Back for good, with more Ghibli works!

It feels good to be back! Up and running, another day (hopefully!) another post. Though it took longer then expected I'm back from educational death, in time to catch up with my cinematic activities. Missed it, craved for it and now I'm finally doing it.

 My next post will be Howl's Moving Castle (2004)  by Hayao Miyazaki. A fantasy-adventure adaptation from the acclaimed novel of the same name by British author Diana Wynne Jones.


Stay up to date, subscribe and follow on Facebook / Twitter.

Or follow the film hub below!

Blog Hiatus. Sorry guys...

I think that the absence of blog posts is obvious. I won't be able to post for a while, not until the end of June that is. The Exams is taking a tole on my personal life so it seems. But I will be back...real soon.
In the mean time make sure to leave your feedback (if you care to mention anything) and subscribe  and follow on Twitter / Facebook.

Paprika (2006), The everlasting dreams cutting through reality.

Directed by: Satoshi Kon | Written by: Satoshi Kon, Seishi Minakami
Produced by: Madhouse Inc.

Awards

• Best Visual Design; Chlotrudis Awards
• Prêmio da Crítica - Critic's Awards; Fantasporto
• Public's Choice Award; Montreal Festival of New Cinema
• Feature Film Award - Animation; Newport Beach Film Festival

Genre

 Science-Fiction, Thriller, Mistery 


Paprika! Once a novel written by Yasutaka Tsutsui in 1993 became a late summer anime feature film sensation by the likes of Perfect Blue (1998) and -dare I say- a more colorful reminder of Inception (2010). Being Satoshi Kon's last known feature film before his unfortunate death, it holds Kon's years of experiment and expertise fully devoted in this dream filled eye candy.
 Though generic at first Paprika (both the film and the character) catch up to it's true intention and develop a deeper sense of the collapsing dreams that overrun the psyche of many unfortunate victims.

Story

The DC mini, a small apparatus used to enter into someone else's dream when worn by both individuals, is used to explore the subconscious as a form of modern therapy. We follow the story of Paprika, an alias used by a Dr. Atsuko "At-chan" Chiba who illegally uses the said machines on patience below the radar to help it's progress. The opening of this movie is a dream of a particular psychatic patient Dectective Tonoshimi Konokawa who is haunted by the abrupt end of his dreams after chasing a mysterious figure which ends with his escape and the sight of the death of Konokawa's latest investigation min the middle of the chasing. That said scenario derails when the said invention is stolen and used by an unknown party for malicious reasons by accessing dreams without consent and taking over their state of mind in the process. The adventure that leads to the true intentions of Atsuko Chiba's peers and the exploitation of the fundamental difference of her dead-serious personality and her flamboyant dream excavation counterpart Paprika.

It may not have a particularly dept like Perfect Blue, but it did manage to entertain and prevail where it counted: the explanation of the subconscious on an understandable level. The experience witnessed by the dreams projected by the unknown terrorist in the minds of it's victims was quite a mouthful, the visuals and diversity of elements baffled me into understanding how the said victims lost their psyche and reasonably conduct in the blink of an eye. The parade of dreams controlled by one man is stunning and is hard to forget after watching this film.

However, as the story develop and more aspects of the "dream creator" where revealed , you did expect a sudden switch in style and feel knowing. Though the dream parade was enchanting and beautiful it lacked in variation and symbolism that,even when covered by the nightmares by the real terrorist, where still left unchanged. Unlike Detective Toshimi Konokawa's dream which took some turns and revelations as his character bloomed. When explored, it wen from sub-plot to absolute dream-breach as paprika's dream extase and his intertwined. I felt like they devoted more time to the signification of his dream, which was crucial for this detective nonetheless, than the collective pool of dreams that ran amok in this film even overthrowing reality itself.

Rating

8,7 - Absolute dream extacy!

Being one that has seen all of Satoshi Kon's Feature films (with a film list to tell about it), I can safely say that this -out of all his like-minded film- is the only one to literally break that tin line between reality and fantasy in a magical yet psychotic fashion keen to the eye. tough the lack of in dept signification of the many colorful, visually-enhanced elements that virtually danced on the screen in an orchestrated fashion. The time necessary for such adjustments is neglected or filled with unnecessary turmoil.

Well, that concludes this review and all of Satoshi Kon's films on this blog. Do comment below and leave feedback and visit the now completed film hub of Satoshi Kon.

M.

