Audiences around the world go to see a Wes Anderson film for many reasons; imagination, creativity, wonder and most of all, amazement. A man who has crafted and added to, not only a branch of the film industry within the independent market, but an individual who arguable has his own genre of film, proves with his latest that you are able to make an independent success, commercial darling and fading animation style feature film revolutionary. After eight feature films which enrich the medium as a whole, Wes Anderson delved, for a second time, into the stop-motion foray with his ninth future film, and quite possibly his best yet with Isle of Dogs.
In 2010, director Gareth Edwards made his way to the festival scene by ways of Monsters, a eco-centric, sci-fi hit that introduced audiences to the wonders of large scale destruction and monsters mixed with the small scale effects of the individual characters as well as making a name for the extremely talented Scoot McNairy (12 Years A Slave, Non-Stop). Think District 9 with monsters instead of aliens. Fast forward four years later, thanks to the critical success of his first full length indie feature, and Edwards, who has been given the keys to the commercial kingdom, is front and centre in adapting the King of Monsters in only the second Americanized version since the abysmal yet highly popcorn-crunchingly entertaining Godzilla remake from Roland Emmerich from 1998. Entrusted with a massive $160 million dollar budget from Warner Bros. Pictures, after acquiring the rights of the iconic beast from Toho in 2010, Edwards proves that Godzilla reigns at destroying one thing, and one thing only, the promise of young filmmakers career’s.