The Other Side of Animation 120: Your Name 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. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

Warning/Heads up!: I will be talking about the story and will be spoiling a bit to explain my criticism. If you have not seen this film yet, then by all means, watch it, and then come back to this review. Enjoy!

To be honest, I was having a brain tickler of a time choosing the 120th review. The beginning part of the year is usually not swarmed with obviously bad or notoriously awful films. Instead, I decided to choose a popular film. It’s an animated film that was universally loved, and won critical acclaim around the world. This Japanese film in question is Your Name. Directed by Makoto Shinkai, Your Name was released back in 2016, and became the biggest animated hit in Japan of all time. It even beat out Spirited Away, which held the title for highest grossing Japanese-animated film. When it was competing in the 2016 Oscars, everyone online got mad that it didn’t get nominated. It’s a film that surpassed expectations, and got so big that Makoto Shinkai told fans of the film to back down on the praise. Not that he fully hated it, but he felt like the film was flawed, and some aspects could be fixed. So, for me, I have been fairly vocal about not liking it as much as everyone else, but do I think it’s bad? Well, let’s find out.

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Our story follows the life of two teens. They are named Taki Tachibana, voiced by Michael Sinterniklaas, and Mitsuha Miyamizu, voiced by Stephanie Sheh. These two live in different parts of Japan, where Taki lives in Tokyo, and Mitsuha lives in Itomori, a small rural town. They live their fairly typical teenage lives without many problems. Well, besides the fact that they have somehow swapped bodies with one another. Yeah, for one reason or another, they constantly wake up in the other’s body, and don’t know who the other is. It then becomes a ticking clock for the two to find out who the other is, all the while going through their days in each other’s body.

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As usual, let’s talk about the positives. Even if my opinion on Makoto Shinkai’s work does not line up with everyone else’s, I do still have a lot to say that’s positive. As usual, his animation in the later part of the 2000s is gorgeous. I say later part of the 2000s, because I was never a fan of early 2000s digital anime with the flat colors and bland designs. It was also the time period when anime was trying to combine 2D and CGI, and it was distracting. To me, Your Name is his best animation yet. Even from his first film, Shinkai has always had amazing skyscapes. They are just so vibrant and awe-inspiring. They are also grand in scope, and really show off how huge the sky is. While I find the character designs to be fairly generic, in terms of looking like most polished anime designs you see today, they do move well, and are fairly expressive. The colors are also very lavish. It’s a gorgeous movie no matter where you stand on the overall quality. There are plenty of scenes and shots that could be put into frames and hung on a wall.

While I am not always on board with teenage characters, and what archetypes Makoto Shinkai likes to use in his movies, I found myself really invested with the two leads in Your Name. One of my consistent problems with Makoto Shinkai films is that he constantly has the emotion down, but the characters never end up as that interesting. It has pulled me out of his films quite a lot. Thankfully, at least for me, I was constantly invested in what was going on. It was fun to see how being in each other’s bodies would affect how they would interact with people in their own respective days. I know we have seen this premise in films like Freaky Friday, and there are a few jokes that are predictable with this kind of plot point, but the gimmick of the plot for the first half starts out slow, and then builds up to a twist and sequences that will keep you invested throughout the two-hour runtime.

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So, what do I not like about the film? Let’s start with the small complaints. While I find the film to be downright visually gorgeous, the designs are not all that memorable. They look like most polished generic anime characters you can see in most anime these days. While the themes and style of film is all Makoto Shinkai, I wish he had his own designs as well. When I watch a film by Miyazaki, Takahata, Hosoda, and Yuasa, I can tell when it’s their film by their art style. I also found the anime-style opening to be fairly jarring, since this is a movie, and having an anime series intro feels clunky. I also found a few jokes to fall flat. Like, you know the first joke they are going to go to when the male lead finds himself in the body of the female lead. It’s rather tasteless. Sadly, they play out that joke a couple of times, and it’s really eye-rolling.