• Follow me on Facebook / twitter (Subscribe! )

Why Dragon Ball GT was a mistake.

Dragon Ball, the 1982 manga which stole the hearts of young readers around the world rocking the likes of Shonen manga in the process together with it's anime in 1986 and it's second part dubbed  "Dragon ball Z" , undoubtedly the most famous adaptation,  in 1989. As the manga ended after a good ten year run and the anime followed up a year later the first of many generations were devastated by the end of their trusted childhood saiyan causing a massive plea for a continuation . It is horrible -even heartbreaking- when a part of your dire childhood ends after such a long run, we all wan't more. But at what price? An ending isn't always the worst alternative.

Rumored to be the best manga ever made, Akira Toriyama struck gold when he unleashed dragon ball upon the world captivating many generation which still grows t'ill this day. It's testament goes as far as being an inspiration for the big 3 of shonen manga's: Naruto (Massashi Kishimoto), Bleach (Tite Kubo) and  One piece ( Eiichiro Oda). 

Being part of the late golden age generation, I was first accustomed to dragon ball z and its Ocean dub when it hit television here in 2001 long enough to remember the sudden transition to the Funimation dub , before dragon ball kai and it's chewed up dub. And before I knew what Dragon Ball GT was...

The Inevitable end

After 325 chapter the story was drawn to an end (pun not intended... at first). It may not have been the best and most fulfilling one but it was the perfect closure we needed; peace was restored for a long time Gohan was married and independent with a promising child and Goku found a new hero who is the reincarnated version of the most ruthless villain, the only one who effectively destroyed the earth!Thus a perfect hero in his second life, kind yet inexperienced and full of power. Though we had a hard time accepting that , Akira Toriyama ensured peace that seemed to last. But with the never ending requests coupled with the creators consent and Funimations opportunity to milk yet another franchise...

Let's face it: when you love something to the point of Nostalgia it becomes hard to admit that it had to end even if the ending was right and satisfying, people will want more at any cause even if it ruins the franchise and what it stood for.
We all know that secretly, the only thing fans wanted was to relive the experience even if forced to choose between moving on or a more plausible alternative. Well, this happens when people aren't careful for what they wish for... 64 episodes of filler.

Grand Tour... Seriously?

Every transition in dragon ball from dragon gang to Z warrior had it's traits. We all enjoyed the journey to find the dragon ball and the friendship and adventure which had Chinese element based on "The journey to the west" as we explored the universe and it's many enemies we had the occasional comical relief be it the odd names (Briefs, pilaf, Oolong) or the perverted hermit. A good writer knows when to sacrifice element for innovative features to ensure the good rating which leads to the following:
I think Akira Toriyama realized that you cannot mix two crucial elements while maintaining an exciting story.When the journey ended, Toriyama went another path and choose a more action orientated approach by implementing other worlds and life forms deeming earthlings too weak to spice it up he also indulged his character into the new found dimension. Drifting away from the trusty monkey king to powerful Saiyan Effectively differentiating the two parts of goku's life. Dragon ball GT however, went a different way...

The Goku in Gt feels like a desperate attempt to recreate the dragon ball journey on a galactic level

Although there was a debatable superior among the two parts, they where both acknowledged as great due to their respective properties. But what if you could take the best out of both? The answer is: you can't.
By introducing the black-star dragon balls (and pilaf for some reason I can't possibly understand) which turned Goku back into the child he was in the beginning of all saga's, giving him somewhat the same allure as in dragon ball. It is pretty obvious that that such convenience-with the exception of made up dragon ball scattering around the galaxy- did not have any significant impact on Goku or his surrounding. Not only did they have a start, they also had a "re-newed" hero to attrack long time fans. If not for that then why didn't they just keep Uub like intended?  And (off-topic)  for god's sake why is vegeta's hair flat ?!

Thoug it was "supervised" by Akira Toriyama it did not mean it was his work, the only thing memorable added to the mix that could be credited to him was the super saiyan 4 form which was beyond believe.
GT went to far and contradicted  the original work by forcing important characters who settled down in the peaceful years  to take up the mantel as earth protector once again. Not only does it feel cheap it also has consequences on your image of the said characters in the original work, like Trunks & Goten who I can't stand in GT and because of it cannot 'un-link' the image of the young duo in Dragon ball z and their unfortunate  aftermath. It was ridiculously obvious that the younger generation was more interesting by the teenage life than battle, but due to the incomplete list of active Z- warriors and active saiyans left at the end of chapter 425 they had to improvise and make one dysfunctional group of fighters who were extra's for the only 2 characters who mattered, I don't even have to mention their names it is that obvious.

