“Isle of Dogs” is probably director Wes Anderson’s weirdest film to date. Not only does it contrast greatly with practically every other film—animated or otherwise—to have been released in recent years, but even within Anderson’s own filmography this one feels unique. Though Anderson’s trademark symmetry and picturesque set design are plastered all over his latest production, the common themes of familial estrangement and ennui are less emphasized than in previous films. While Grand Budapest Hotel felt like the culmination of Anderson’s tropes converging upon themselves, Isle of Dogs sits aside as its own little furry fable of feral fraternities facing a feline farce. And I loved nearly every second of it.

Set in the near future, ”Isle of Dogs” tells the story of the Japanese city of Megasaki, which attempts to evade a dog-flu epidemic by quarantining all of its dogs on Trash Island, and Atari (Koyu Rankin), a young boy who sets out to rescue his lost pet. Along the way Atari meets Rex, King, Duke, Boss, and Chief, a pack of dogs voiced by an all-star cast, featuring Edward Norton, Bob Balaban, Jeff Goldblum, Bill Murray and Bryan Cranston respectively. As the film progresses we learn more about the true intentions of Megasaki’s corrupt cat-loving Mayor Kobayashi (Kunichi Nomura), as American exchange student Tracy Walker (Greta Gerwig) works with her school’s student-paper to expose a cruel conspiracy.

Though ”Isle of Dogs” is in essence a celebration of man’s long relationship with his best friend, Anderson’s film does not require you to be a “dog person” in order to enjoy it. The film backs up its parade of cute animals with well-drawn character arcs, keeping it from ever feeling cheap. From a story telling perspective, this is probably one of the best talking dog films ever made. The film’s world feels all the more real with Anderson’s choice not to translate most of the Japanese spoken by human characters. The lack of understanding which audience members are often afforded makes ”Isle of Dogs” an immersive experience, despite the blatant absurdity of its story and setting.
As with many Anderson films, ”Isle of Dogs” presents itself as potentially off-putting to anyone who is not already a fan of Anderson’s work. Despite my enjoyment, I left the theater asking, “who is this for?” as the film carries the style and story of a family-film, yet also features a realistically graphic surgery scene. The answer to my question is, of course, this film is for Anderson himself. ”Isle of Dogs” is the ninth film by Anderson, and so you probably know by now if you are a fan of his. If you are, this film should satisfy you. If not, don’t see it. And if you’re still on the fence about him, you might just find this to be one of the good ones. It’s a Wes Anderson film, what else can I say?
Rating: 9/10