The Meg Review

The Meg delivers a fierce prehistoric bite without falling prey to campiness or gratuitous gore. The shark thriller has more science fiction elements than expected. Director John Turteltaub (Cool Runnings, National Treasure) has a story to tell with the monster hunt. This is both a positive and negative. The characters are fully fleshed out, but the narrative lulls with their excessive dialogue. Thankfully the bone chomping action kicks in on cue. The Meg isn't in the same league as Jaws, but far more sophisticated than The Shallows and the god-awful 47 Meters Down.

The Meg opens on the Manta One, a futuristic research station at sea. A billionaire (Rainn Wilson) is visiting his pet project to observe a groundbreaking expedition. Scientists (Li Bingbing, Winston Chao) have discovered a hidden world under the ocean floor. Their exuberant exploration quickly turns to horror. A gigantic creature has attacked and trapped their submersible. The extreme depth of the rescue is unparalleled. Only one man, Jonas Taylor (Jason Statham), has the experience needed to lead the team. But he is haunted by a similar event that ended tragically.

The Meg reveals the shark like a simmering boil. As the plot heats up, we gradually get more of the nasty beast. Then it's all out carnage to the big climax. The Megdoesn't give up the goods too early, but smartly shifts into high gear once we ascertain just how big the shark is. John Turteltaub succeeds in crafting the rising action. This is key to audience engagement, especially if you're not relying on extreme violence. The Meg slickly gets its shark on while staying firmly in the PG-13 sphere.

The supporting cast has an overabundance of screen time. Jason Statham is the lead, but the ensemble characters yap it up throughout. There are several subplots that detract from the tension. I could have done without any of it, but understand the reasoning. The Meg is an American-Chinese production between Warner Bros. and Gravity Pictures. The setting, cast members, and several subtitled scenes are tailored to the Asian audience. I'm all for cinematic globalization and equity, but not at the expense of the story. This criticism is actually aimed towards a couple of the English speaking characters. One in particular, meant to be the comic relief, gets old very quickly. The Meg could have been leaner and darker with these characters removed completely.

The shark effects are solid across the board, but I did have some issues with the CGI water displacement. There are a few shots where the water effects looked digital, particularly when the shark's dorsal fin is cutting through the water. This is difficult to avoid when the film takes place entirely in water. But my discerning eye wants seamless morphing and compositing. I don't want to be looking at a video game in my big-budget shark movie.

The Meg largely removes the cheese factor of the genre, but still remains a fun popcorn flick. The shark, despite being an enormous creature from the Pliocene era, behaves like an actual shark. The characters deal with it as such, adding a dose of realism to the fantasy. Look out for a clever Finding Nemo Easter egg.

Hereditary Review

Ari Aster's Hereditary isn't scary, in the traditional sense. Meaning, the first-time feature-film director doesn't rely on jump scares or cheap gimmicks to goose you out of your seat.

No, Hereditary is scary in an unconventional way. It unnerves you. It gradually earns your trust, because it wants you to believe, wholeheartedly, in its campfire tale so that when the final card is shown, you'll tumble over the edge with the movie into the full grip of insanity. Make no mistake, the final act of Hereditary is an assault. But it's one that this movie earns, through each deliberate and disturbing step.

Hereditary is also the type of movie that you have to patiently stick with until its overall explanation is revealed. The journey is populated by numerous mysterious happenings that you have to accept and file away until the movie tips its hand, allowing you to then go back and figure out if all you endured makes sense. A second viewing proved very rewarding for me, as Ari Aster (the credited screenwriter) no doubt layers numerous subtle clues to his intent. Days after seeing it, I'm still asking questions -- and usually finding the answers in a line of dialogue or a visual cue given by the movie. You process a lot during Hereditary, and don't fully understand what's terrifying right away. When it hits you, you feel it. It just won't hit you until you are least expecting it.

This much, I can tell you. The film opens on an obituary in the local newspaper. A grandmother, Ellen, has passed, and her family mourns. We meet Ellen's daughter, Annie (Toni Collette), her son-in-law Steve (Gabriel Byrne), and their children: Peter (Alex Wolff) and Charlie (Milly Shapiro). They are a normal family, except not, and Hereditary slowly peels away the layers to reveal their secrets. Annie was estranged from her mother, especially during Peter's childhood, but rekindled their relationship once Charlie was born. Charlie and her grandmother had a special relationship, but now that has....... changed.

