They growl and occasionally they howl, but the dogs don’t bark in Wes Anderson‘s stop-motion miracle “Isle of Dogs.” Instead, these beautifully scruffy puppet pooches, with uncannily expressive, liquid eyes, speak in clipped, droll, perfectly parsed English, debating plans of action democratically and relating heartfelt backstories with gruff, unsentimental candor.
Consigned to Trash Island, which is exactly what it says it is, by the corrupt, dog-hating, cat-stroking Mayor of the nearby city of Megasaki, they roam in scavenging packs that are as riven with internal conflicts as they are with infectious ailments.
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