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The Plague Dogs

The Plague Dogs

Adventure · Animation · Drama · 1982

Two dogs, Rowf and Snitter, struggle to survive in the countryside after escaping from an animal research laboratory. They're pursued by search parties and then the military after rumours spread that they could be carrying the bubonic plague.

Movie details

The Plague Dogs

“Escape to a different world...and share the adventure of a lifetime.”

1982 Adventure · Animation · Drama 1h 43m

Critical arithmetic

The consensus, allegedly.

IMDb

7.7 / 10

9.1K votes

Rotten Tomatoes

70 %

Tomatometer

TMDB

7.8 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Two dogs, Rowf and Snitter, struggle to survive in the countryside after escaping from an animal research laboratory. They're pursued by search parties and then the military after rumours spread that they could be carrying the bubonic plague.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Plague Dogs?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Martin Rosen

Written by

Martin Rosen

John Hurt

John Hurt

Snitter (voice)

Christopher Benjamin

Christopher Benjamin

Rowf (voice)

James Bolam

James Bolam

The Tod (voice)

Nigel Hawthorne

Nigel Hawthorne

Dr. Boycott (voice)

Warren Mitchell

Warren Mitchell

Tyson / Wag (voice)

Judy Geeson

Judy Geeson

Pekinese (voice)

Patrick Stewart

Patrick Stewart

Major (voice)

Court is in session

Put The Plague Dogs on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.