When I say Hereditary doesn't have run-of-the-mill scares, I need to clarify by explaining this. Mood and atmosphere are more important to Ari Aster. Do you ever wake up in the middle of the night because, in the back of your half-sleeping brain, you thought you heard a noise? While still groggy, you look in the darkest corner of your bedroom and swear that you can make out the shape of a small person, standing still and staring back at you. You know, in your rational mind, that a person can't actually be IN your room. Right? It's 2 a.m., and this is your safe bedroom. And yet, it looks like this "person" moves, slightly, so it casts doubt in your brain and you get a cold chill that grips your spine.( I know from experience)

Hereditary produces that feeling, only, for two sustained hours. It messes with your perception. It forces you to doubt what you are seeing. It suggests the supernatural, but keeps you on your heels until its answer is finally delivered.

Yes, Hereditary is one of those horror films that play better when you know next to nothing going into it. There are spectacular twists waiting for the audience, and they will not be revealed here. Since I can't elaborate on details, I'll sing the praises of the Hereditary cast. Jumanji: Welcome to the Jungle co-star Alex Wolff convincingly puts himself through a physical wringer to play Peter, an unfortunate pawn in a much larger game being played by his family that he often isn't aware of and definitely can't see. He's aided by a somber Gabriel Byrne and the inherently creepy Milly Shapiro, who brings an off-kilter intensity to the unusual Charlie.

The standout, as she so often is, is Toni Collette. How often do we sing the praises of Collette? It's still not enough. Annie is a complicated character formed by difficult personal relationships that Collette -- and Ari Aster's layered screenplay -- reveal in small doses. She alternates from antagonist to victim, quite often in the same scene, and she's always the magnet that attracts your eye in every sequence... even when there's some bizarre and shocking stuff playing out. Last year's Oscar race reminded us that quality horror, in the form of Jordan Peele's Get Out, could compete for Academy gold when it raises the bar for the genre. This year, it's my belief that Collette's performance should, and will, continue to push that conversation forward as she contends for -- and possibly receives -- Oscar glory by scaring the daylights out of unsuspecting audiences.

9.5/10

SOLO Review

To put it lightly, Star Wars has an unfortunate history when it comes to putting origins of notable characters on the big screen. The whole prequel trilogy was designed to flesh out the history of the cinematic universe via the path Anakin Skywalker took to become Darth Vader, but its legacy is one of bad storytelling choices, underwhelming performances, and garish, ugly visuals. That in mind, the sci-fi franchise has clearly learned a lot of lessons leading up to the making of Solo: A Star Wars Story -- but at the same time, it does ultimately suffer from many of the same issues as George Lucas' last three directorial efforts.

Unlike the original prequels, Solo: A Star Wars Story is riding into theaters on an emotional wave mixed with equal parts hesitation and anticipation, largely due to the very public behind-the-scenes issues. Initially it was 21 Jump Street and The LEGO Movie directors Phil Lord and Chris Miller who were hired to helm the project -- famous for making fantastic films out of bad ideas -- but after months of work, creative conflicts resulted in them leaving late in production and being replaced by Ron Howard. Fortunately this isn't something that is immediately apparent watching the story play out, as you don't recognize any major style or tonal changes, but it is still very much a mixed bag, blending fun sequences of adventure and wonderful character moments with an overabundance of eye-winking plot hole explainers, an uneven narrative, and a very real need for greater stakes.

Scripted by the father-son duo of Lawrence and Jonathan Kasdan, Solo: A Star Wars Story first takes audiences to the mud-covered planet Corellia, where a young Han (Alden Ehrenreich) works as a pawn in a large crime syndicate stealing and making deals to survive. As the film struggles to find its legs, we are introduced to Qi'ra (Emilia Clarke), the woman our hero loves, and learn of his aspirations to become a great pilot someday. He finds their ticket out thanks to a successful score, but in the process becomes separated from her -- vowing that he will eventually return.

Three years later, Han finds himself as a grunt in the Imperial army -- fighting authority tooth and nail all along the way -- but once again opportunity comes knocking. A fateful battlefield introduction to Beckett (Woody Harrelson), Val (Thandie Newton), and Rio Durant (Jon Favreau) connects him to the world of intergalactic crime, run by a gangster named Dryden Voss (Paul Bettany), and gives him the chance to finally prove that he has what it takes to become the greatest pilot in the galaxy.