That is it... I may hit some nerves I may get some positive feedback, but I'm only describing the obvious. Do comment about your own view, It would be appreciated.

Also...

If you enjoyed this, you have no right to call the Garlic -and any other filler- bad

M.

• Follow me on Facebook / twitter (Subscribe! )

Memories (1995), The segmented film.

Directed by: Kôji Morimoto, Katsuhiro Otomo, Tensai Okamura | Written by: Satoshi Kon (segment 1),Katsuhiro Otomo
Produced by: Banday Visual Company, Studio 4°C, Shochiku, Kodamsha Co.

Awards

• Ofuji Noburo Award; Mainichi Film Concours

Genre

Fantasy, Sci-Fi, Thriller






 The collaboration of 4 Animation masters as suggested in the many trailers and posters isn't falls. The 1995 segmented film Memories forms an ensemble of 3 feature films mostly based on Otomo's manga short stories. There is no question that the quality and dept is admirable among other things, but does it work as an ensemble?

The film caught my interest particularly because of the collaboration of Satoshi Kon and Katsuhiro Otomo in the first segment "Magnetic Rose". Little did I know that he did not actually direct anything until his first work in 1998 leaving me displeased with the fact he only did the script Notes

But you cannot judge such segments based out of petty presumptuousness. A film directed by such artist behind , The Animatrix "Beyond" (2003), Wolf's Rain (2003) and not to mention Otomo's previous work Akira (1982/1988). With Koji Morimoto and Tensai Okamura's experience in the countless anime works they directed/wrote/animated, the ideal episode-like feature film was not far away and made with utmost quality and efficiency. But as a full film? "efficiency" becomes a debatable praise.

The story cannot be seen as a whole and therefore cannot be review as such, the three episodes share no connection nor do they have any continuation what so ever. Unlike The Animatrix and Batman: Gotham Knight (2008) which -like this movie- was a collective of anime studios and director including Madhouse.

Story [SPOILER]

Episode 1

Magnetic Rose

Directed by: Kôji Morimoto | Written by: Katsuhiro Otomo,  Satoshi Kon (script)

A team of deep-space  salvage freighter get a distress signal coming from the space graveyard, they are lead to an asteroid made solely by space scrap when our two protagonists the down to earth Heinz and nonchalant womanizer Miguel are send to trace the signal which leads them into the web of a noble Opera singer or what is left of her and her tragic life while dealing with haunting memories that defy reality in every way raising the question of that distress signal was real to begin with.

This was hands down the best episode and a potential undeveloped story which could have lead to a prolonged film. The dept  and story have a tremendous impact which isn't replicated by the more easy going following episodes. Magnetic Rose set a league of it's own. The magnificent decor is paraded by it's clever 360° view which in turn stimulates the chaotic and frightening nature of particular scenes. 

This episode is a film on it's own and it is a shame that it was left "unfinished" and squeezed with two other episodes. The highlight of this movie, but then again that might just be me.

Episode 2

Stink Bomb

Directed by: Tensai Okamura | Written by: Katsuhiro Otomo

Nobuo, an employee at a medical company who is bothered by a nasty flu is advice by colleagues to try the "experimental medicine" in the Chiefs office which he mistakes for cold pills . When he wakes up the next morning he is horrified by the sight of all the dead employees who died by mysterious causes. Nobuo who foolishly ignore the cause of these deaths is tasked by the headquarter to go to Tokyo with the medical samples and files unbeknownst to the headquarter that the medicine in his body made him a walking bio-weapon which spreads his body odor like poison gas.
The dark comedy is very present in this episode as you witness an epidemic caused by a dimwit everyday man which happened to take the wrong medical sample. Nobuo is in every sense the pinnacle of stupidity. It should strike every person as odd when every one near him suddenly dies, animals and humans alike. It should clear some confusion. Not with Nobuo I was struck between entertainment and frustration by the excessive stupidity brought forth by this man. I had a hard time digesting the fact that a man covered inside deadly gas fails to understand the true cause of it even when the military is blocking his path with their every move to hinder the virus.




