Isle of Dogs

The first half is excellent, the second half is disappointing. Visually, it’s incredibly polished and charming, narratively, however, it’s surprisingly sterile and in the end is mesmerizing, without Wes's usual extravagance and daring. I don't regret a single minute I spent with it, because the level of authorial personality is still admirable and likeable, but the opening simply promised stronger emotions and better character development. In any case, the fourth star is within reach. (06/28/2018)

Isle of Dogs once again accumulates a distinctive and unique directorial signature, which may not necessarily be to everyone's taste, but I like the horizontal camera movements, the cleverly planned shots, the distinctive framing of the characters and their specifically bizarre speeches. For a hundred minutes we visit an island full of diverse dogs that sneeze, enjoy garbage and at the same time utter relatively meaningful dialogues. Of all the canine characters, I was definitely most impressed by the Boss and the omniscient Oracle. A truly unconventional animated film that addresses, among other things, mass brainwashing. It will more those enchanted by Wes Anderson's rules of the game. (03/21/2020)

Another one of Wes Anderson’s films that I enjoyed from start to finish. The theme was excellent, the execution was great, the dogs were really cool (both the animation and characters) and I also liked the analysis of Japanese manners (there was a clear contrast with the pushy and disgustingly direct American). I've seen two animated films by Wes Anderson so far, and I really enjoyed both Fantastic Mr. Fox and Isle of Dogs, so I hope I will get to see a third one soon. (09/10/2018)

It seems that Wes Anderson found himself in the way he made Grandhotel Budapest. Isle of Dogs runs in exactly the same vein. The things that Wes only hinted at in his earlier movies are given full reflection today. The absurdity of the characters, a billion of not only pop-cultural ideas, in this case amplified by the animated motif, the editing, the limited camera movement… all these are things that represent Wes Anderson today, and I said to myself more than once how similar this movie was to Grandhotel. Despite all that, it’s still somehow different. The thing is that sometimes I feel that Wes has gotten lost in his artistic motifs. At times things get so wacky and so over-the-edge that the film actually stops being funny and humorous. But that only happens sometimes. In terms of the overall impression, it’s still a very good flick. (12/21/2018)

One of the most creative directors of today, especially in the realm of animated films, has once again delivered an exceptional film. Not everyone might see it as their cup of tea, but it undoubtedly found an audience that appreciated it. Wes Anderson won me over with Fantastic Mr. Fox and The Grand Budapest Hotel, and now he has completed a truly unique hat-trick of bizarre, yet one-of-a-kind films. Setting the film in Japan speaks volumes on its own; I was particularly impressed with the decision not to translate some of the Japanese dialogue, allowing the viewer’s imagination to play a significant role. The animation may not be groundbreaking, but the moving figures still have their charm, and the scenes of the four-legged furry creatures with their fur blowing in the wind were very calming. There are also hilarious moments, and while another person’s attention to detail and perfectionism might cause uncountable issues, you don’t have to worry about that with Wes. A genius like him with a sense for detail has no equal. This was quite a film, and I give it 86%. (08/23/2018)