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So, let’s talk about the biggest problem I have with the film. It is not with people overhyping it. While I can make an argument about hype culture and how it can really be a film’s downfall, and the fact YouTubers hyped this film up without having the foresight to not hype it to heaven and back, that’s all temporary. The hype will die down, and you leave all levels of expectations at the door. The biggest problem with Your Name is the twist. About halfway through the film, something happens that makes the entire plot way more confusing than it should be. I know some people will tell me some half-baked college drop-out philosophy about the twist, but it simply ruined the film for me. You can tell me how it works, but even then, I’m still not going to like it. I don’t get why this couldn’t be this fun romantic mystery film about the two finding themselves. The twist simply makes a charming and simple plot way more complicated. I don’t get why this couldn’t be simply Freaky Friday, but animated. Another problem I have with this film, and I feel like most people don’t notice or care to bring up, is the fact that outside of the improvements, it’s another Makoto Shinkai film. While I think he is good at what he does, it does feel like he is making the same film over and over. Every film of his deals with teen romance, skyscapes, long distance relationships, and feeling alone. It’s almost the same exact story as his other films. At least with directors like Yuasa, Miyazaki, and Hosoda, they use the themes they like, but still make every film feel vibrant and different. While I was watching Your Name, I kept thinking back to his other films more so than seeing Your Name as its own film. There is nothing wrong with a director using familiar themes in all of his work, but you, at the very least, want every film to feel different. It’s why my favorite of Makoto Shinkai’s films is Children Who Chase Lost Voices. While it might be similar to the works of directors like Miyazaki, it feels different from his other films. I’m not mad or dislike Makoto Shinkai because he’s a bad filmmaker, because he’s not. I do not like his work, because it’s repetitive. I want him to expand on other ideas. I also get that some of his themes are tied to Japan’s culture, but the best animated films from Japan do not make me think of that. I want to feel like I can get where a film is coming from, despite its place of origin.

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I know I came off strong with the criticism, but do not misunderstand me. I do think Your Name is a good film. It’s beautiful, has endearing characters, the emotional moments are powerful, and the music is wonderful. I do not agree that it’s the best animated film of 2016, or when it was released in 2017 stateside, and I’ll admit, some bitterness towards the film was because people did overhype. I do see some people start to criticize it more in recent times, but they still enjoy it. I enjoyed Your Name, and when I don’t have other purchasable priorities on the mind, I will purchase a copy of Your Name. It’s a film that is worth experiencing, if you want to see non-Ghibli animated features. Personally, I prefer directors like Masaaki Yuasa and Mamoru Hosoda more, but I do think Makoto Shinkai is one of the great Japanese animation directors. I just want him to grow as an artist. Now then, let’s move to a Chinese-animated film that had some controversy behind it, and let’s talk about Have a Nice Day. Thanks for reading! I hope you enjoyed the review, and I will see you all next time.

Rating: Go See It!

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The Other Side of Animation 105: The Empire of Corpses 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. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

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I have come to realize that I may have played my winning hand too early with picking out a “scary” or “horror”-themed animated film to review last year with Extraordinary Tales. It made me realize that there are not many dark or scary animated films. A lot of Halloween-themed specials are usually family friendly, and not really all that scary. It’s a shame, since animation breaks those chains that hold back horror in live-action movies, because you can do what you want with no limitations. That’s why I had to ask around a bit to see what I could review that was creepy or unsettling and not entirely made for a family audience. This is where The Empire of Corpses comes into play. This is part of a trilogy of films based on stories by late author Project Itoh or as he is known as, Satoshi Ito. It was followed up by Harmony and Genocidal Organ. It got a lot of hype behind it, because it was being animated by Wit Studio, the animation studio behind Attack on Titan. It was directed by Ryoutarou Makihara, and was brought over by Funimation. Once it was seen by more of the world, I didn’t really hear anyone talk about it. I think it’s honestly a cool little product, and that’s why I’m reviewing it here. Let’s get started.