Episode 3

Cannon Flodder

Directed | Written by: Katsuhiro Otomo

In a heavily walled city which contains canon at every corner and every few houses in order to fight an unknown city which is implied to be nonexistent.We witness young boy who wishes to become a cannon shooter unlike his father who is a cannon-loader.

The last and more random episode of the bunch. The animation style and feel of the overall episode is more western-like due to the rough thick lines and chaotic shading. The story itself is meaningless pleasantry portrayed in a linear fashion. The few shots after the enormous Red cannon which is central and symbolic to the city strength, are seen as craters in an empty wasteland which questions the very existence of this "moving city", an interesting concept in this short episode next to the animation style.

Rating
8,5 -  Sci-Fi/ Fantasy entertainment pack
Though I enjoyed the bundle of episodes I'm still stupefied of the difference in quality between episodes. The collective rating is slightly down played by the episodes following "Magnetic Rose" which ended with a silent yet full-filling open ending. I'm well aware that the stories are based off the many short stories of Otomo which, without a doubt, is full of better alternatives to form a coherent pack of episode. I'd say it's a good time but the dept of every episode diminishes considerably due to the overwhelming performance of it's introductory episode. But opinions may vary, and so does taste. Comment bellow about your personal experience concerning this film

M.

• Follow me on Facebook / twitter (Subscribe! )

Grave Of The Fireflies (1988), The World War tragedy

Directed by: Isao Takahta | Written by: Isao Takahata, Akiyuki Nosaka (Novel)
Produced by: Studo Ghibli

Awards

• Special Award;  31st Blue Ribbon Awards
• Animation Feature Film (Animation Jury Award) | Rights of the Child Award; 3rd Chicago International Children's Festival

"It's hard to tell if Fireflies represents a veiled Hiroshima or not (nuclear fallout isn't even hinted at). But the story of the two kids is so tragic the details slip away." Christopher Null, Filmcritic.com

The Animated War tragedy adaptation of the Naoki Prize winning novel by Akiyuki Nosaka  Hotaru no Haka (1967). When the film launched in 1988 it was well received thrughout the 90's especially to the acclaimed Chicago Times critic Roger Ebert. It's obvious that this film earned it's place among the many films that stand out  in the Ghibli Collection

Grave of the Fireflies is a true loss of words concerning the profound dept an Animation can deliver. Despite the fantasy filled animated adventure epics, Studio Ghibli reminds us that they can still deliver the much needed sentimental value in a respectable non-forced fashion. You are left with the sole thought that lingers in your mind far after the movie ends: what if that happened to me?

Story

The story starts at Sannomiya station at the end of Word War II in 1945 as we witness the last moments of a malnourished weak 14 year old boy sorted with the trash while his last possession is thrown away revealing ashes. That same object, an old fruit drops box is a recurring item in the film that will gradually bare sentimental value to the link between Seita (Tsutomi Tatsumi) and his 4 year old sister Setsuko (Ayano Shiraishi) who went from a stern but happy life to homeless and on their own after the fire bomb raids in 1945 by the hands of American Air crafts which is shown after the young man's death. Scenes that would seem unbearable for a boy that age are taken surprisingly well despite the fact that it would cause emotional breakdown in most cases. It is heavily implied in this film that he kept strong for his sister which he took care of most of the film making her his everyday concern and priority even after ration waved and the odds where against him.

What is shown as story can be depicted as a stream of events that deteriorate as Seita tries to nourish and protect her 4 year old sister after her mother died in the aforementioned air raid, attacks which happened frequently throughout the movie incensing fear in an already  struggling civilization. It can only be described as disturbing when a a boy witness the gruesome incident first hand carrying it in his heart shielded from her innocent sister. The bravery shown by this young boy was encouraging and was the main fuel of this movie. Despite the little character development and the fact that most of the story line was substituted with emotional imagery. You can still connect to some extent to the hardship through the well written screenplay and tragedy in general.

 It is refreshing angle from the usual soldier-driven war tragedies were civilians are pestered by opposing forces or were the movie is seen from a battalion's perspective pushing its people to the background as recurring characters for emotive credibility. Soldiers were mentioned and implied in his movie but it did just fine without dragging the unconditional loss of their many men in front of the screen as a pity method. I liked that...

Rating

8,9 - Emotional dept with epic proportions

I can proudly admit that this is the most emotional awakening Anime film I've ever seen. It even gave Millennium Actress, a film I so dearly admire, a run for it's money. Even as apathetic person I am couldn't shake the image of the well projected reality that is war time, seeing myself in the same unbarable situation.