The chief problem with any prequel story is creating meaningful stakes, given that you know certain heroes and villains will live to grow into adulthood, there's a need to develop and showcase the characters in new and interesting ways. In the case of Solo: A Star Wars Story, it's a game of wins and losses. The honest truth is that Han Solo doesn't have much room to grow, given that he starts as the gruff, lone wolf at the start of the original Star Wars, and that's basically where he starts here. Fortunately, Alden Ehrenreich proves to have the charisma to carry it across the finish line, and while he doesn't really look like Harrison Ford, there are legitimately certain instances where he evokes him.

With Han not playing out much of an arc, a lot of the fun is left to the supporting cast, and they definitely have it. Donald Glover has proven to be the ace up the sleeve of every project in which he is involved, and that streak doesn't end here as he brings back fan-favorite Lando Calrissian. While he doesn't do a straight-up Billy Dee Williams impression, there is a very recognizable change in his inflection: he's actively working to be smoother, and he makes it play. Likewise, Chewbacca (Joonas Suotamo) actually gets to serve as a real part of the story after basically being a background player in the last two saga films, getting his own little hero moments. Fans are also certain to quickly fall for Rio Durant and the droid L3-37 (Phoebe Waller-Bridge), both of whom provide fresh and funny new voices to the franchise.

As you would expect, Solo: A Star Wars Story partially operates to answer questions that fans have been asking since the rogue smuggler first arrived on the scene in 1977 -- but while it's cute in parts, it's overkill in many others. It's great to see how Han meets Chewie, forming an ever-lasting friendship, and it's not going too far to say that much of the second act is dedicated to the famed Millennium Falcon doing its legendary Kessel Run -- which makes for some thrilling big screen fun. These are positives sadly balanced out by the movie going too far in some areas, and giving explanations for which no fan ever really asked. This includes a bizarrely pointed moment where Chewbacca gets his nickname, and the revelation Solo isn't a family name.

Solo: A Star Wars Story is a ricocheting experience of highs and lows, and the end result doesn't inspire any real extreme reaction -- as hard as that might be grasp in the world of modern blockbuster filmmaking. It's just... fine. It's certainly way better than any of the films in the prequel trilogy, but also the weakest of the most recent generation of titles (which have ranged from really good to excellent). Unlike the previous Star Wars Story, Rogue One, it does leave the door open for a follow-up, and it would not be surprising at all to see the franchise utilize that opening. If they do, hopefully they can continue to really refine their prequel storytelling strategy for notable heroes, because right now it looks like they haven't fully nailed it.

7/10

Deadpool 2 Review

Perfection is a tough thing to follow. But by more than one metric, that's what Deadpool 2 had to do. Ryan Reynolds makes for the perfect Wade Wilson, Deadpool was the perfect way to introduce the character on the big screen properly (we're still trying to forget X-Men: Origins - Wolverine) and the movie was a total crowd-pleaser that absolutely dominated at the box office. Maybe Deadpool isn't perfect by every measure of scrutiny, but it was the perfect thing for the character. Deadpool 2 had the ridiculous task of living up to those expectations and I'm here to tell you, against all odds, they totally pulled it off. Deadpool 2 is totally awesome and, while it certainly isn't a movie without flaws, it's arguably the perfect sequel.

Deadpool 2 has been pretty clever about hiding plot details in its marketing campaign and there are a great many, excellent reasons for that. This movie is hiding a lot of awesome, super enjoyable surprises that could spoil the experience if one were to know them going in. So, I will only dive gently into the plot. Basically, Wade is taking out bad guys all over the world and enjoying his life with Vanessa (Morena Baccarin). A tragic incident brings Wade into the X-Men fold which leads him to a special, powerful kid named Russell. Wade decides to help Russell, who becomes a target for the time-traveling mutant Cable (Josh Brolin). With the help of some new friends, Wade is going to have to pull out all of the stops, with some twists and turns along the way, to save Russell.

