Regie:
Wes AndersonDrehbuch:
Wes AndersonKamera:
Tristan OliverMusik:
Alexandre DesplatBesetzung:
Bryan Cranston, Koyu Rankin, Edward Norton, Bill Murray, Jeff Goldblum, Scarlett Johansson, F. Murray Abraham, Tilda Swinton, Bob Balaban, Yoko Ono (mehr)Streaming (6)
Inhalte(1)
Isle of Dogs – Ataris Reise erzählt die Geschichte von Atari Kobayashi, dem 12-jährigen Pflegesohn des korrupten Bürgermeisters Kobayashi. Als durch einen Regierungserlass alle Hunde der Stadt Megasaki City auf eine riesige Mülldeponie verbannt werden, macht sich Atari allein in einem Miniatur-Junior-Turboprop auf den Weg und fliegt nach Trash Island auf der Suche nach seinem Bodyguard-Hund Spots. Dort freundet er sich mit einem Rudel Mischlingshunde an und bricht mit ihrer Hilfe zu einer epischen Reise auf, die das Schicksal und die Zukunft der ganzen Präfektur entscheiden wird. (Fox Deutschland)
(mehr)Videos (6)
Kritiken (7)
Einmal mehr trägt Isle of Dogs - Ataris Reise eine unverwechselbare und einzigartige Regiehandschrift, die vielleicht nicht unbedingt jedermanns Geschmack trifft, aber ich mag die horizontalen Kamerabewegungen, die klug geplanten Einstellungen, die markante Rahmung der Figuren und ihre spezifisch skurrilen Reden. Hundert Minuten lang hat der Zuschauer die Möglichkeit, eine Insel zu besuchen, auf der verschiedene Hunde leben, die niesen, sich mit Müll beschäftigen und relativ sinnvolle Dialoge führen. Von allen Hundefiguren haben mich der Boss und das "allwissende" Orakel am meisten beeindruckt. Ein wahrhaft unkonventioneller Zeichentrickfilm, der unter anderem die massenhafte Gehirnwäsche problematisiert, und den jeder um so mehr genießen wird, je mehr er sich von den Anderson´schen Spielregeln verzaubern lässt.
()
Though Isle of Dogs does not excel in terms of narrative ingenuity like The Grand Hotel Budapest or of playfulness as in Fantastic Mr. Fox, it is still such an incredibly clever film that you want to bark with joy. ___ Anderson continues to refine his style, which he barely contaminates with special techniques that are atypical of him, such as the use of a handheld camera, zoom and some asymmetrical composition here and there. The enlivening segments are most frequently in the form of a change in the style of animation (for example, the security-camera footage is hand-drawn instead of stop-motion), which relates to the motif of translating meanings between various languages and cultures (for example, some utterances in Japanese are interpreted, while the interpreter’s reactions to what she hears have an alienating effect). ___ In comparison with Anderson’s other films, this one is unexpectedly and fully intentionally ugly (or perhaps better said, “not cute”) – dogs live in a huge dump among rats, are infected with weird diseases and feed on rotting garbage. Sometimes we see close-ups of a chewed-up ear or a bit of mangy fur (and a kidney transplant), but the gloomy greyness very well suits this film that thematicises (more openly than Grand Hotel) the rise of authoritarianism, the inhumanity of humans and impending genocide (or rather its canine equivalent). It is not a film for children, who might be bothered by the slower pace and the minimum of “obvious” gags (the humour is based primarily on the ironic juxtaposition of situations/objects, both infantile and adult). ___ Anderson again presents an isolated world with specific rules, from which the protagonists try to escape using a well-thought-out plan (instead of repeatedly resorting to improvisation). For western viewers, such a peculiar world to which one can flee from the ordinariness of everyday life is not just the island where most of the story takes place, but the whole of Japan, whose iconography, history and gastronomy are tremendously beneficial to Anderson (sumo wrestlers, cherry blossoms, Kabuki theatre, the preparation of sushi, Japanese woodcuts, chanbara movies, taiko drums as the foundation of the soundtrack…). His approach to Japanese culture is not always so sensitive – the resistance against treacherous cat lovers, for example, is led by an American exchange student, who shows more courage and awareness than her Japanese schoolmates – but, at the same time, he does not turn the Land of the Rising Sun into a museum of curiosities for Japanophile fetishists. ___ Like Anderson’s other films, Isle of Dogs has a block structure with a prologue, an introduction and four chapters, each of which has a different objective and all of which are interconnected by the development of relationships between the characters. Compared to the nesting-doll nature of The Grand Budapest Hotel, the narrative is linear with the exception of a few flashbacks, which, together with an excess of explanatory monologues, disrupt the smooth flow of the narrative. Though the film does not unfold as quickly as Anderson’s previous films and can be a bit more challenging for viewers who go to the cinema to have a good time, it is still broadly accessible and easily comprehensible, and actually, yet somewhat paradoxically (with respect to theme and environment), one of Anderson’s more cautious films. 80%
()
(weniger)
(mehr)
It seems that Wes Anderson found himself in the way he made Grandhotel Budapest. Isle of Dogs runs in exactly the same vein. The things that Wes only hinted at in his earlier movies are given full reflection today. The absurdity of the characters, a billion of not only pop-cultural ideas, in this case amplified by the animated motif, the editing, the limited camera movement… all these are things that represent Wes Anderson today, and I said to myself more than once how similar this movie was to Grandhotel. Despite all that, it’s still somehow different. The thing is that sometimes I feel that Wes has gotten lost in his artistic motifs. At times things get so wacky and so over-the-edge that the film actually stops being funny and humorous. But that only happens sometimes. In terms of the overall impression, it’s still a very good flick.
()
Wes Anderson directed a fun animated film for the whole family, in which he travels through animated Japan alongside the lovable Hufflepuffs. And that's it. As a family flick, it's fine, but as a novelty from a man who has always managed to impress with his playfulness, fun, quirkiness and originality, it's a bit of a slog. Isle of Dogs is OK. Just pretty ordinary and plays it too safe, which may be a bit of a problem for fans of the director.
()
Playfulness at its best. Somewhere in the middle of the film, I found myself getting completely carried away by the beautiful animation, the tons of ideas, the humour, those touching dog eyes and Desplat's music, and not really focusing on the plot, but all the more reason to watch Isle of Dogs again.
()
Galerie (73)
Photo © 20th Century Fox
![Isle of Dogs - Ataris Reise - Filmfotos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/162/575/162575649_8bdc2d.png)