If you are looking for a well portrayed "cry-fest", do not pass off this one. Comment below and share feedback as always.

M.

• Follow me on Facebook / twitter (Subscribe! )

Also...

I have extra's that came with the dvd (Character art,interviews,etc.), I intend to upload them this week. Stay tuned for more.

"Ohayo" (Good Morning) a NHK short film by Satoshi Kon

Ohayo (オハヨウ), Ani-Kuri 15 

Ani-Kuri 15 where 15 Short Films that ran on the japanese tv channel Nippon Hōsō Kyōkai (NHK) 3 seasons long as fillers between programs. I was able to retrieve the last one made by satoshi Kon in 2008. For those who saw it on Twitter/Facebook/Google+ keep sharing!

Paprika

2006

• Visit the film hub for updates

*Also I will review Paprika AFTER I finish one or two other Films.

Comment below !

Tokyo Godfathers (2003), A strange winter story.

Directed by: Satoshi Kon, Shogo Furuya (Co-directed) | Written by: Satoshi Kon, Keiko Nobumoto

Award(s)

• Best Animated Film; Mainichi Film Awards
• Audience Award | Best Asian Film; Neuchâtel International Fantasy Film Festival
• Best Animated Feature Film | Orient Express Award - Special Mention; Sitges - Catalonian International Film Festival

"Although apt for family consumption, Tokyo Godfathers still keeps one of the director's obsessions: psychologically worn-out female characters, on the brink of despair, even though here the disturbed spirit is not one of the main characters." - Luis Canau (Translated by Carla Graça), Cinedie Asia 

The 2003 film that premiered at the Big Apple Anime Festival (BAAF), which marked it's last festival held as of yet, Tokyo Godfathers is a cozy turn of the reality-mashing flicks driven by fantasy and Romance or straight criminal paranoia. It's a strange holiday story that won't end up in bed time stories as most heroes aren't homeless, burned out,running away and hiding emotional scars while trying to return a baby they found in the garbage...

I have got to admit that I was expecting something mind blowing around every corner being it hallucinations or a play within a play. It wasn't that much saddening as exciting to see this film enlist in a new direction after two successful films. After all, I got the impression Satoshi Kon has a nag for interesting stories that do not necessarily contain the same elements. Despite this they are still some traces that bend toward excessive daydreaming.

Story

When a Washed out alcoholic, A homosexual cross-dresser and a runaway tomboyish girl  find a dumped baby with a note during a garbage search the day before Christmas. They are split between reporting it to the police or personally returning the child to it's parents or having to live with the fact that the baby's parent will be a cross-dresser who longs for a child. It is obvious to say that they chose the latter.

The comical side of the story defined by the strange group dynamic surfaced every now and then were entertaining. But I couldn't shake the fact that the ones paying for transportation fees are unhoused without any means of income (seriously, even I couldn't pay for the trips they made...). 

I also had a major problem with the plot structure of this film. Despite the great middle and unexpected ending it still felt like I was thrown into a movie that started 20 minutes ago It did not share it's predecessors strong plot structure and flawless introductions. The abrut start of the movie which felt like a considerable loss in story development. If it wasn't for the quick development later on and the subtitle character development along the way it would have stuck as a slightly incomplete plot.
As I said before the group dynamic between the 3 individuals drove the story brought adventure together with the events that occurred in this film, filling each others short coming and gradually solving each others issues. The diversity of personality, preferences and moral conduct is dysfunctional which causes 3 close friends to spice up the most normal journey turning Tokyo over the top in the most hysterical situations.

Though this movie wasn't as fantasy indulged as it's predecessors, there was still some hints of it in flash backs and in terms of making a point. I think the influence of Keiko Nobumoto Screenplay writer of such works as  Cowboy Bebop the Movie: Knockin' on Heaven's Door (2001), Macross Plus (1994/1995) and  the anime/manga Wolf's Rain (2003/2004) had a positive outcome on this movie.

Rating
8,5 - An uncanny Tokyo drama
As much as I loved this movie I could not shake the feeling that the lead of this movie could have been improved. Despite that this movie is unlike any drama-adventure I've seen before containing classic anime characteristics while maintaining a steady story. Might not be Satoshi Kon's best work, But it still is one of his greatest.  Comment and send feedback about your personal rating.



M.

• Follow me on Facebook / twitter (Subscribe! )

Osarunime.com is officially up!