When the first Deadpool came out, people were excited, but it certainly wasn't burdened by hefty expectations outside of the hardcore fanbase. The difference here is that the world now loves this character and expectations are incredibly high. But the creative team, which consists of Ryan Reynolds, writers Rhett Reese and Paul Wernick, along with director David Leitch, put in maximum effort on every level to make sure they wouldn't disappoint anyone. Not only that, but they don't just give the fans what they think they want. This movie goes in so many directionsthat you simply won't see coming. It's jam-packed with curveballs and shocking moments. Most of it is better than what one could have possibly imagined.

Sequels often suffer from trying to cram too much in and by focusing too much on upping the stakes. No doubt, the stakes are upped in Deadpool 2 in many ways, but the movie doesn't suffer as a result. All of the new characters feel as though they have a distinct purpose and the ones who are important enough to warrant it are fleshed out in a satisfying manner. This movie, in a surprising manner, is also much more emotionally impactful and insightful than the first movie was. This is a sequel that is attempting to do a lot. Miraculously, all of the plates manage to keep spinning even though this movie is essentially daring that they are dropped.

It's no secret that comic book movies are a lot more common than they used to be. We're getting one every few months now and, even though superhero fatigue is probably in no danger of truly happening soon, it may be tough to get genuinely amped for each one of these movies like in years past, but this is something worth getting excited for. Deadpool managed to carve out a truly unique space within the genre and Deadpool 2 not only feels like going home in that same way, but it carves out an even more sizable chunk of real estate in regards to its uniqueness. No other comic book movies feel like this. Period.

One thing that the Deadpool franchise has going for it is the ability to be genuinely funny in a way that doesn't feel forced. Humor belongs in this franchise and, as much as Deadpool 2 is thrilling and wholly entertaining, it is downright hilarious. In many ways, this could be a strong contender for the best comedy of 2018 just as much as it could be for the best comic book movie of 2018. Avengers: Infinity War certainly has something to say about that and, while I conceit that Marvel's latest is a miraculous achievement in many ways that had an entire decade's worth of expectation placed upon it, it's hard to argue that any comic book movie released this year will be more entertaining than Deadpool 2, all things considered.

One thing is certain; both movies benefit greatly from having Josh Brolin on board. Cable is a character that X-Men fans have been dying to see for a long time and this movie delivers the goods in that respect. It's a faithful and awesomely realized version of the fan-favorite mutant. Plain and simple, Deadpool 2 delivers in every way that those who are excited about the movie are expecting it to. It's a home run. Also, for what it may be worth, this movie has what might be the single greatest post-credits scene in the history of post-credits scenes, so stick around for that. Fox has had their fair share of troubles with their superhero offerings in the past, but they've really found something special with this franchise. You want to have a good time? Go see Deadpool 2.

Avengers: Infinity War

The Marvel Cinematic Universe has consistently proven to be an unprecedented blockbuster experiment in many ways over the last decade, but the long-teased arrival of Thanos has unquestionably been one of its most ambitious and risky maneuvers. Not only have fans waited for him through six years and 12 movies since his first on-screen appearance in Joss Whedon's The Avengers, but it has been repeatedly said by filmmakers that the ultra-villain's spotlight moment would be the adventure that every previous Marvel Studios film has been leading towards (a total of 18 features over 10 years). That's an unreasonable amount of pressure and hype to put on any single project -- and it's only multiplied by the insane popularity of the franchise.

The real crazy thing, though, is that they actually succeeded. Thanos' time to shine has finally come in the form of Joe and Anthony Russo's The Avengers: Infinity War, and it's every bit the epic that it needs to be. It's a heart-stopping experience built on huge stakes, fantastic character interactions, pulse-pounding battles, and devastating surprises, but most importantly it marks the arrival of one of the most terrifying and fascinating villains in modern blockbuster filmmaking. The Mad Titan is in every way the overpowering foe for which audiences have been waiting, and his quest for the Infinity Stones to achieve the abilities of a god proves stunning fodder for big-screen storytelling.

Like the previous two Avengers titles, Avengers: Infinity War is a massive comic book-inspired crossover event -- this time letting the eponymous team finally meet the Guardians of the Galaxy -- but the way the film balances its 20-plus hero roster is by making Thanos the real protagonist. From scene one the movie is very much his journey, as he travels to Earth and around the cosmos in hopes of completing his life-long goal, and within that screenwriters, Christopher Markus and Stephen McFeely unlock the most important thing in the depiction of any villain: clear and understandable motives. Much more than just being a power-hungry, egotistical megalomaniac, Thanos' ultimate intention is to bring peace, harmony, and balance to the universe; he just happens to think that the necessary step towards achieving that goal is by killing half of all living entities in existence. And while that concept is clearly horrific and unconscionable, he strongly makes his case, and there is no questioning his drive to succeed in his aims.

