Widely argued in elementary schools and among seven-year-olds, but also able to spark a heated debate among an older crowd, is the question of cats versus dogs. Which species is more companionable? Smarter? Purposeful? Which species is better, overall?

The spectacularly toxic relationships that these two animals generally tend to have, in addition to the unwavering biases of cat-owners and dog-owners, has led to the creation of numerous games, books, TV shows, and even entire movies in which their differences are examined, or the two species are pitted against one another. But never before has this animal rivalry managed to divide an entire nation.

Such is the basic premise of Wes Anderson’s newest film, “Isle of Dogs,” which was released only a few weeks ago and is slowly spreading to reach more and more theaters around America. The movie is his second of the stop-motion animation variety, the first being “Fantastic Mr. Fox,” which came out in 2009.

Anderson is known for a multitude of things: his unique and eccentric film style, poignant soundtracks, the recurrence of certain actors in each cast (Bill Murray has appeared in almost every one of Anderson’s major movies), and perhaps most notably, the eclectic plots he weaves around intricate and emotionally complex characters.

Most may have heard of Anderson’s recent films, “Moonrise Kingdom” and “The Grand Budapest Hotel,” both of which exemplify very well the traits listed above. However, it must be said that Anderson’s peculiar stamp of creativity can still be found on “Isle of Dogs,” and with this new movie the torch is carried on.

The story is set in the futuristic Japanese city of Megasaki, where the broad-shouldered and imposing Mayor Kobayashi, who comes from a long line of fierce cat-lovers and owners, has just given the say-so on an order to banish all canines to Trash Island, an isolated and unsanitary garbage dump at the edge of town, after an outbreak of snout fever and dog flu has endangered the human residents of the city.

Despite the pleas and arguments of a certain Professor Watanabe, who claims to be inches away from finding a cure to the illnesses in question, the first dog is sent off to Trash Island, and happens to be Spots, the bodyguard and best friend of the mayor’s nephew, 12-year-old orphan Atari Kobayashi.

In a nutshell, the film is about Atari’s journey through all different false alarms and plot twists to be reunited with Spots. After hijacking a plane and running away from home, Atari shakily lands on Trash Island, befriending six of its inhabitants who help him with his mission: Chief, Rex, King, Duke, and Boss. They are dogs of all shapes, sizes, and colors, from all walks of life.

In the film, the camera lens does a fair share of exploring many other plotlines and characters. While Atari and his motley crew of canines is roaming Trash Island, a student-led pro-dog movement, headed by the blonde American foreign exchange student, Tracy Walker, is attempting to uncover and counteract the corrupt Kobayashi family and government. Scientist Watanabe and his assistant, who is named after and voiced by the illustrious Yoko Ono, are busy running tests on the serum that supposedly will cure dog flu. And Mayor Kobayashi is simultaneously attempting to annihilate the pro-dog campaign and sending out rescue teams to bring home his missing nephew.

If this topsy-turvy plot isn’t enough to keep you engaged, the beauty of the animation comes through. Anderson has managed to incorporate seemingly everything into this 101-minute movie: every last blink, wisp of hair, puff of smoke, etc. An example of the kidney transplant performed on one of the characters nearing the end of the story, where the kidney gets its own tiny kidney-shaped metal bowl, is just one idea of the hordes of details packed into each scene.

There are a few problems with the film, however, mostly relating to the fact that despite the setting of Japan, the majority of the Japanese that is spoken has not been converted into English (though the dogs’ barks have), with the exception of the occasional televised translator. Anderson may have done this for the convenience of his mostly American audience, but because of this choice, the Japanese-speaking characters do take a slight backseat to those speaking in Western tongues, which is a bit confusing.

Even with the language barrier, themes of friendship and loyalty in addition to the darker commentary on corrupt government systems comes across powerfully in the perfect mixture of comedy and drama in Anderson’s breathtaking new film.