The Other Side of Animation 276: Drifting Home Review

(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com/camseyeview. It would help support my work, and keep the website up. Thanks for checking out my work, and I hope you like this review!)

Studio Colorido has been a rather surprising animation studio that has put out an eclectic resume of work. From short films and net animations, to working on major properties like Pokemon, they have put their name down as a quality animation studio. Even their film releases have mostly been good. Granted, I prefer Penguin Highway over A Whisker Away, but not every film is going to be a home run for studios. Every animation studio in Japan’s animation industry is going to have a dud and a hit and it’s never going to be 100% consistent. Still, a studio like MAPPA, Science Saru, and Colorido has the clout to make an announcement and you make sure you see it, because they are crafting journeys like Drifting Home for Netflix, and it’s a real gem you should all check out. 

Directed by Hiroyasu Ishida, the film is co-written by Ishida, Hayashi Mori, and Minaka Sakamoto. It stars a group of six kids. They are Kosuke Kumagai, dubbed by Bryce Papenbrook, Natsume Touchi, dubbed by Cassandra Morris, Taishi Koiwai, dubbed by Alex Cazares, Yuzuru Tachibana, dubbed by Ben Diskin, Reina Hama, dubbed by Abby Trott, and Juri Ando, dubbed by Cherami Leigh. As they venture around an old abandoned apartment building that is soon to be torn down, they all end up getting caught in a shift in scenery and location as the apartment building they are on is swiftly sent into the ocean along with them. As they try to find out the situation and what to do about it exactly, they also encounter a boy who may or may not be a ghost named Noppo, dubbed by Elliot Fletcher. Can our group of kids find a way back home while discovering what their friendship and/or relationships mean to one another? 

Do you know those old 80s/90s kids’ films that didn’t do well, but became cult classics and beloved childhood favorites? This is a modern-day take on those types of movies where a bunch of kids are the main focus, and we follow them through their journey on a metaphorical and literal memory of a giant building. A majority of the film is the kids traversing the open sea and checking out other buildings that are floating in the water, looking for food and reminiscing about the relationship each other shares. Now, while this film is at two hours, there are multiple points where they show montages of the kids interacting with one another and growing as individuals. It’s a coming-of-age story about kids who encounter themes of found family, loss, and memories first, and then an adventure film second. Sure, some characters show more growth than others, but the ones that get the focus make sense. It’s an intensely touching story that, while stumbling in how it handles its drama in the third act with how repetitive it gets, when it hits the right emotional note, it can be a real punch into the emotions. What this review is saying is that Its heart is in the right place. 




The film’s animation is more or less what you would and should expect from the talented artists at Colorido. They have always had a knack for having more expressive characters than most studios are willing or able to go the distance with how emotional the characters are on screen. It’s a studio with a distinct style, which is needed nowadays in order to stand out. Still, the combination of character animation, lush colors, beautiful backgrounds, and how it’s able to mix in 2D and CGI with relative ease makes this a gorgeous movie to look at. It takes its time to have moments where you can feel enthralled in the environment around our leads, and absorb the emotional headspace they are in when the story calls for them to have some kind of revelation or epiphany about what exactly is going on with them. It doesn’t hurt either that the cast is great. As mentioned above, you have a fantastic English dub cast of Bryce Papenbrook, Cassandra Lee Morris, Elliot Fletcher, Benjamin Diskin, Abby Trott, Cherami Leigh, and a surprise appearance of John DiMaggio, which is surreal. Not that it’s weird to see DiMaggio in anime dubs because he used to dub a lot of anime back in the day, but to see him again after so long being in mostly US-based animation is just great. Returning from composing the music from Penguin Highway is composer Umitaro Abe, and he brings a magical and adventurous vibe to the soundtrack. I mean, when you are a group of kids that are going across the high seas on a giant building, well, it should be fun and fanciful. 





While a touch too unevenly paced at two hours, Drifting Home is a charming journey a ton of kids take through memories about family, friendship, and dealing with loss and change. It could have balanced out its drama better, but it’s still a compelling and enjoyable ride with Studio Colorido’s distinct and colorful animation style, while also including a cast of likable child characters and a complex story about found family and caring for one another. It might not be as good as the director’s previous film Penguin Highway, but Drifting Home is a stellar experience that anyone looking for good Japanese-animated films to watch should absolutely check out. Now then, next time we will be looking at yet another Netflix exclusive, so be on the lookout for what it is! 

Rating: Go See It!

The Other Side of Animation 176: Ni No Kuni Review

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(If you like what you see, you can go to camseyeview.biz to see more of my work on video game reviews, editorials, lists, Kickstarters, developer interviews, and review/talk about animated films. If you would like, consider contributing to my Patreon at patreon.com/camseyeview. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

Well, it’s 2020. The start of the New Year, a new decade, and I want to focus on the feature-length animation side of things. This year is going to be wild because we have mostly original animated films coming out. I am always hopeful that what looks great turns out to be great, and films that might be bad eggs to be, well, not bad eggs. I’m always going to be like this going into every animated film no matter the situation, but sometimes, the walk down the yellow-brick road will lead to disappointing films. This where we are with the newest Netflix animation purchase, Ni No Kuni.