This extraordinary faith makes him terrifying, and the fear grows exponentially as the narrative continues -- but it's not just the writing that makes Thanos spectacular. It takes a mix of stunning gravitas and jaw-dropping, life-like visual effects to make the giant purple alien work, and Avengers: Infinity War absolutely crushes in both arenas. Despite being totally unrecognizable, Josh Brolin delivers a performance of endless intensity, whether his deep, booming voice be waxing philosophical, or belting harsh roars in the heat of battle. The physicality is outstanding, the character brought to life with ever-evolving and more stunning motion capture technology, and even in the moment it's incredible to see how he can dominate a scene.

It says something about the power of Thanos that I'm only now getting to the discussion of Marvel's insanely popular heroes, but that should suggest nothing in regards to quality. Quite the contrary, the reality is that much like how the Russos and Markus & McFeely proved genius handling many of these characters in Captain America: The Winter Soldier and Captain America: Civil War, they put a special show here as well. Thor (Chris Hemsworth), Hulk (Mark Ruffalo), Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket (Bradley Cooper), Groot (Vin Diesel), Mantis (Pom Klementieff), Nebula (Karen Gillan), Doctor Strange (Benedict Cumberbatch), Wong (Benedict Wong), Okoye (Danai Gurira) and M'Baku (Winston Duke) all are brought in as new players joining those the writers and directors previously worked with, and amidst all the captivating and seriously consequential drama there's a remarkable reservoir of classic Marvel fun.

The Avengers: Infinity War filmmakers have a palpable blast pairing/grouping comparative and contrasting personalities, and while the story necessitates fracturing the ensemble to serve the narrative, they make some excellent choices. Iron Man (Robert Downey Jr.) gets to continue his mentor-esque relationship with Spider-Man (Tom Holland), and they both get to be stunned and surprised by the magical displays put on by Doctor Strange and Wong. The relationship between Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) grows deeper, but thanks to the Infinity Stone lodged in the latter's head, their fate together is in serious peril. And following the leadership of Captain America (Chris Evans), Black Widow (Scarlett Johansson), War Machine (Don Cheadle) and Falcon (Anthony Mackie) move the disassembled Avengers to Wakanda where they can get support from Black Panther (Chadwick Boseman) and his people when facing down an invasion. Add in Thor on a wonderful cosmic side mission with Rocket and Groot, and you have every section of the blockbuster pulsing with energy and fantastic dynamics.

If it seems like all of that is a lot for one movie to take on, you're absolutely right -- and you admittedly do feel it in the pacing. There are certain stretches that take you away from certain characters for a long enough time that you begin to recognize the length of their absence, even as you're watching key sequences that are vital to the plot. This is an issue that will probably lessen with subsequent viewings -- as every movie moves differently when you have a full understanding of the narrative flow and all the beats -- but it is certainly a part of the first-time experience watching it, and speaks to the insane scale of everything that the film is bringing together.

In totality, elements of everything already discussed above have been featured in past Marvel Studios features, but what makes Avengers: Infinity War an entirely different monster are the phenomenal stakes established by both the story in the movie and the entire run-up to it. As immensely entertaining and dramatic as previous Marvel Cinematic Universe titles have successfully been, knowledge of sequels and future projects have long let audiences feel secure that everything turns out positively in the end... but that's not the case here. It's been said from the beginning that this film is the end of the line for many popular characters, and without getting into specifics, it absolutely delivers. Every clawing battle makes you feel like you have to prepare for tragedy, and there are multiple sequences where you feel your heart sink so deep in your chest that it's practically hitting the spine. When the credits start rolling you really just want to sit in breathless silence. "Heavy" is the true watchword for this blockbuster, as you'll be carrying the weight of it with you hours after you've left the theater.

Avengers: Infinity War was a project literally conceived to have all the pressure in the world riding on it, but really, in the end, it's not exactly challenging to see why it works. It's arguably the best writing and directing teams that Marvel Studios has hired orchestrating one of the greatest ensembles (in terms of both talented actors and beloved characters) ever put together in the history of cinema. It's a unique, exceptional achievement that somehow leaves you both fully satisfied and desperate for more, and ranks among the best adventures we've seen yet from this stellar franchise.