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The film takes place in an alternate 19th century. In this world, back in the 18th century, England scientist Victor Frankenstein found a way to bring back dead corpses, and make them live again. After some shenanigans with the doctor ending up dead, and his one true prototype going missing, the technology he used called Necroware is now used in mass production, where the Government is using dead bodies and making them grunts, soldiers, workers, and so on. Jump to current day, and the technology has spread across the entire world. So, enter our lead, a promising Necroware engineer named John Watson, voiced by Jason Liebrecht. He has been working under the radar to bring his friend Friday, voiced by Todd Haberkorn, back to life after his passing. The good news is that Watson brings his friend Friday back to life! The bad news is that due to the current technology, Friday can’t talk or really do much besides a few simple actions. Oh, and I guess getting caught and almost getting a bullet through Watson’s head by the England Government is bad as well. Watson is then sent on a journey to find this book that had all of Frankenstein’s notes and blue prints on reanimating corpses. Along the way he meets his and Friday’s bodyguard Captain Frederick Gustavus Burnaby, voiced by J. Michael Tatum, a Russian guide named Nikolai Krasotkin, voiced by Micah Solusod, a Russian corpse engineer voiced by Mike McFarland, and a mysterious woman named Hadaly Lilith, voiced by Morgan Garrett. Together they try to find this book, and maybe find The One, voiced by R. Bruce Elliott.

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So, what is good about this film? Well, I love the idea. While not scream yourself silly scary, the idea of what the entire plot is based around is scary. I mean, people are able to bring back dead people to use for mindless tasks, and sending them to war, while the rich get fat and pampered. It gets even more disturbing when you realize that they can make zombies for different purposes, and give them back intelligence to a degree. I feel like there should, or would, be some kind of moral dilemma with this technology. I also enjoyed the chemistry between Watson and Friday. You really wanted to see Watson obtain his goal, and bring Friday back to 100% living. I also enjoyed their bodyguard, who was simply a fun character to watch fight, act snarky, and bring a good energy to the group of protagonists.

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Since this was animated by the studio that did Attack on Titan, Wit Studio, you can tell that you are going to get some high-grade animation. Everything moves fluidly, and the color pallet has a good mixture of drab colors and a vibrant color scheme when needed.  The action flows well with the movements, and they get really creative with the zombie types. I know some people complain that when you give zombies more to do than just stumble around, it makes them less interesting, but I think it helps the movie. You see different types of zombies, like the regular zombies, suicide bomb zombies, zombies that wear heavy armor and know how to fight, and you get the idea. It helps make the action more interesting, and kept me engaged when our merry group of heroes was under attack. The voice acting was pretty solid. I think some of the voice actors trying British or Russian voices are distracting, but everyone puts in a good performance.

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If I had to complain about something with the film, I think it would be the pacing. Now, as a movie, it’s a fun action romp with an interesting setting. On the other hand, I constantly felt this would have been better as a miniseries. Even at two hours, the pacing of the story feels weird. Like, I was really getting into the Russian guide and his comradery with our lead, the bodyguard, and Friday, but he then stops being in the film before the halfway point. It’s shocking what happens, but still. They also introduce elements to certain characters, and the twist feels forced. Not that they weren’t building up the twist in some way, but since the film is too long for its own good, I lost interest a couple of times, and had to take a break  of watching the film before getting back on the saddle. The final climax is intense, but so much goes on at once with the lead and the main villain, that it’s overload. I think everything would have been better if they made this a four to six episode miniseries, so they could have time to flesh out everything. It loses its steam by the end of the first hour, and that’s a real shame. You have a cool world, but not the best execution or intrigue of said world.

