I like the storyline of this show,it attract me so much

Sorry, this movie sucks

Clever, believable, and super fun to watch. It totally has replay value.

This film is so real. It treats its characters with so much care and sensitivity.

ANY title with Tammi Sutton in it (this time as director) needs to be scrutinized for fake reviews. The last 'fare' this person was involved in was "Whispers", and it is the most ridiculous and vast example of skewed/fake reviews to have ever happened on IMDb or RedBox. On a good note, since the direction on both films is trash, Ms. Sutton can always acquire a job fluffing ... reviews for others too.

Criss cross, and a lot of extra double crosses, make a mixed up story come out bloody in the end. Great cast of the usual UK suspects make up a very normal seeming story that just feels like a normal every day story presented in mixed order Pulp Fiction style, but then it goes, and bends over backwards to flip the script, and take you completely off guard. Every time you think you have this movie figured out, they change the plot again, by adding a new flashback, or even more fun have someone react in a totally unexpected manor. I really ended up Enjoying this movie, and I think the big thing that made it work was the fact that this tougher than stone ex-con kingpin, has never actually killed anyone, and goes so far out of his way to keep that one thing even though he is so irreproachably evil, and a complete psychopath, so it should not matter to him, only it really does. I would recommend this for action/thriller fans who like a little blood in their tea. Graphic, and gory, with extreme violence toward both men, and women, but it all pays off in the end.

The guy who spat on your grave (not literally, just in the Remake), Mr Andrew Howard, might just be the best thing in here. Well best "living" thing that is. And he (almost) gets away with it. The other two main players/actors unfortunately are not up to the task. This movie could have been so much more (and I cannot stop thinking, that a great title was thrown away on this movie too).But then again, there are a few people who read a few things into this (which I clearly didn't catch) and enjoyed it. So please make sure to read the positive feedback too, before you decide whether to watch the movie or not. Just let me point out, that I did see quite a few things coming and wasn't as surprised as another reviewer. The script is not as clever as it thinks it is and Barbara N. (though I do love her) is not game/up to the task. And considering the major role she is playing, this is a big letdown (for my crush and for the movie).

Isle of Dogs is a taut thriller, the tale of a kept woman, struggling between her criminal husband and a young lover.That's as much spoiler as you'll get in this review because I would hate to ruin even one of the reveals, which come fast (get your popcorn beforehand) and, just when you think it's out of surprises, think again.(And again.)A well-crafted crime-thriller, Isle of Dogs' narrative is smooth, tantalizing as the pieces come together and the drama builds. Rather than abusing non-linear techniques as a gimmick, it uses them to accent the narrative, giving the viewer WHAT they need to know WHEN they need to know it. Fans of early Brain Michael Bendis' comics (Jinx, Torso, Goldfish) will certainly get this film, which is paced, and unravels, more like a classic Eastwood western than a contemporary lime-y-crime. And it's foolish to compare this film to a Guy Ritchie shoot-em-up just because of the locale. While it packs PLENTY of action and some marvelously grotesque shocks, there is a depth of character and tragedy here that goes well beyond the standard cockney-crime offering.(And again.) (sorry, another unexpected, awesome reveal)Sutton is clearly an actor's director, giving her cast the freedom to breathe, to spit (!), and to turn in stellar, layered performances. Edward Hogg, Barbara, Nedeljakova, and especially Andrew Howard are all performers who own their camera time and Sutton is gifted enough to capture the nuances that might otherwise be lost. Her direction makes even the most mundane of events intriguing, sometimes juxtaposing an almost Kubrikian stillness of camera with scenes of dramatic, sweeping motion. She frames shots for impact and knows how to capture moments for their chill factor. (I'll personally never forget the body dragged past the doorway in her film, Sutures).From the title (a subtle metaphor for loyalty and captivity), to Worman's score (eerie with f'n' attitude), this film hooked me all the way through and, several times, had me shouting out loud. (And again.) (Yeah, those twists just keep coming.)