--- title: "Isle of Dogs" year: 2018 kind: "film" canonical: "https://film.one/film/isle-of-dogs" fi1m_score: 78 critics_score: 78 critics_reviews: 22 published: "2026-09-17T07:16:41.554047+00:00" updated: "2026-09-18T08:38:44.165500+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Isle of Dogs (2018) Directed by Wes Anderson · 1h 41m · MPA PG-13 · Adventure, Comedy, Animation **Fi1m score: 78** · Critics 78 from 22 reviews *In a sentence:* The dogs deserve rescuing from the rubbish, and occasionally from the plot > Wes Anderson’s *Isle of Dogs* is a funny, touching adventure whose dogs deserve every minute we spend with them. The crowded plotting and the distance it keeps from its Japanese human characters are harder to excuse. ## Synopsis In a future Japan, a canine quarantine sends dogs to an island of rubbish. Atari Kobayashi (Koyu Rankin) sets out to rescue his dog, searching a place where the animals have been left to survive among the waste. There he encounters Chief (Bryan Cranston) and a group that includes Rex (Edward Norton), King (Bob Balaban) and Boss (Bill Murray). Atari wants to recover one companion, but the quarantine has stranded a whole community. His search brings him into the dogs’ struggle to survive away from the human population. ## Review Wes Anderson’s *Isle of Dogs* makes a good, odd adventure out of a boy’s search for his dog, then gives that adventure more political business than it needs. A quarantine has put the dogs on a rubbish island in a future Japan, where being unwanted means having to learn to survive among the waste. The cruelty of that arrangement gives the jokes some weight and the search a reason to matter. The boy is Atari Kobayashi, voiced by Koyu Rankin. Production designers Adam Stockhausen and Paul Harrod make the island worth inspecting without letting us forget what it contains. There is pleasure in the care lavished on the rubbish, but the place remains bleak enough to make the dogs’ predicament credible. Tristan Oliver’s cinematography makes the heaps feel large enough to get lost in, while keeping the dogs’ movements clear against them. This is an unusually unwelcoming setting for an animated adventure, and the animals have to live in it. Bryan Cranston’s Chief holds our attention because the voice has enough weariness to make the dry delivery sound earned. The stop-motion animation gives the dogs small, distinct movements, and their physical expressiveness is as important as the spoken jokes. We were unexpectedly upset by their struggle to survive among the rubbish; the precision of those movements makes their discomfort hard to dismiss as a joke. The ensemble also offers drier pleasures, with Edward Norton as Rex, Bob Balaban as King and Bill Murray as Boss. Alexandre Desplat’s score supplies welcome momentum, giving the journeys a lift without pretending that this is a cosy setting. Editors Ralph Foster and Edward Bursch have the harder task of keeping the chapter-structured story moving, and the divisions initially give the search a pleasing order. As the plot fills up, however, the same arrangement starts to feel fussy: another piece of explanation, another interruption before we can return to the animals. The increasingly hurried passages leave less time for the canine performances that make the search worth following. The treatment of the Japanese human characters is harder to shrug off. Much of their dialogue arrives without subtitles, so we are asked to follow tone and behaviour where the dogs can explain themselves. There is a sensible animal’s-eye idea there, but Wes Anderson does not give the humans enough compensating individuality, and they can seem like people positioned to move the plot along. That distance matters when the film asks us to care about the politics as well as the search. As a talking-animal adventure, this is welcome for its willingness to make its creatures awkward and vulnerable, rather than reliably comforting. The humour can be bleak, and the bursts of savagery deserve more notice than the PG certificate might suggest. At 101 minutes it is not a long film, though the accumulated plot can make it feel like one near the finish. Older children who enjoy the peculiar may take to it more readily than anyone expecting a reassuring pet story. *Fi1m score 78, published 17 September 2026.* ## What the critics say Most critics respond warmly to Isle of Dogs, with praise concentrated on its stop-motion animation and meticulous production design. The expressive dogs, densely detailed rubbish-island setting and dry visual humour repeatedly stand out, while several reviews find real tenderness in the central boy-and-dog story. Anderson’s precise staging is widely seen as well suited to animation, and the film’s bleakness gives its canine adventure an edge beyond the expected charm. Reservations centre on a crowded, sometimes meandering plot and the handling of Japanese culture and human characters. The Los Angeles Times admires the miniature craft but finds the cultural treatment troubling; other broadly favourable reviews also raise concerns. The spread is mostly positive, though the Evening Standard is a clear dissenter, finding that the elaborate story struggles to sustain attention or sympathy. Even among admirers, the emotional impact and the busier later passages attract less consistent praise than the animation. ### Reviews we read (22) - **Sight and Sound**, Kim Newman (90/100, inferred): The critic praises the film's delightful detail, sympathy for its furry leads, and labor of love quality, highlighting a standout speech by Chief as perfectly written and staged. