Sorry, this movie sucks

A Major Disappointment

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

I went into this film expecting something similar to the Fabulous Mr Fox, but was disappointed to find out that this movie isn't animated at all. My kids were very upset as well, since they loved the fox movie and couldn't wait to see this one. I don't know what happened to Wes Anderson. Honestly, he's been on a steady decline since Rushmore.

This was one of the worst movies I've seen in ages. The gangsters were a bunch of weak, school yard knuckleheads. Furthermore, they treated gorgeous women very severely in a number of scenes.I won't be able to tell you how it ended because I turned it off after about five or ten minutes when the knot headed moron who supposedly was a tough guy gangster began beating his gorgeous wife on the arm or hand, I couldn't tell with a meat hammer because she went around on him. No wonder. Of course it's only a movie. It's just a really, really bad movie. Don't waste your money.Hold it. Or was it propaganda? People shouldn't have to pay for propaganda.

Criss cross, and a lot of extra double crosses, make a mixed up story come out bloody in the end. Great cast of the usual UK suspects make up a very normal seeming story that just feels like a normal every day story presented in mixed order Pulp Fiction style, but then it goes, and bends over backwards to flip the script, and take you completely off guard. Every time you think you have this movie figured out, they change the plot again, by adding a new flashback, or even more fun have someone react in a totally unexpected manor. I really ended up Enjoying this movie, and I think the big thing that made it work was the fact that this tougher than stone ex-con kingpin, has never actually killed anyone, and goes so far out of his way to keep that one thing even though he is so irreproachably evil, and a complete psychopath, so it should not matter to him, only it really does. I would recommend this for action/thriller fans who like a little blood in their tea. Graphic, and gory, with extreme violence toward both men, and women, but it all pays off in the end.

Isle of Dogs is a taut thriller, the tale of a kept woman, struggling between her criminal husband and a young lover.That's as much spoiler as you'll get in this review because I would hate to ruin even one of the reveals, which come fast (get your popcorn beforehand) and, just when you think it's out of surprises, think again.(And again.)A well-crafted crime-thriller, Isle of Dogs' narrative is smooth, tantalizing as the pieces come together and the drama builds. Rather than abusing non-linear techniques as a gimmick, it uses them to accent the narrative, giving the viewer WHAT they need to know WHEN they need to know it. Fans of early Brain Michael Bendis' comics (Jinx, Torso, Goldfish) will certainly get this film, which is paced, and unravels, more like a classic Eastwood western than a contemporary lime-y-crime. And it's foolish to compare this film to a Guy Ritchie shoot-em-up just because of the locale. While it packs PLENTY of action and some marvelously grotesque shocks, there is a depth of character and tragedy here that goes well beyond the standard cockney-crime offering.(And again.) (sorry, another unexpected, awesome reveal)Sutton is clearly an actor's director, giving her cast the freedom to breathe, to spit (!), and to turn in stellar, layered performances. Edward Hogg, Barbara, Nedeljakova, and especially Andrew Howard are all performers who own their camera time and Sutton is gifted enough to capture the nuances that might otherwise be lost. Her direction makes even the most mundane of events intriguing, sometimes juxtaposing an almost Kubrikian stillness of camera with scenes of dramatic, sweeping motion. She frames shots for impact and knows how to capture moments for their chill factor. (I'll personally never forget the body dragged past the doorway in her film, Sutures).From the title (a subtle metaphor for loyalty and captivity), to Worman's score (eerie with f'n' attitude), this film hooked me all the way through and, several times, had me shouting out loud. (And again.) (Yeah, those twists just keep coming.)