Awww yes.

If you read my previous post , I mentioned getting a custom domain at the end of April. Well that got delayed... However, I finally finalized the transaction! Brought to you by Godaddy!

Osarunime.com is here! Supposedly it will redirect my old URL to www.osarunime.com together with osarunime.com in 24 hours. Again, for the few that visit my blog regularly;  make sure to comment and share!  Like on Facebook and follow on Twitter.  

Also...

Tokyo Godfathers 

Expect the 2004 film by Satoshi Kon later this day. Visit the Satoshi Kon film hub or subscribe to be informed.

Comment Away!

 

Making Of Tokyo Godfathers 2003 [video inside post]

Directed by: Satoshi Kon, Shogo Furuya (co-directed) | Written by: Satoshi Kon, Keiko Nobumoto
A preview of the 2003 film directed and written by the late Satoshi Kon I'm about to review. The 20 minute video has essential information on the production of this film and it's voice actors.
The video comes with the DVD, it has Japanese audio and Subtitles at choice (though I only uploaded the English one at this time). Tokyo Godfathers was released on the 28th of November in 2003 distributed by Destination Films.

*I was planning on releasing this Yesterday but I had some subtitles problems... Well, three unknown programs later fixed it.

 Leave comments below!

Steam Boy (2004), Otomo's Steam Punk bravery

Directed by: Katsuhiro Otomo | Written by: Sadayuki Murai, Katsuhiro Otomo
Produced by: Sunrise

Award(s)

• Best Animated Feature Film; 37th Sitges - Catalonian International Film Festival

"The movie has intriguing ideas about human lives ruled by machines, which is why the technology in "Steamboy" seems promising. Otomo has reportedly been working on the film for 10 years, drawing countless animation cels by hand and also using computer resources; why, with all the effort he put into the film's construction, did he neglect to go anywhere interesting with the plot?  - Roger Ebert, Chicago Sun-Times

Steam Boy, the result of my irresponsible negligence of curfew (to quote a few) and my obsession with 10-11 PM blockbusters. One movie which is embedded in my childhood as the one reminder that cartoon violence is indeed real... in japan. The joint screenplay of both Akira fame writer/director Katsuhiro Otomo & Sadayuki Murai, known for his excellent screenplay in Satoshi Kon-directed films, is remarkably blank though...

SteamBoy is an animated Steam-punk by the book spiced up by anime violence and Katsuhiro Otomo's radical touch which bears similarities to it's predecessor Metropolis in terms of chaos and the characters inept ability to cope with it in times of need and plot twists, which isn't necessarily a positive thing.

Premise

The story of a young impulsive boy James Ray Steam (Anne Suzuki) with gifted knowledge about steam-technology on a genius scale is hunted down by strange men after receiving a package from his presumed deceased father in an accident. The boy find himself caught in a conflict as he finds out the package is the most advanced energy source in the fictional 19th century. Which is in fact, the story in a nutshell. This movie fails to show a significant amount of debt and logic; you are left puzzled with the character's decisions and state of mind. Especially James' father and grandfather who are in conflict with each other. You are expected to draw your excitement out of the countless well animated and thought through escape scenes in the beginning of the movie and the Epic outcome & background battles, did I mention the top-notch quality already?

I was gradually disappointed when the flaws from it's 2001 successors where taken over instead of discarded for deeper plot and build-up. After watching both movies  I was overwhelmed by indecision as to the movie actually ended properly and weather I enjoyed it or mildly liked it. You'd think that screenplay brought forth by the same mind of the well received stories of Perfect blue (1998) & Millennium Actress (2001) would have the means to get the job done with the help of Katsuhiro Otomo no-less, Or is that too much to ask?

Despite all that, I still enjoyed the film. The escape scenes where well thought, the enormous scale of this film could only be described as breath-taking mixed with the insane visuals, the character design was corny yet fitting. The revelation of the secret that started with one Steamball, an immense steam source was well planned and captivating despite the fact that it floated on a somewhat flat story. For what it counts, You could really feel the 19th century which was well portrayed.

Rating

7,9 -  Imperfect steam-punk story
This movie is something I'll remember from my childhood for it's creative concept and sharp-visuals. But the blank going-nowhere plot (which I did not mind back then) drags this animated wonder down with it. I still urges anyone to see this movie because despite it's flaws,  It's still a good time If you do not over think it... or think logically in general. 
If you did see it,  feel free to comment and leave your thoughts




M.

