Isle of Dogs (Fox Searchlight Pictures, 2018)
When one watches a film directed by Wes Anderson, it’s hard not to feel a sense of bliss. Wes Anderson is a director who can convey his artistic identity and individuality through something as simple as a single frame. Whether it’s the witty dialogue of Fantastic Mr. Fox (2009), the meticulous symmetry of Moonrise Kingdom (2012), or the popping color palette of the Oscar-winning The Grand Budapest Hotel (2014), Wes Anderson is truly a masterclass auteur who has made his visual mark on cinema history. Nearly four years after The Grand Budapest Hotel, Anderson returns with his second fully animated stop-motion film, Isle of Dogs. Though Isle of Dogs visually embodies Anderson’s signature style, the film’s thematic simplicity provides a symbolically nuanced, yet limited look at the world’s geo- and sociopolitical climate. Plot inconsistencies, as well as lack of focus regarding character motivation and emotional depth, constrain Isle of Dogs however.
Like Fantastic Mr. Fox, Isle of Dogs is created primarily by stop-motion animation, produced by taking consecutive pictures of figurines and miniature sets as they are moved minimally in each frame. Once the picture-taking process is complete, the pictures are played sequentially to appear as if the characters are moving in time and space. Anderson’s fascination with animation provides a unique and charming visual frame that enhances his already masterful use of symmetry, exuberant color palette and composition. Isle of Dogs takes place in the fictional city of Megasaki, Japan, where a dog epidemic has caused the canine species to be exiled to an island full of trash just outside the city. A young Japanese boy named Atari (Koyu Rankin) ventures out to Trash Island in search of his lost dog Spots (Liev Schreiber), who was one of the first dogs to be exiled to Trash Island. The film follows Atari as he looks for Spots with the help of other Trash Island dogs—Chief (Bryan Cranston), Boss (Bill Murray), Duke (Jeff Goldblum), Rex (Edward Norton), and King (Bob Balaban)—while Atari’s uncle, Mayor Kobayashi (Kunichi Nomura), tries to suppress the rising pro-dog revolution in Megasaki.
Isle of Dogs (Fox Searchlight Pictures, 2018)
Isle of Dogs, by every account, has that Wes Anderson visual charm. Like his work on Fantastic Mr. Fox, cinematographer Tristan Oliver’s shots are absolutely stunning (Anderson normally uses cinematographer Robert D. Yeoman for his live-action films). The striking visual difference of Megasaki and Trash Island is executed beautifully. The city of Megasaki is brightly colored, with Japanese iconography in spectacular reds and high-key lighting, while Trash Island is depicted in washed-out greys, yellows, and normal fill lighting. Megasaki, from a visual standpoint, does ultimately feel like a lived-in Japanese city. However, Anderson does take liberties with Japanese culture by including iconography that one would see as a tourist to the country and not necessarily as a local. For example, sushi, sumo wrestlers, sake bottles, and Takeo drums are visualized in the film, symbols associated with a more basic Western perspective of Japan rather than culturally informed Japanese visuals from directors such as Hayao Miyazaki, Yasujiro Ozu, or Akira Kurosawa. Though Anderson takes visual liberties with the film, he is authentic in other ways. Isle of Dogs features a mix of Western and Japanese actors, from the likes of Harvey Keitel to Akira Ito. Most of the film language is in Japanese, while English subtitles or translations are never apparent unless within the film world. For example, human or robotic translators are often pictured in Isle of Dogs to provide translations for other Western, English-speaking characters. Anderson is at least trying to be authentic and Isle of Dogs, from a visual standpoint, does it fairly well.