Directed by Yoshiyuki Momose, written by Akihiro Hino, based on the popular video game franchise, animated by Oriental Light and Magic (the same studio that animates the Pokémon anime and film series), and put out by Netflix here in the US, is our first major animated film. I was surprised by the sudden release of Ni No Kuni because once it was released in Japan last year, there was barely any news about it. No box office reports, and barely any reviews. Now that I’ve seen it, I can understand why. Why? Well, let’s dive in.

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The story revolves around three young teens named Yusuke Ninomiya, dubbed by Max Mittelman, Haruto Ichihara, dubbed by Alejandro Saab, and Kotona Takashina, dubbed by Abby Trott. They are best friends, even though some tension is there with Yusuke being confined to a wheelchair. One day, Kotona calls both Yusuke and Haruto because she’s being chased by a shadowy and creepy looking individual. The two boys save her, but were too late to prevent her from getting stabbed. As they try to take her to a hospital to get better, they almost get hit crossing a crosswalk. Luckily, instead of dying, Yusuke and Haruto get warped to a magical world known as Ni No Kuni. The two boys try to find their friend, and discover that this magical world runs parallel with their real world, and that every person in both worlds has a version of themselves. They find out that their friend Kotona who was hurt is the princess in the magical world. They also realize that if something happens in this magical world, it affects their world as well. Can the two find out how to make it back and solve the crisis of who attacked the princess and their friend?

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On paper, this movie looks like a fantasy feature that would offer something complex with its theme of what are you willing to do for the people you love. Unfortunately, the biggest downside to this film is the story and writing. The film is not based on either the first or second game, and I like that it tries its own story, but it’s too basic. The characters don’t evolve beyond their character traits, the side characters aren’t interesting, and the villain is boring. The drama of the two male leads should be strong enough to carry the film, but it’s not. It’s even more disappointing when the female lead is then relegated to the damsel in distress. This is bad, because the female leads in the first two games are great and active characters. Also, don’t be going in thinking the mystery of who tried to kill the two women to be captivating or something on the level of Knives Out. If you know anything about anime character designs, then you know who’s going to be the bad guy. The last-minute twists in the film are also so lazily integrated that I rolled my eyes when they happened.

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So, the script plays it safe, but what about the animation? Well, it looks like a Studio Ghibli and Studio Ponoc film, but that doesn’t mean it’s going to look as good as films from those studios. Like I said above, it’s animated by the people who do the Pokémon series and films, and it looks as good as some of their regular films, but at this point, you are wanting to see all of the little details that come with seeing a Ghibli or Ponoc film. You take it for granted, because while it’s not badly animated, it has nothing that I would say looks grand or theatrical. It also has CGI that doesn’t blend well. It doesn’t take full advantage of its setting, and that drags the experience down. What about the film’s voice work? Well, it’s not bad, and it at least tries to match the European/British tone of the two games. You have a solid cast including Max Mittelman, Alejandro Saab, Abby Trott, Patrick Seitz, Erica Lindbeck, Armen Taylor, Robbie Daymond, John DeMita, Spike Spencer, Wendee Lee, Kyle Hebert, Derek Stephen Prince, Kirk Thorton, Ray Chase, and others. Joe Hisaishi returns to compose the music, and it’s fine. Maybe it’s more of the Ghibli bias in me, or it’s the fact that another recent film he worked on, Children of the Sea had a much better soundtrack, but Ni No Kuni‘s usually iconic sound was not here. I think I liked one of the songs, and that’s it.

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I still stand by my opening statement that I go into every film hoping for the best. Sometimes I end up enjoying the film, and sometimes, I don’t. It helps that I also go in with a mid-level hype for every film because then, I don’t judge the film too harshly if they didn’t reach my impossible sky-high standards. Sadly, not every film can be a hit, and while I don’t think Ni No Kuni will be one of the worst animated films I have seen, it will be one of the most disappointing. I can now see why Netflix sort of buried the release of Ni No Kuni, and why most of the reviews were fairly mixed to negative. It had all of the elements to be a great film, but due to a bad script and weak story, the film falls flat. Check it out if you are curious, but there is no rush to watch Ni No Kuni. Now then, I think it’s time to check out Masaaki Yuasa’s newest film, Ride Your Wave.

Thanks for reading the review! I hope you all enjoyed reading it! If you would like to support my work, make sure to share it out, and if you want to become a Patreon supporter, then you can go to patreon.com/camseyeview. I will see you all next time!

Rating: Rent it (It’s on Netflix, but still)