9.5/10

A Quiet Place Review

Have you been wondering what the dude who used to play Jim on The Office has been up to? It turns out, he's been acquiring the skills required to become an excellent director who has just delivered one of the year's first truly excellent movies with A Quiet Place.  In addition to directing the flick, John Krasinski stars in this horror/thriller with his real-life wife Emily Blunt, alongside some very talented young actors. The result? A genuinely terrifying, truly unique and ultimately brilliant cinematic experience that rewards your curiosity at every turn.

A Quiet Place takes place in the not-too-distant future in a world that has been ravaged by a mysterious, deadly threat. These monsters have gotten the best of the world and those who have survived have managed to do so by obeying a single, simple rule; stay quiet. The movie mostly follows a single family that has survived for quite some time in this horrifying landscape. The family consists of the unnamed characters played by John Krasinski and Emily Blunt, who are doing their best to keep their children alive, while also trying to retain some semblance of civilized life in a not-at-all civilized world.

This movie has a lot of surprises up its sleeve and it's one of those experiences that really benefits from going into it as blind as possible. A Quiet Place has done a nice job of not spoiling these delightful surprises in the marketing and I'm certainly not going to spoil anything here. I'll start out by saying if you're planning on seeing this movie, awesome! Go do it. You'll be rewarded for your faith. For those who have possibly been doubting this movie, perhaps figuring it will be a cheap gimmick that wears thin too quickly, with some cheap scares for added fluff, I'm here to assure you that couldn't be further from the truth. And no, it's not a Cloverfield movie. That was a prevailing theory, for good reason, but that didn't turn out to be the case. Honestly, the movie is better off for it.

John Krasinski has directed in the past, but never anything on this scale. That said, you would think he's been directing for years, as he provides a master class in tension, terror and drama. A Quiet Place is an unbelievably well crafted genre film that simply doesn't come around all that often. It also is unlike anything I've ever seen. And as a guy who loves anything horror related, finding things new and inventive can be difficult. Krasinski really commits to the whole quiet thing to an admirable degree. Especially considering how he uses it to the movie's advantage, not just because the premise demands it. He avoids making it a cheap trick. He uses it as a narrative tool that adds layer after layer to this movie, with each one of those layers paying off by the end. Oh, and not to give too much away, but the monsters are super cool too. The cherry on the sundae, to be sure.

There are a lot of questions one could ask when walking into a world like the one presented in A Quiet Place. The movie manages to dance the truly difficult dance and delivers enough answers to satisfy, but doesn't over explain itself so much that the mystery is sucked out of it. I struggle to find anything negative to say, really. As I sit here thinking about the ending. It's truly satisfying in every way a movie like this can be satisfying. Even if you don't like scary movies, if you can handle a few jump scares, this is well worth your time and money.

Emily Blunt and John Krasinski deliver terrific and memorable performances in this movie and the main kids, played by Noah Jupe and Millicent Simmonds, are poised to be breakout stars thanks to what they've done here. This is a movie that demands to be seen in theaters. It's a movie that makes you want to cheer. Its cleverness will make you smile. It makes you want to scream, and is likely to make you act on that impulse from time to time. It makes you want to cover your eyes in fear. It even makes you laugh, when the time is right. It's a bit early to call A Quiet Place an instant classic. That would be perhaps too bold a statement. But safe to say, Krasinski has crafted one hell of a movie and has himself a fine career as a director ahead of him. And Paramount has what I imagine to be a big hit on their hands.

8.5/10

Isle Of Dogs Review

Stop-motion animation is a remarkable art form. There is a certain luddite aspect to it, as the powers of modern computers could render in hours what it takes weeks for artists to physically build. But there is arguably no cinematic medium greater at conveying levels of detail or handmade craftsmanship. It ultimately makes for a unique screening experience, as you find yourself drawn into each sumptuous frame as you're embedded in the story.