Even though the biggest attraction of Isle of Dogs is its thematic nuance, the film fails to fully explore and embrace its theme as it relates to geo- and sociopolitical issues. Simply stated, the theme of Isle of Dogs is focused on conflict and resolution with the other. This ideal is explored adamantly through the unique relationship between humans and dogs. The banishment of dogs to Trash Island is metaphorically comparative to geo- and sociopolitical world issues we face today, including: Islamophobia, racism, sexism, racial stereotyping, and segregation. The film makes this stance clear when the dogs are initially cast out of Megasaki. For example, dogs of different breeds and colors are banished to Trash Island nominally due to a dog virus that causes a countrywide epidemic. This segregation is further fueled by Mayor Kobayashi because of the historical defeat of the cat-loving Kobayashi Clan at the hands of the dog-loving samurai boy centuries ago. Cultural ignorance, tradition, and stereotype are invoked as the segregation of dogs from Megasaki is reminiscent of the Japanese internment camps in the United States and Canada during World War II. Though this is a unique way of looking at these issues, the film doesn’t entirely interrogate its resolution. For example, by the end of the film, Mayor Kobayashi ultimately admits his mistakes and the dog vaccine is administered to all dogs, saving their lives from extermination. Unfortunately, there is no consideration of why cultural segregation and stereotype are established, nor does the film examine the real-world dangers of cultural ignorance. The film does not offer a solution for these issues other than that the best way to understand difference is through human-to-human relation—which is simply not always possible or logical. Tactlessly, this lesson just acts as a simple wet blanket to a multifaceted issue that deserves education, cultural awareness, and years of betterment.
Isle of Dogs (Fox Searchlight Pictures, 2018)
A major issue for Isle of Dogs is its inconsistencies of emotional depth. Isle of Dogs, as the name and synopsis suggest, is about a boy in search of his lost dog. As most pet owners know, the relationship between a human and an animal is truly unlike any other relationship in one’s life, one emotionally bound by love. It is exclusive, primal, and sealed by devotion—owners will do anything in the world for their pets. This concept in Isle of Dogs is delivered in an inconsistent and obtuse way that deflates the film’s emotional tension. This is first depicted in a flashback scene, where it is established that Atari survived a train crash that killed his entire family. After his recovery, his renewed relationship with the world is mediated through his dog Spots, given to him by Mayor Kobayashi. In this scene, Atari and Spots form a bond, Spots becoming Atari’s personal bodyguard. As emotional as this event is, the audience is not given any additional scenes that establish a true and loving connection between Atari and Spots—rendering their connection unearned and hollow. This relationship’s lack of emotional depth is further downplayed and disregarded when the two finally reunite. During this scene, Spots rescues Atari and the rest of the dogs from being killed by Mayor Kobayashi’s attack robot dogs. Once they are rescued, Spots and Atari’s reunion not only is emotionally inadequate but also does not hit the swell of happiness, relief, and love one feels when reunited with their pet. Furthermore, there is nothing more than a hug by Atari and Spots before the action of the film is ramped up again. Anderson, unfortunately, never lets the film’s emotional tension sit and play out naturally. Even after this event, Spots gives up his bodyguard duty to Chief, without any feeling of emotional resonance or dedication to Atari. This is issue is extremely problematic as Chief and Atari’s relationship only involves scenes of Atari cutting Chief’s hair, defleaing him, and giving Chief his first doggie treat throughout the film–never fully hitting their emotional impact as each scene feels forced, rushed, and unearned. These relationships not only miss their mark but ultimately leave the film feeling emotionally sterile and simply unbelievable.
Isle of Dogs provides a charming but limited look at the world’s geo- and sociopolitical issues without offering any tangible or logical solutions. Though Isle of Dogs is beautifully animated and visually nuanced, the film’s lack of emotional resonance and thematic simplicity halter it from being a great film.
7.5/10
Author Biography
Jason Husak is a University of Alberta film studies graduate who currently resides in Edmonton, Canada. He hopes to pursue his passion for film by doing a graduate degree in film studies at the University of Toronto. For more in-depth film reviews, discussion, and analyses, you can follow Jason on his personal Twitter and Instagram or his film and entertainment podcast Boring People, Bad Opinions on podcast and social media services.
Film Details
Isle of Dogs (2018)
USA
Director Wes Anderson
Runtime 101 minutes
