Let me make something clear from the start. Some movies make you feel glad there are movies, and some movies make you glad you are alive. Wes Anderson’s Isle of Dogs makes you feel both.
In additional, let me say here that I love Wes Anderson. There is no objectivity when it comes to his films. I can discuss the strengths and weaknesses of individual films, discuss the common traits and themes of his oeuvre, but I can’t pretend that I’m not strongly drawn to his work and feel an affinity for it.
That aside, what is about Isle of Dogs that steers me to say it’s one of his best? To answer that, I have to touch upon some of his earlier films.
Anderson’s films are, if nothing else, hermetic. They exist in their own world and make no attempt to be records of actual lived events. They are the perfect postmodern artifact: Stylistically whole and reflective of not only themselves, but of Anderson’s other works, and the artists and filmmakers that have influenced him.
If he were less of an artist, if his vision and style were less mature, then there would be little to attract us to him. But ironically, despite the seeming uniformity of his style, he is one of the most inventive and creative filmmakers alive.
Isle of Dogs is a homage to both Japan and the films of Akira Kurosawa, which for many of us cineastes are synonymous. But it’s an homage from an outsider’s perspective, from a foreigner who sees the differences and explores and embraces them. The same can be said about his last film, The Grand Budapest Hotel, where he entered the world of the writings of Stefan Zweig and the fading splendor of Eastern Europe.
In a Wes Anderson film, every frame can be framed. Every frame is a well thought out composition that holds a treasure trove of witty details. It’s in the searching out and finding of these details that much of the delight lies. For instance, early on, Jupiter, the wise elder canine (F. Murray Abraham), addresses the camera and introduces the story of crooked mayor Kobayashi ’s attempt to quarantine and exile all the dogs of Megasaki City to Trash Island.
Of course, this announcement is accompanied by animated maps, a black and white photo of the mayor (who looks exactly like Kurosawa’s favorite actor, Tishiro Mifune), images of a variety of sneezing dogs with scabby noses (dog flu and snout fever), text on the screen identifying dogs, people and places, and I’m sure more that I didn’t catch on first viewing.
Oh, and by the way, Jupiter has cataracts on his left eye, and is accompanied by a pug named Oracle (Tilda Swinton) who received visions from watching television.
All of this delivered in the deadpan earnestness that so defines every line of dialogue and narration, every image and action, in every Wes Anderson film. It’s a trademark of an artist who has many trademarks.
However, it is the constant inventiveness that makes this film so enjoyable. In The Fantastic Mr. Fox, Anderson’s earlier stop action animated film, he explored the possibilities of this art form, and here he shows a level of mastery that makes us forget these are puppets by taking their “puppetness” to an extreme. It’s the old Post-Modern magic trick, the same one he plies in all his films: By never letting us forget this is a film, we forget that it’s a film. Delight overcomes analysis and self-awareness. In the end, it’s damn near perfect.
“The Electric State,” now streaming on Netflix, is a science fiction adventure directed by Anthony and Joe Russo. The screenplay, crafted by Christopher Markus and Stephen McFeely, is loosely based on Simon Stålenhag’s 2018 illustrated novel of the same name. The film boasts a star-studded cast, including Millie Bobby Brown as Michelle, Chris Pratt as Keats, and features voices from Anthony Mackie and Woody Harrelson. With a runtime of 128 minutes, the movie transports viewers to a retro-futuristic 1990s America, where a teenage girl embarks on a quest to find her missing brother amidst a landscape populated by sentient robots.
Despite its ambitious premise and substantial $320 million budget, “The Electric State” has garnered predominantly negative reviews from critics. Many have pointed out the film’s lack of emotional depth and coherence. For instance, The Guardian described it as a “bogglingly expensive dud,” criticizing its soulless storytelling and lack of artistic merit. Similarly, Vulture labeled the film a “$320 million piece of junk,” highlighting issues with direction, character development, and overall execution.
The narrative follows Michelle, portrayed by Millie Bobby Brown, as she ventures into a dystopian version of the late 1990s, accompanied by Keats, a smuggler played by Chris Pratt. Their mission leads them into an exclusion zone inhabited by defeated robots, all in search of Michelle’s younger brother, Christopher. While the film’s special effects have been acknowledged for their quality, these visual achievements are overshadowed by a storyline that many found lacking in engagement and originality.
Audience reactions have been mixed, with some viewers appreciating the visual spectacle and performances, while others echo the critics’ sentiments regarding the film’s shortcomings. On Rotten Tomatoes, the film holds a critic score of 17%, reflecting the overall negative critical reception.