Of course, not every filmmaker can pull off making a stop-motion animated movie... but writer/director Wes Anderson absolutely can. In 2009 he made his first bold move into the medium, constructing the brilliant, funny and beautiful Fantastic Mr. Fox, and now he's back with Isle Of Dogs -- a film that in many ways represents the best aspects of Anderson as an artist; pairing his wonderful auteur vision with a wholly original, weird world born out of inspiration from man's best friend and an immense appreciation for Japanese culture and art.

Based on a story developed by Anderson, Roman Coppola, Jason Schwartzman, and Kunichi Nomura, Isle of Dogs takes audiences 20 years into the future, as Major Kobayashi (Nomura) of Japan, a renowned cat-lover, announces that outbreaks of snout flu among the canine population has made them too dangerous to be among mankind. Despite the opposition party arguing that a cure is possible with proper time and research, it is decreed that all dogs be moved to Trash Island, starting with Spots (Liev Schreiber) -- a dog from Kobayashi's own household who watches over the mayor's young ward, Atari (Koyu Rankin).

Six months later, the entire dog population has moved to Trash Island, all of them suffering from the effects of snout flu while just trying to survive. Chief (Bryan Cranston), Rex (Edward Norton), Boss (Bill Murray), Duke (Jeff Goldblum) and King (Bob Balaban) run in a pack together -- despite all of them being alphas -- but find their daily routine searching for scraps of food interrupted when a small plane crashes nearby. It's discovered that the young, injured pilot is none other than Atari, who has gone against his guardian's wishes in hopes of finding his lost dog. A language barrier separates them (Atari only speaks Japanese while the dogs speak in English), and Chief, a former stray among a group of domesticated friends, doesn't feel the rescue is his responsibility. But before long, they all join together to venture across the island and discover what really happened to Spots.

Because Fantastic Mr. Fox was an adaptation from a beloved children's novel, Isle Of Dogs marks the first time that Wes Anderson has truly been able to physically build a world from the ground up -- and it's such a mesmerizing experience that I internally questioned being able to properly review it having only seen it once. The film is in equal parts inspired by the works of Akira Kurosawa and Hayao Miyazaki, respectively reflected in the dark, stark city and the fantastical, animal-controlled Trash Island, but it also never lets you forget that this is a Wes Anderson experience with its use of creative split screen, captioned montages, and stunning, long panning shots. Details like gusts of wind flowing through fur, colorful light refracted in broken bottles, and the intermittent dog sneeze feel remarkably precise while always feeling entirely natural; and the use of the medium even makes silhouetted conversations and cartoon-like, dust cloud-obscured brawls feel special. It can get to the point where it practically feels overwhelming -- especially because of the abundant use of subtitles -- but it just suggests that the second viewing will be that much more rewarding.

Aesthetically, Isle of Dogs brings to the table much of what film fans have grown to love about Wes Anderson's work, but there's also a certain amount of maturation from the storyteller, as well. The writer/director has long been associated with dysfunctional family narratives like those found in The Royal Tenenbaums, The Darjeeling Limited, and more, but this film, following The Grand Budapest Hotel, shows Anderson legitimately branching out (obviously the not-America setting is a big part of that as well). Crafting some fascistic parables, the movie is certainly more political than any of his past work, but rather than feeling heavy-handed or overbearing, it's balanced by his natural quirk and charm to be perfectly digestible. It's an excellent evolution for the filmmaker, and a perfect clap-back to anyone who ever called him one-note.

Of course, it also wouldn't be a Wes Anderson film without his troupe of regular players -- which is a group enhanced by a number of new stars joining the family for Isle of Dogs. The strongest role unquestionably belongs to Bryan Cranston's Chief, who is supported with a deep backstory, effective arc, and legitimate transformation -- and while the other characters aren't drawn as boldly, they're still entertainingly well-utilized. Among the main group of dogs, each has their own special affectation that helps them stand out, from Goldblum's gossip-hungry Duke to Norton's plan-devising Rex, and while they don't take over the movie at any given moment, they do make for fantastic background. What's more, Anderson's familiarity with each of their voices means that he knows the exact kind of material they can deliver, and the result is laughs from beginning to end.

Isle of Dogs is the ninth film from Wes Anderson, and an excellent showing, telling fans that he has many more and many different kinds of stories still to tell. Not only is it a fantastic return to the stop-motion animated medium, but with the help of an incredible number of talented artists and performers, it's a movie that plays on the best of the writer/directors sensibilities, while accessing entirely brand new areas of it.

9.5/10