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-isle-dogs-wes-andersons-absurdist-canine-caper) - **The Guardian**, Peter Bradshaw (90/100, inferred): Anderson delivers another distinctive, formally brilliant stop-motion film set in a dystopian future Japan, crammed with visual invention and hyper-intelligent gags. The critic singles out the expressive clarity of the dogs' movements and the bleak garbage-island landscape for particular praise. [Read](https://www.theguardian.com/film/2018/mar/29/isle-of-dogs-review-wes-anderson-bryan-cranston-animation) - **The Hollywood Reporter**, David Rooney (90/100, inferred): The review finds Wes Anderson's stop-motion film a thoroughly captivating and wildly distinctive tale of a boy's quest to rescue his dog amid a canine quarantine scheme. It singles out the vibrantly inventive visuals, meticulous production design, and chapter-structured narrative for particular praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/isle-of-dogs-berlin-2018-1085094/) - **Vulture** (90/100, inferred): The review calls the film sui generis and the most lyrically disjunctive movie ever made, one that harmonizes its disparate elements into a magical whole. It singles out the breathtaking stop-motion mise-en-scène and visual perfection for praise while noting the witty screenplay. [Read](https://www.vulture.com/2018/03/isle-of-dogs-review.html) - **Empire**, Nick de Semlyen (80/100, inferred): Anderson makes amends for past on-screen dog deaths with a joyous, visually splendid and entrancing stop-motion film full of whimsy, pathos and inventive details, though the charm falters slightly in the third act with some freneticism and uneven voice cast impact. [Read](https://www.empireonline.com/movies/reviews/isle-dogs-review/) - **Film Comment**, Jonathan Romney (80/100, inferred): The critic praises the film's visual richness, inventive mix of animation styles, and witty execution while acknowledging debates over its portrayal of Japanese culture. [Read](https://www.filmcomment.com/film-week-isle-dogs/) - **Radio Times**, Andrew Collins (★★★★): Praises it as wholly, idiosyncratically unique, a technical and artistic marvel with affectionate homages, though notes potential issues with cultural aspects and themes. [Read](https://www.radiotimes.com/movies/isle-of-dogs-review-wholly-idiosyncratically-unique/) - **The i Paper**, Matthew Turner (★★★★): A captivating return to stop-motion with a bleak yet inventive dystopian Japan tale full of astounding detail, strong emotion, laugh-out-loud gags and immersive production design; original, topical and a tasty treat for fans. [Read](https://inews.co.uk/culture/film/isle-of-dogs-review-wes-anderson-128765) - **The Telegraph** (4/5): Anderson upends expectations of a cute canine tale with a weird, dark vision of survival on a trash island that includes graphic details like a kidney transplant. The critic praises the remarkable beauty and sober delight in the creatures' struggle while noting it exits Anderson's usual comfort zone. [Read](https://www.telegraph.co.uk/films/0/isle-dogs-review-looking-cute-cuddly-wes-anderson-barking-wrong/) - **The New Yorker**, Anthony Lane (70/100, inferred): The critic finds the stop-motion animation a perfect fit for Anderson's precise style and praises the tiny details and world-building, but notes the plot's density and questions the inclusion of a Western savior character. [Read](https://www.newyorker.com/magazine/2018/03/26/tomb-raider-and-isle-of-dogs-reviewed) - **The Times** (70/100, inferred): Anderson's stop-motion animation delivers talking dogs and cute scenarios but is also bleak and unsettling, with a tone of existential despair created through painful silences and bursts of savagery. The critic notes the wry humour and droll gags but emphasizes that the film ultimately bites with its dark heart. [Read](https://www.thetimes.com/life-style/property-home/article/film-review-isle-of-dogs-7szmgk77t) - **Variety**, Guy Lodge (Critic's Pick): The critic praises the richly imagined, drily witty canine adventure and its world-building, highlighting the tactile animation of the dogs and Anderson's Japanophilia, while noting some narrative meandering. [Read](https://variety.com/2018/film/reviews/isle-of-dogs-review-1202700010/) - **Los Angeles Times**, Justin Chang (60/100, inferred): The review calls the film a triumph of invention and micro-detail in its stop-motion craft and dog characters, while criticizing the handling of Japanese human characters and cultural sensitivity issues. