In “Fantastic Mr. Fox,” the slow, painstaking animation process seemed, if anything, to accelerate Anderson’s narrative energies and liberate his visual imagination. Stop-motion, which requires an invisible, all-controlling hand to create the illusion of fluidity, was an intuitive medium for this most exacting of directors and his intricate, diorama-like sensibility. On a pure frame-by-frame basis, “Isle of Dogs” is a triumph of invention and micro-detail, a bravura showcase for cinematographer Tristan Oliver’s impeccable widescreen compositions and the ingenious bento-box elegance of Adam Stockhausen and Paul Harrod’s production design. For better and for worse, it’s Wes Anderson unleashed.
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