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In the end, The Empire of Corpses was a solid movie. I had fun watching it, and I am glad I watched it, but I don’t know if I would watch it again. I would recommend seeing if you can rent it, or see if a friend has it and watch it with them. When I’m usually on the fence about a film, a rental or free viewing helps me not waste $20+ buying a copy of the film. If you like zombie films, anime, or anime with zombies, then you will probably enjoy this movie. It might go off the rails at times, but for a non-family-friendly “spooky” animated feature, I think I did a good job finding this film. Well, I have had my fill of spooky ghosts, ghouls, and anime tropes, so how about we play a little catch-up with the year with Loving Vincent. Thanks for reading, I hope you all enjoyed the review, and I will see you next time!

Rating: Rent It!

The Other Side of Animation 95: Wolf Children 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. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

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While many other filmgoers and I cry and rally behind the idea that more original films should be made, we do accept that franchise/blockbuster films have a purpose. They rake in the cash, along with the sequels, reboots, and remakes. Hopefully, when they have a few big hits on their hands, Hollywood will invest into some more original projects and throw caution to the wind. Of course, there is the risk that no one will see the original film, since the studios do advertise them, but not enough or help get them into as many theaters for the mass public to see. If word of mouth is good enough, then more people will see it, but it’s a struggle, since the original films in question have to be good. So, where am I going with this opening bit? When you do find that one original movie, and it’s just the bee’s knees, it’s a great feeling to have. That is why I chose one of my new favorite movies of this decade, Wolf Children. Directed by Mamoru Hosoda, animated by both Hosoda’s own studio, Studio Chizu with help from Studio Madhouse, Wolf Children was originally released in 2012, but got a stateside release in 2013. If you have seen my Worst to Best Animated Films of 2013, then you know this was my favorite movie of that year. I probably don’t need to remind you why that is, but let’s gush about it anyway.

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The story is about a young college woman named Hana, voiced by Collen Clinkenbeard. As she is going to classes and working a job to pay the bills, she becomes interested in this male student who comes to her classes from time to time. After getting to know him, the two bond, and become romantically involved. Hana even finds out that the guy she likes, who is voiced by David Matranga, is actually a werewolf of sorts. However, that doesn’t stop them from having two kids named Yuki and Ame. Sadly, the husband ends up passing away, leaving Hana with their two kids. What doesn’t help the situation either is that her children are also part wolf, and can shapeshift into wolves. After thinking about it, Hana decides to move to the countryside with her two kids and raise them there. Along the way, they meet likable side characters, and we get to see how the two kids grow up.

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There is a lot to unload with this movie, but I think I will start off by talking about one of my favorite aspects of watching a Mamoru Hosoda film, its themes. From the films I have seen of his, Hosoda likes to have a lot of themes revolving around families. Like in The Boy and the Beast, where it was about a father-son dynamic, being upfront with your kids, and different family living situations, Wolf Children follows themes of a mother and her children, and adds in the topic of how kids will grow up differently. Throughout the movie, the two kids end up being vastly different from one another, and as the film follows their journey, grow up and define themselves by their surroundings. Ame becomes more connected to nature and his more wolf-like side of him, while Yuki wants to be more like her human side. Both children make the film really interesting in how they interact with other humans, nature, and their own mother. I know that sounds odd to say that a movie has great and complex kid characters, but for some reason, Hosoda knows how to write them expertly. Hana is also a great inspirational female character, since it could have been so easy for this film to simply show how overburdened she is with raising the two kids, and play her misery off as comedy. Luckily, the film is smarter than that, and makes her a very capable woman. She does work hard and is a fast learner. She almost succumbs to the stress, but since we are human, she finds the strength to keep pushing.

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The film, while having mystical elements, is a very laid back film that’s more about the day-to-day life of Hana and her children. There are conflicts, and I would definitely not label it as laid back as say Only Yesterday or My Neighbor Totoro, but it doesn’t dissolve into anime action schlock. It’s more about the life between Hana, and her children growing up in the environments surrounding them, and that’s all the film needed to be. Heck, they even find ways to make good jokes around their situation, like when one of the kids gets sick, Hana doesn’t know whether to use a human doctor, or a vet to look at them.