• Follow me on Facebook / twitter (Subscribe! )

Ponyo on the cliff (2008), The not so credibly sea adventure.

Directed | Written by: Hayao Miyazaki
Produced by: Studio Ghibli

Awards

• Best Composer; 3rd Asian Film Awards
• Animation Of The Year - Best Film Score; 32nd Japanese Academy Prize
• Ofuji Noburo Award;  63rd Mainichi Film Concours
• Future Film Festival Digital Award - Special Mention |Mimmo Rotella Foundation Award; 65th Venice Film Festival

""Gake no Ue no Ponyo (Ponyo on the Cliff by the Sea)," exceeds even "Totoro" in simplicity, with a core target audience about as old as its hero — 5. This is not to say that those who have mastered hiragana (or the alphabet) will be bored, as long as they leave their expectations for the usual Miyazaki film at the door."- Mark Shilling, The Japan Times

The surprising turn of the Ghibli-signed animated Epics filled with young heroes and brave tales to joyful eye-popping adventure was quite well-received in 2008 among critics and younger audiences. Ponyo sure came unexpected to the core-fans of the Miyazaki titles, well at least the  female role is present.


The joyful successor of films like Nausicaä Of The Valley Of The Wind (1984) The award showered Princess Mononoke (1999) ,the Oscar winning Spirited Away (2001), The oscar nominated Howls Moving Castle (2004) all spawned from Hayao Miyazaki's mind does not fail to please an audience. However, even if it became Anime of the year at the prestigious Japanese Academy Awards in 2009 I still think it failed to reach that level we are all acquainted to.

Despite the aforementioned reflection on this film. I would like to clarify the fact that this isn't a bad film. Better yet I was quite fond of it and the clear and vivid visuals are the greatest I've ever seen in terms of simplistic shading, it is hard to loose interest with the waves dancing on the screen with a constant tone of blue. There is nothing wrong with this movie...except for it's lowered target demography which tends to downplay potential story and credible conscientious choices. Keep in mind that I am way to old for this movie, I wish I would have known before hand, should've taken the hint from the trailer...

Story

When a humanoid goldfish like creature escapes from some kind of magical captivity cast upon her and her many dozen siblings by her father , wizard Fujimoto (Jôji Tokoro) to strand on seashore were her life is saved from dehydration by a 5 year old boy Sôsuke (Hiroki Doi).
Realizing the dangerous of human explore to little Ponyo and the consequences of it Fujimoto takes her back suppressing the human DNA she was exposed to which is making her human while unleashing a concentrated power deep beneath the sea that will awaken the next Devonian age with her second break-out attempt and her successful change to a human toddler.
The magical bond between a two beings to young to be determined as love is the center of this film and the core that drives this stories and it's lush visuals. It strikes me as impressive how complicated choices are dealt with such care and simplicity without undermining the estimated intelligent of it's viewers unlike western animation. Like when Sôsuke has to either truly "love" her and make her fully human or leaving her to become sea foam. The destruction and flood of the planet is very present and lively drawn (Fun fact: Hayao Miyazaki himself took the task of drawing the waves in this film. Worked out quite good believe me).

However, when the serious intentions of the movies are downplayed to fit the demographic expectation it took the dramatic punch out of it. I am always used to fully developed content from blood to full-blown heroism, this movie however, does not share these qualities. Sure, I enjoyed the adventures and the amazing escape when the flood was unleashed both underwater and above water (mostly underwater...that was magical). But the overall importance was lost when the pure-hearted decision was milked ad pushed to the foreground too many times. That is all good and sweet for children but it pushed so many amazing things to the background like the kind protective independent mom and the father at sea stuck with many other boots on unknown sea right after he failed to make it to see his family <--- interesting stuff right there, didn't become that interesting in my opinion.

Rating
7,5 - Children's sea adventure
This rating might be unfair mainly because I far exceed the expected age for this movie. But I still think that this movie is good and that a younger audience will fully enjoy it and so will a more sentimental one. The visuals and character are truly great especially the bold mother and her crazy driving skills. But, -and i can't say it enough- it still doesn't reach the Hayao Miyazaki standards that captivated me at an amazing rate.I'm pretty sure that my past self would have rated this 8,9 though. But right now, I don't think I will watch it again...so soon. Will you?



M.

• Follow me on Facebook / twitter (Subscribe! )