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-isle-of-dogs-review-20180321-story.html) - **Evening Standard**, Rick Roddick (40/100, inferred): The film struggles to maintain sympathy or hold attention with its stop-motion dogs and meandering plot through Anderson's imagination; while there are some lovely touches like the barking language conceit and detailed world, the story is too complex for kids and delivers more bark than bite. [Read](https://www.standard.co.uk/culture/film/berlin-film-festival-2018-isle-of-dogs-review-all-bark-and-no-bite-a3768316.html) - **The Skinny**, Jamie Dunn (★★★★★): The critic highlights the gorgeous stop-motion trash-island setting, rambunctious storytelling, and Anderson's growing political edge, calling it his most wildly imaginative work. [Read](https://www.theskinny.co.uk/film/new-releases/isle-of-dogs) - **Deadline**, Pete Hammond (90/100, inferred): The review calls it a charming, bizarre, and weird stop-motion film with a dense and complex storyline. It praises the first-rate production design, tech credits, and Alexandre Desplat's Asian-flavored score, describing the whole as more fun than you can imagine. [Read](https://deadline.com/2018/03/isle-of-dogs-review-wes-anderson-animation-video-1202349805/) - **Collider**, Matt Goldberg (B+): The critic finds it another winner from Anderson, praising the dog-and-boy story and political elements though not as stirring as some previous films. [Read](https://collider.com/isle-of-dogs-review/) - **The Playlist**, Jessica Kiang (B+): The film is a visually dazzling stop-motion miracle with expressive puppets, charming imagery, puns and a potent political undercurrent. The narrative can feel messy and undisciplined, but the joyous commitment to Japanese aesthetics is self-justifying. [Read](https://theplaylist.net/isle-of-dogs-review-20180215/) - **HeyUGuys**, Scott Davis (4/5): The stop-motion design and visuals are immaculate and sumptuous throughout. The story mixes humor, warmth and seriousness effectively, bolstered by outstanding vocal performances, especially from Bryan Cranston. [Read](https://www.heyuguys.com/isle-of-dogs-review/) - **The Ringer**, K. Austin Collins (80/100, inferred): Praises the tactile stop-motion animation and central boy-and-dogs story while noting cultural crosscurrents and bittersweet tone. [Read](https://www.theringer.com/2018/03/22/movies/isle-of-dogs-film-review-wes-anderson) - **Den of Geek**, Mark Harrison (4 out of 5): The critic calls it a bewitchingly weird and imaginative animated drama with striking design and underlying sincerity, landing between Kurosawa and a boys' adventure. [Read](https://www.denofgeek.com/movies/isle-of-dogs-review-2/) - **The Wrap**, Robert Abele (70/100, inferred): The critic finds the film a mostly enjoyable but overstuffed adventure with stunning visuals and political undertones. It praises the meticulous design, witty elements, and narrative layering while noting concerns about cultural appropriation and the lack of subtitles for Japanese characters. [Read](https://www.thewrap.com/isle-of-dogs-film-review-wes-anderson-bryan-cranston/) ## Details - **Director:** Wes Anderson - **Director:** Wes Anderson - **Screenplay:** Wes Anderson - **Story:** Wes Anderson, Roman Coppola, Kunichi Nomura, Jason Schwartzman - **Cinematography:** Tristan Oliver - **Editor:** Ralph Foster, Edward Bursch - **Music:** Alexandre Desplat - **Production design:** Adam Stockhausen, Paul Harrod - **Producer:** Wes Anderson, Scott Rudin, Steven Rales - **Cast:** Bryan Cranston as Chief (voice); Koyu Rankin as Atari Kobayashi (voice); Bob Balaban as King (voice); Edward Norton as Rex (voice); Bill Murray as Boss (voice); Jeff Goldblum as Duke (voice); Kunichi Nomura as Mayor Kobayashi (voice); Fisher Stevens as Scrap (voice) - **Runtime:** 1h 41m - **Certificate (MPA):** PG-13 - **Release (the US):** 13 April 2018 - **Genres:** Adventure, Comedy, Animation - **Budget:** $35 million - **Box office:** $73 million - **Trailer:** https://www.youtube.com/watch?v=dt__kig8PVU ## Where to watch in the US - HBO Max: streaming - Hulu: add-on, hd - The Roku Channel: add-on, hd - Amazon Prime Video: add-on, uhd - Apple TV: rent $3.99, hd - Amazon Prime Video: rent $3.99, uhd - Apple TV: buy $4.99, hd - Amazon Prime Video: buy $4.99, uhd *Checked 2026-09-17.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2018: Best Animated Feature (nominated) - Annie Award for Best Animated Feature 2018: Annie Award for Best Animated Feature (nominated) - Critics' Choice Awards 2018: Best Animated Feature (nominated) ## If you liked this - *Fantastic Mr. Fox* (2009), Fi1m 84: The stop-motion animals get a tighter story and equally exact comic timing. — [Fi1m page](https://film.one/film/fantastic-mr-fox.md) - *The Plague Dogs* (1982): Another canine escape, drawn with fierce sympathy and considerably less reassurance for children. - *My Life as a Courgette* (2016), Fi1m 84: Stop-motion outsiders find companionship, with plain feeling and fewer narrative detours. — [Fi1m page](https://film.one/film/my-life-as-a-zucchini.md) - *A Town Called Panic* (2009): Handmade chaos and deadpan timing, with little interest in behaving sensibly. - *The Cave of the Yellow Dog* (2005): A child’s attachment to a dog, given patience, landscape and everyday stakes. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/isle-of-dogs