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The animation is beautiful. Hosoda always has a unique look to his designs, where it has its anime design tropes, but everyone moved more realistically. Yes, you can see certain scenes where Hosoda uses CGI crowds and faceless characters to put focus on the leads, but it’s still fantastic animation. The film does a great job making lush countrysides, lovely white snow-covered fields, and damp rainy days. The music by composer Takagi Masakatsu compliments the visuals. I think the best scene in the movie that combines Hosoda’s great animation and Masakatsu’s music is when it becomes winter in the countryside. The scene with them playing in the snow is powerful, and it really hits me seeing the family be happy for this moment in time. No struggle to grow food, or what the kids are going to do for education, or anything else. It’s a moment where they can enjoy each other’s company and love. The voice dub is also great. I think everyone does a good job with their roles, and Micah Solusod and Jad Saxton, the actors for the kids, do a good job making them likable and endearing.

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If I had to complain about something with the film, it’s the fact that there is a sort of forced romance for Yuki. I won’t spoil what happens, but her relationship with the kid could have been fleshed out more. I get why they had this relationship, but there is no time set up for it. However, that is my only real complaint.

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Wolf Children is an emotionally powerful movie that did a better job at being a Disney/Pixar film than either of those two companies back in 2013. It’s easily one of my favorite films from this decade, and one of the few films that I think can stand up to the Ghibli best like Porco Rosso and Spirited Away. For some reason, if you do not have this movie in your collection, Funimation put out a great collector’s edition of the film that has a lot of nice extra stuff, like a small booklet that comes with the film. If I haven’t said it enough, do watch and buy this movie. I want it to be remembered as much as the bigger animated films, and not wallow in cult classic territory. Speaking of cult classics, next time, we will be looking at what could be one of the 90s most beloved underrated cult films with Cats Don’t Dance. Thanks for reading, I hope you enjoyed this review, and I will see you all next time.

Rating: Criterion/Essentials

 

The Other Side of Animation 85: Japanese Animation Month 2 Part 3: Lupin the 3rd: Dead or Alive 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. 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 been a while since we have seen our favorite anime thief, Lupin the 3rd. As much as I love talking about this franchise, and not shy to say it’s one of my favorite anime franchises, I always want to choose specific films/specials from the series, since I don’t want to do every single film from the series. At the very least, not yet. That’s why to close out Japanese Animation Month 2, I am going to review Lupin the 3rd: Dead or Alive. This 1996 animated film is notable for a few things. For one, the director of the film is the creator of the franchise Monkey Punch, who hasn’t directed a film from the series before. The film is also considered by many of the fans to be one of the absolute best films about the lovable thief. So, is it as good as the fans make it out to be, or is The Castle of Cagliostro still the king of the films?

lupin02Lupin is back at it again, and this time voiced by Sonny Strait. Alongside his buddies Daisuke Jigen, voiced by Christopher Sabat, and Goemon, voiced by Mike McFarland, their goal in the film is to try and find this treasure that’s held on a deserted sunken ship. The downside to this is the fact that the ship has some kind of highly advanced defense system that keeps people from getting close to it. This means that the quirky thief must find a way to get past the defense system which seems to be connected to the country of Zufu. The good news is that finding the solution to the problem shouldn’t be a problem for our daring thief. The bad news is that the solution is being guarded over by the country’s current leader, General Headhunter. Not only that, but Inspector Zenigata, voiced this time by Phillip Willburn, is on Lupin’s case, and helps reinforce Headhunter’s already strong military force. Of course, shenanigans ensue as Fujiko, voiced by Meredith McCoy, also gets thrown into the situation, and the team now has one of their toughest opponents yet. Can they find a way to get the treasure, and avoid the eye of Headhunter and Zenigata? What about the female accomplice that they end up teaming up with? What exactly is the treasure?

