is the same fast-talking, convoluted plans gone wrong and charming soundtrack moments that populate every one of Wes’ features. There’s plenty to enjoy — especially the enormous collection of voice actors — but my interest in the overpopulated cast wore a little thin about halfway through.
Like Steve Zissou’s zany crew, many characters feel like set dressing. Too much of “Isle of Dogs” was simply there to look pretty as opposed to serving the story. Anderson never loses the plot, but “Isle of Dogs” didn’t bite without enough new ideas for me to walk away with tail wagging. It might be my least favorite of his films. Like a stray dog running along a highway, it’s difficult to love.
“Isle of Dogs” aims to be more sentimental than Anderson’s previous works. The movie’s still too familiar-feeling yet it’s impossible to ignore the spectacular effort. Every moment feels handmade. It just might not be your preferred pedigree.
Starring: Bryan Cranston, Koyu Rankin, Edward Norton, Bill Murray and Kunichi Nomura. (Thematic elements and some violent images)