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Mar 5, 2021
When you have a product with a differential, whatever it may be, something that makes it unique and places it above competitors, you don't just throw it away, you don't waste it. I know Ghibli was never one to think in terms of profit (they make movies at a rate of 5 mins per month), but why? Simply why? Was it for the sake of experimentation? Was it because the times are changing and the studio needed an upgrade? How many of us, as its more or less loyal audience, think that computer animation is, in whatever form, good or bad, an upgrade for the
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most artistically emblematic animation studio in cinema history?
If you watched the 2013 documentary on Studio Ghibli you remember when Hayao went to see a screening of his son Goro's first feature. He seemed to have been cringed the f*ck out of his senses after watching his son emulate his work beat by beat in a desperate attempt to gain his approval or some other daddy issue thing.
We were all cringed out Miyazaki after watching 'Earwig'.
Oddly enough, the master did oversee the process of writing himself: he holds a credit for story development. You could even say this is a strong point in the film, but I could argue otherwise. I think probably the most uncomfortable thing here was to see the old beloved Ghibli formula, if there is such a thing, beaten to death with software. And I don't mind sounding anachronistic, because we're talking about being artistically cohesive, not adapting to the times. The Ghibli narrative style was birthed alongside an aesthetic approach and both work symbiotically. To divorce them is to lose the differential, to keep one but throw the other away is more than just to throw us out of our comfort zone, it is to murder in cold blood that which we all held sacred: artistic cohesion.
Now suppose for a second that as an audience we're willing to leave all that behind, and that we're open for a change of direction. Couldn't you at least make the movie look pretty? Again, 'Ghibli reinvented' sounds like an extremely hard, however interesting thing to do creatively, but 'classic Ghibli undertones dully reproduced in plastic' does not. It's like watching a loved one being Frankensteined, you sort of awkwardly both recognize them and not.
It's like everything comes together to make this look like a hate letter from a son to his father. The distancing from hand-drawn animation is distancing from Hayao Miyazaki himself, it is a statement. Even the old grumpy, absentee father figure-type character who literally only says "don't disturb me" every five minutes - Goro was gracious enough to take that phrase in its repetitiveness and turn it into a rock and roll riff for the movie's main theme song, which he wrote himself. A sort of symbol for what it means to use art as a means to deal with the pain of growing up in a conflicted household, I guess.
The more or less active participation of Hayao in the early stages of development of the movie carry out a meaning in itself, also. It's kind of passing the torch over to the next generation, but reluctantly. He once defined himself as a "positive pessimist", and while 'Earwig' has given us hope that the gates at Studio Ghibli are still open for business, it has shown us that after the master himself is gone, the party's over. In that sense, I think every Ghibli fan right now is a positive pessimist.
Reviewer’s Rating: 4
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Jul 9, 2016
Satoshi Kon writes and directs this animated feature, may he rest in peace. Truly a legendary genius, a mind like few we were lucky enough was put into making films.
What a masterpiece, Jesus.
A genuine hymn to life, lead by three homeless underdogs with broken spirits, forgotten by the world and in such need of love, desperately climbing their way up to redemption and knockin' on heaven's door with this holy second-chance-awarding abandoned baby they stumble upon, whose life they embark on an urban adventure to save on a Christmas Eve night.
A cinematic odyssey with characters of such humanity their broken dreams, flaws, hopes and love
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disencounters feel absolutely 3D. So striking, so emotional. Driven through this perfect-ass script that develops smoothly, unpredictably and comfortably; with very clever storytelling puns, sparkling humour and beautiful characters.
AN ANIME ABOUT LIFE. Tokyo Godfathers is the very definition of what a slice of life movie should be. A collection of losers desperately trying to give some sense to their lives healing one another by complementing each others' awesome and highly fucked up personalities. This is it, this is what these guys should be making in the studios.
Details wise? Sound? Good I guess. The music was sensible and accurate in its timing. That's something I noticed. And the voice acting hilarious. Animation? Christ where do I start. I've never seen such movement and expression and life in animated characters. Their faces, their reactions, their emotional peaks; everything looks so natural and spontaneous in them. Simply beautiful. The visuals of the world's largest city apart from looking cool as fuck help constitute the idea of the characters being lost in a chaotic sea of human activity, where business and sin ignore them and their problems. They're alone in their quest, and it's so sad and funny and moving at the same time. The feeling of joyous melancholy is so strong when the credits start rolling down.
