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Isle of Dogs

In the not-too-distant future Japan, an epidemic of dog flu causes a quarantine of all and any canine throughout Megasaki City, exiling them to Trash Island. One boy, Atari Kobayashi, will stop at nothing to return his best friend Spots back home.

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And Tilda Swinton voices a TV-loving pug named Oracle. I love her.

Of course I enjoyed this. It’s Wes Anderson and stop motion animation. About dogs. That’s three of my favorite things right there. And the title’s a pun, that’s awesome. Not to mention, all of the little subtleties within the narrative that speaks volumes about the various themes of the

But first, the bad stuff.

Upon a simple googling, the topic of cultural appropriation and stereotyping popped up quite a bit, so I’m going to explain my views on this, the best that a white-cis-straight-middle-class-American can.

It is true that even though it’s set in Japan and many characters speak Japanese, the main cast is predominantly white, thusly advancing the plot the most.

This effectively “others” the Japanese cast, resulting in villainous Japanese and white heroes, that is, if you count the dogs as white.

My immediate response is that dogs don’t have a race other than dogs, so on the voice-acting part, I don’t think that main cast makes a difference: they speak common. The whole movie deals with themes of miscommunication and finding understanding. The language barrier isn’t treated as a joke or anything of that nature. (If anything, it’s hilarious to have puppies sound like babies.) The real trouble is the only American character, Tracy Walker.

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Voiced by Greta Gerwig

Tracy acts as a leader for the rebels against the pro-cat regime. Unfortunately because she is white, she stumbles into the “white savior” role. It could be argued that she is a characterization of the idea that folks of different cultures can learn from/help one another through understanding, but that is a very rough sell.

I honestly believe that those parts of the plot could have been re-written so it were less dialogue-based. Even though I don’t speak Japanese, it wasn’t hard to figure out what was happening on the villains’ end, so there’s no reason why our little scientific revolutionary couldn’t have been Japanese.

Another argument is that Japan serves as just a backdrop for this film: not having any weight to the plot, but at least feature old-timey Japanese staples (samurai, sumo and taiko drums). Albeit, these staples still hold influence today – and it’s not like there aren’t historical fables in western films (and it can be argued that Isle of Dogs is like a reverse Hachikō).

Additionally, I have seem some folks mention that the use of mushroom clouds is in bad taste, but I don’t believe this was intentional – I think it was just a large boom for the sake of comedy, and there many ways it could have been much worse. Personally, I think this film is only offensive if you’re looking to be offended.

Now that I’m done with that heaviness, this movie really is delightful. Amazingly, no animal gets killed – that’s a Wes Anderson first. It’s a story of a boy and his dog as well as understanding and change, and it is wonderful.

 

 

 

 

 

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Kubo and the Two Strings

Just look at this trailer.

At first glance, I fell in love: the stop-motion mixed with a gorgeous cover of one of my favorite songs made my heart and imagination soar. Not to mention the hype in more recent ads, commending the film’s beauty and depth – I was stoked, to say the least. Alas, I left my seat feeling …well, underwhelmed.

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Even with these spooky badasses.

It’s strange to have a Japanese story with a predominately white cast – well, maybe not strange, after all, this has been happening for decades, why stop now? (Despite his appearance in the trailer, George Takei had maybe five lines.)

Though I do have to say that the film is objectively lovely – an absolute spectacle, but suffers under the weight of its own mythos; I found myself begging for more mysticism and lore, but I was only met with the same run-of-the-mill lessons of the importance of story-telling and familial commemoration. Not that these things aren’t important, but maybe I was expecting more depth or at least some deviation of some sort – or hey, maybe some sort of recognition of the shamisen’s significance and history?

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More on Kubo’s mom would have been fantastic.

Speaking of the shamisen, the score and tonality was gorgeous. I’m not sure if it was an issue of time or studio restrictions, but I would have appreciated this film a lot more if it revolved around more myth and magic – I want to know how Kubo learned about his gifts and if and how he was taught these abilities.

And as I mentioned, this is a spectacle – especially in 3D. Director Travis Knight and Laika are no strangers to the third dimension, and they work to capture the potential of this extra space. After all, this is a physical, hand-crafted medium, and I think that deserves some extra respect.

I felt pretty divided at the end of this one. It was lovely, but needed a lot more oomf. There’s a lot of heart to be had, but stops short of definition.

Netfix: I Know That Voice

movie+posters+21Voice acting could easily be one of the most over-looked arts in the TV/film industry. It’s one thing for a well-known actor to provide a voice for a character – they’re mostly playing themselves. But for a person to hide themselves completely and be utterly unrecognizable amongst us common-folk, that takes talent.

I Know That Voice exposes and pays tribute to such talent as June Foray, Jeff Bennett, Daran Norris, Pamela Segall Aldon, Billy West, and many, many more. (Did you have to google some of those? I don’t blame you in the least.)

As far as documentaries go, you really can’t get any more cut-and-dry than this one. I Know That Voice goes into a brief history of the establishment of voice acting, talks about some industry pioneers, and carries on about recent happenings and new kinds of media. Plus it’s chocked full of all sorts of talent and trivia.

The Good
Now, I’m a total dork about this kind of stuff, so I really enjoyed learning about the history of voice acting as well as methods of the craft. I’d recommend this to anyone who loves learning about filmmaking – or loves cartoons.

The Bad
Nothing dates a documentary like bouncy, animated text. I’m not going to hold that against it, though.

The Just Plain Neat
Corey Burton illustrates his process for performing as Porky Pig – it’s pretty impressive.

This is just the tip of the iceberg.

This is just the tip of the iceberg.