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Isle of Dogs

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Germany, United States · 2018
Rated PG-13 · 1h 41m
Director Wes Anderson
Starring Bryan Cranston, Koyu Rankin, Edward Norton, Bob Balaban
Genre Adventure, Comedy, Animation

In the future, an outbreak of canine flu leads the mayor of a Japanese city to banish all dogs to a foul garbage dump island. The outcasts must soon embark on an epic journey when a 12-year-old boy arrives on the island to find his beloved pet.

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What are people saying?

Ricardo Rico Profile picture for Ricardo Rico

Wes Anderson returns to animation and adds his usual signature touch. Visually, Isle of Dogs is as impressive and stylized as any of his previous films. There's lots of solid voice acting, and the story is enough to remain compelling. It's worth the watch mostly to see the stop-motion work, a style that's always fun to experience and appreciate.

What are critics saying?


The Guardian by

There is so much detail in the breakneck race from image to image that Isle of Dogs will reward multiple viewings as much as any Anderson film, visually if not narratively.


Variety by Guy Lodge

If mounds of garbage aren’t quite what viewers have come to associate with Planet Wes, the slight scuzziness of Isle of Dogs is its great surprise: From the occasional eye-watering blurriness of its fast tracking shots to the loopy, laissez-faire nature of its storytelling, the whole enterprise might just be as messy as the director lets himself get.


The Playlist by Jessica Kiang

As far as representation goes, the stunning, brimful, extraordinary Isle of Dogs can’t really be said to do anyone’s culture a disservice. Except cat lovers, who should probably mount a boycott.


CineVue by Martyn Conterio

The film is packed with laugh-out-loud moments, full of deadpan observations – a quintessential Anderson touch – and exciting sequences.


The Film Stage by Rory O'Connor

One does not necessarily have to be fond of canines in order to love Isle of Dogs, but it helps. It may also help to have a fondness for the meticulous craft of stop-motion animation itself or, even more interestingly perhaps, for Japanese cinema. It is a delightful, exquisitely-detailed production.


Slant Magazine by Steve Macfarlane

Anderson is clearly a massive talent working, again, in his prime. However uncomfortable, it's crucial to ask what gives him the right to romp around in all these signifiers in service of bespoke whimsy—but then the word for it isn't “right,” but rather privilege.


The Telegraph by Tim Robey

This is by some measure Anderson’s weirdest concoction ever, in all sorts of good ways. And it probably counts as his most daring, too.

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