In conclusion, “The Electric State” presents a visually impressive but narratively deficient experience. Despite the high-profile cast and substantial investment, the film struggles to deliver a compelling and cohesive story. Based on the critical consensus and audience feedback, I would rate this film a 4 out of 10.
Nicholas Cage is not the Dracula we deserve, but the Dracula we need!
With Nosferatu dominating the box offices with all its gothic, avant-garde glory you may need something a little more light-hearted to cleanse the palette. 2023’s Renfield is a fantastic recipe of dark comedy, satire, and not a small amount of heart (beating or otherwise). Renfield has recently been added to Netflix UK’s menu; for us all to feast upon!
Both Nick (Hoult and Cage respectively) give fantastic performances as master and long-suffering servant, proving that toxic relationships take many forms. Renfield (Nicholas Hoult) has been in the service of Dracula (Nicolas Cage) for ninety years. Renfield does everything short of cleaning the count’s iconic cape (it’s dry-clean only apparently) and he’s quite frankly sick of it.
After ninety years the duo’s options, and bank account, have become quite limited. This is why they are holed in an abandoned hospital in New Orleans. Renfield leaves most evenings to supply the ancient vampire with victims to drain blood, preferably of the pure variety. Hoult’s Renfield is a charming soft boy, a 6 ft 2 soft boy, who has some reservations about killing innocent people. He cleverly gets around this moral quandary by joining a support group for the victims of narcissistic abuse held in a local church and eh…dispatching the group members’ abusers to bring to his master. This works well until one night he gets tangled up with the criminal underworld on a ‘routine’ dispatching.
Awkwafina plays the pint-sized police officer with a foul mouth and a strict(ish) moral compass; Rebecca Quincy. Rebecca and Renfield cross paths and it’s up to them to save the city from both criminal and supernatural corruption. This results in many impressively choreographed fight scenes and not a small amount of blood, gore, and sarcasm! It’s strangely heartwarming to watch Renfield try to break the cycle of Dracula’s narcissistic abuse and create a place for himself in the world. As Rebecca states: sometimes you just fall under the thrall of a vampire for a few decades!
Nicholas Cage is every bit as fabulous and camp as you’d expect of a truly iconic Dracula performance. His delivery is as cutting and precise as his debonair velvet suits. One of the best things about the film is you can tell the cast is having fun with their characters, particularly Cage, I would bet my own soul that a lot of his lines were ad-libbed. Special shout-out goes to Brandon Scott Jones who played the painfully sincere narcissistic survivor group leader. Jones proves there is no part too small to make an impact!
Renfield takes the usual Dracula tropes and puts a hilarious spin on them. Asking the real questions like; do vampires need a verbal invite or will a ‘welcome’ mat suffice to enter a home? Quick someone page Buffy!
Even with the gratuitous gore and violence Renfield manages to be touching at times and ironically breathes fresh life into the reanimated corpses of both Dracula and Renfield.
Three and a half stars.
The much-anticipated film Arjun S/O Vyjayanthi, produced by NTR Arts and Ashoka Creations, is all set to unveil its official teaser on March 17, 2025. Featuring Nandamuri Kalyan Ram in the lead role and veteran actress Vijayashanthi making a powerful comeback, the film is expected to deliver a gripping action-packed family drama.
The Arjun S/O Vyjayanthi teaser launch event is scheduled for:
Date: March 17, 2025
Time: 10:00 AM IST
Venue: AAA Cinemas (Screen 1), Hyderabad, India
Fans who cannot attend in person can watch the teaser across YouTube, Twitter (X), and other social media platforms, as it will be released online simultaneously.
Pre-Teaser Hints at High-Octane Action
Ahead of the teaser launch, the makers released a gripping pre-teaser, which showcased Kalyan Ram in an intense look—seated on a boat, shirt bloodied, signaling an impending storm of action. Complemented by Ajaneesh Loknath’s electrifying background score, the clip has already generated significant buzz online.
Directed by Pradeep Chilukuri, Arjun S/O Vyjayanthi promises to blend action, family drama, and strong emotional elements, making it a highly awaited release for Telugu cinema fans. With Vijayashanthi portraying a powerful IPS officer, the film is expected to bring a strong narrative backed by stellar performances.
Nandamuri Kalyan Ram’s New Action Avatar Vijayashanthi’s Comeback in a Fierce Role High-Quality Production Backed by NTR Arts Intense Pre-Teaser That Has Raised Expectations
Stay Updated on Arjun S/O Vyjayanthi For the latest updates, teasers, trailers, and exclusive insights into Arjun S/O Vyjayanthi, follow NTR Arts’ official pages and stay tuned for March 17!
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