Set in Japan, Isle of Dogs follows a boy’s odyssey in search of his lost dog. (IMDb)
Awe-inspiring animation, as expected, with an amazing attention to detail (petals on noses, fur blowing in the wind), breathtaking landscapes (see the journey montages), a variety of unique shots (see the shadowy discussion in the bottle cave), creative storytelling devices (see the split-screens), and fun flourishes (see the sushi-making). A welcome surprise is the engaging hard-boiled political drama added to Anderson’s typically quirky comedy (the gossiping goofy alpha dog pack is great).
As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him. A freelance sleuth neighbor moves Don to embark on a cross-country search for his old flames in search of answers. (IMDb)
On one level, a thoughtful camera with an eye for capturing the beauty in every detail of the mundane mixed with the script’s scattered quirkiness makes accompanying Murray’s melancholy Don on his cyclical journey across America and back to visit various ex-lovers a uniquely cozy experience. On the other hand, the story’s refusal to dig deep, wrap up, or at least piece together even slightly any of the otherwise interesting parallels and “clues” from each visit make it frustrating in the end.
A Hollywood fixer in the 1950s works to keep the studio’s stars in line. (IMDb)
Despite Gambon’s excellent bits of narration and Brolin’s classic-Coen-crazy central day-in-the-life plot thread, Hail, Caesar! still feels more like a series of skits than anything else-some of them bland (DeeAnna’s dilemma is forgettable), many hilarious (see Hobie on the set of Merrily We Dance; McDormand’s outrageous cameo) and entertaining (see Tatum’s song and dance number among the numerous 50s Hollywood tributes), but all of them feeling rather inconsequential by the film’s abrupt end.
A pair of young lovers flee their New England town, which causes a local search party to fan out to find them. (IMDb)
The beautiful forested island scenery dotted with hip 60s aesthetic (hello, portable turntable) paired with Anderson’s impeccable visual flair and love for detail is a match made in movie heaven. Sam and Suzy, meanwhile, lead an elope plot that is as captivating (the flood side-story adds a great sense of impending doom to the forbidden love; Desplat’s mournful score is wonderful) and tragic (the leads’ parent issues add great depth) as it is cute (see the book-reading; culminating beach shot).
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. (IMDb)
The visuals are so remarkably entrancing and vibrantly varied here (hotels, prisons, mansions, and mountaintops) that you find yourself as excited to see what the next scene looks like as much as what happens in it–and that’s not to say the writing is sub-par: Within a cute 4-tiered narrative, a wild and wacky plot of murder, money, and escape takes place with plenty of quirky characters (Fiennes is fantastic) and well-placed bits of goofiness and expletives that break up the dazzling dialogue.
A disk containing the memoirs of a CIA agent ends up in the hands of two unscrupulous gym employees who attempt to sell it. (IMDb)
Pitt is a definite highlight here; his manic, dim, gum-chewing gym employee is a riot, the best of an already eclectic cast of characters. The espionage plot is outrageous and not entirely cohesive or coherent, but a comedic gem of a final scene with Simmons makes it clear that this was intentional. It still feels like a cop-out though, and what could have been a great film considering its proven directors and loaded cast is just a good one–funny and entertaining, but not altogether brilliant.