Isle of Dogs ★★★★

The world is trash, and Wes Anderson is currently enjoying the hottest streak of his career. These things, it turns out, are not unrelated. The worse things get, the more fantastical Anderson’s films become; the more fantastical Anderson’s films become, the better their style articulates his underlying sincerity. Disorder fuels his imagination, and the staggeringly well-crafted “Isle of Dogs” is nothing if not Anderson’s most imaginative film to date.

There’s a whiff of inevitability to that. Whether telling a story about a splintered New York dynasty or one about a faded European hotel where it used to be possible to find some faint glimmers of civilization in this barbaric slaughterhouse known as humanity, Anderson has always been attuned to the beauty of magical idylls, to the violence of losing them, and (most of all) to the fumblingly tragicomic process of building something better from the rubble. But when he started working with stop-motion, it was though he suddenly realized that he could splice his characters directly into the marrow of their stories.

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