Bravo maestro. 10/10 would bang, at least this lowly teenage spectator who takes off his hat before this masterpiece. All of these VERY clever elements coexist perfectly in Satoshi Kon's picture, and you just can't help but flood your heart with delight and joy. It is the kind of film that reminds you how awesome it is to be alive, it really does.
Reviewer’s Rating: 10
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Dec 3, 2015
*No spoilers ahead.*
When something is absolutely impeccable, when it excels at every possible requirement of the viewer and results more of a spiritual journey than a simple movie, I don't doubt for even five seconds giving it a 10. And let me tell you Byousoku 5 Centimeter, is a rotund 10.
It follows the love encounters of three teenagers. A boy, Tohno Takaki; and two girls, Sumida Kanae and Shinohara Akari; focusing more in the first aforementioned. Takaki and Akari are deeply in love ever since their childhood, during which they used to observe the petals of a cherry tree fall, supposedly, at five centimetres per
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second. Kanae is later introduced, when Takaki grows up and things change for him.
It is probably the most human movie I have ever seen, and ironically it doesn't star a single human being in it. Through poetic symbolisms and breathtaking speeches it illustrates the inevitable and infinite pain experienced by teenagers, the most conflictive and confused souls, as they are faced with the overwhelming eternity of life and possibility, filling them with anxiety as the obligingness of decisions forbids their immortal love and oppresses their desire for spiritual liberation.
It is pure in every possible sense of the word. It brings this warm feeling of impotence to the viewer by the sympathy it generates with its brilliantly executed characters and their struggle. Byousoku 5 Centimeter can be considered a top reference of the genre 'slice of life', as it defines the term sublimely.
The art compliments the brilliance of the story, with an epic cinematography full of warm colours and beautiful visuals that help construct the pleasant vibe of the picture.
I have absolutely no negative comments regarding this masterpiece. Every single second of it resulted delighting to my eyes, the enjoyment was maximum, you feel like a petal of a cherry tree harmonically falling at five centimetres per second while watching it. If you are to see it, I hope I haven't kicked your expectations too high. Anyway if you are able to appreciate fine, quality cinema I doubt it disappoints you. The director Makoto Shinkai has brought nothing but subtle work to the vast table of the Seventh Art. Excellent, heart-warming stories complimented with outstanding modern animation, and Byousoku 5 Centimeter is not the exception at all.
Reviewer’s Rating: 10
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Nov 26, 2015
Right, I feel like I should state two things: this is my first review, at least on MyAnimeList; and there are no spoilers in it.
'Paprika' follows Dr. Chiba Atsuko, a psychiatrist who, through a recently invented and innovating device that allows her to enter her patients' dreams, treats them on a subconscious level transforming herself into her read haired alter ego Paprika once inside their minds. Several prototypes of said artefact are stolen, and Atsuko alongside Paprika find themselves, or should I say herself, involved in a quite complicated and bizarre adventure that, however dangerous, may repair her spirit.
It's one of those films you recommend
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only to people you know are interested in the subjects it implicates, in this case the mind, dreams, human consciousness and strong, Alice-In-Wonderland-type visual impact. It is definitely not a movie for close minded people or audiences that are accustomed to mediocre Hollywood cinema.
It's not an easy one to watch, but if one is able to effortlessly digest its complex cinematography, whose already mentioned visual impact is accurate only due to the brilliant realism of the animation, the story, however philosophically powerful and plot-twisty, should not be a problem to process, since the symbolic meaning of each event is presented to the spectator quite digested and explicit, unlike films such as 'End Of Evangelion' or 'Akira'.
Where the movie excels is in its characters. It contains personalities whose ideals are antagonistic but both valid and worth considering. And it is there, in the triggering of a dilemma in the viewer regarding the psychological profile of each character, where the social critique and main moral message lie and where the director truly succeeds.
If you haven't seen it but are planning on doing so, expect lots of psychology, science fiction, psychedelic awesome art, suspense and of course a great end; which may question all the previous.
Reviewer’s Rating: 9
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