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Let’s start with some of the good elements to the film. This is a very action-packed film in the franchise. It not only starts out with a prison break that’s a lot of fun to watch, but Lupin and his friends are kept on their toes during the entire film. I would argue that a lot of the intense action from this film is all from General Headhunter. He’s probably one of the most intimidating and imposing villains Lupin has ever had. He might be a bit one-note, but this guy is ruthless. Usually, Lupin and his gang always have the upper hand, but this time, they really, and I mean really, struggle. Endless goons and men armed with guns keep Lupin and his friends on their feet, and it was rather refreshing to see our heroes face such a challenge. I have mentioned before in my review of Jigen’s Gravestone that you want to watch the lead characters be stopped by a challenge, and overcome it. This hurdle we see our heroes go through makes much of the action intense and fun to watch them bob and weave through the enemy to find their way to the treasure. It gets even tougher when Zenigata is actually competent in this film.

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That’s probably the next thing to talk about, the interpretation of the characters. Most incarnations give Lupin, his friends, and the overall series a fun and light-hearted tone, with some good physical comedy and fast-paced action. This film has a slightly more serious edge, with less of a focus on comedy. I know a lot of people have said that it’s closer to how the manga was and how the original series was intended, but I can understand the more serious tone being a bit off-putting to more casual fans of the franchise. I think it works, since you still have some of the over-the-top sequences you should be familiar with from the franchise, and even with a more serious tone, it still feels like Lupin the 3rd. It’s still Lupin the 3rd, with all the hijinks and likable characters that you have come to know and love.

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In terms of animation, it’s good for what it is, a film based on an anime. Characters move pretty fluidly, and when the highly advanced security system sequences kick in, it looks fantastic. The designs are also worth noting, due to how non-cartoony they look. I mean, in terms of how the characters usually look. Everything feels a bit more “realistic”, but they still have those familiar designs you have come to expect. They just aren’t going to be the exaggerated versions you see like in the most recent anime series. It can be a tad distracting, since one of my favorite aspects of the series was how everyone looked. It made the anime stand out, and they still do here. I think it’s also nice to see two characters in this film, Fujiko and Inspector Zenigata. It’s yet one of the few films I have seen where Fujiko is actually helpful, and isn’t there for just pure fan service. It’s also nice to see Zenigata in a more serious light. Usually he is the buffoon that thinks he can capture Lupin, but never can. This time, he’s not holding back. He actually becomes a major threat to the characters. I enjoyed the voice cast. I think everyone does a solid job at their respective characters, even if I personally prefer the cast in The Castle of Cagliostro or the Geneon dub. Sonny Strait does a good job making a likable Lupin, Kyle Hebert is an intimidating villain, Chris Patton does a good job as Headhunter’s right hand, Phillip Wilburn does a hard-edged Zenigata, and you get the idea.

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If I had to complain about something, it’s with some of the tropes that come with feature films based on anime. The secondary leads are not very interesting, and are there to just get the plot going. It’s not their fault, but it’s a trope that I don’t personally care for. I also don’t care for the more sci-fi elements of the film. I don’t know, for some reason, I just don’t think sci-fi fits with the Lupin the 3rd universe. The security system in the film seems more like something from Patlabor than Lupin the 3rd. The only reason it’s in the film is because the tech used in the defense system used gold as a fuel source.

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While I don’t personally think it’s better than The Castle of Cagliostro, Lupin the 3rd: Dead or Alive is still a fun action movie to watch. Currently, Funimation has a DVD out for it, but I wouldn’t be surprised if Discotek Media picks it up in the future, since they are distributing some of the Lupin the 3rd films that Funimation released back in the day. If you love the thief, and want an intense action adventure, then I highly recommend you check this film out. Well, Japanese Animation Month 2 was fun, but next time, it’s time to dip back into the well of DC animation with Teen Titans: The Judas Contract. Thanks for reading, I hope you all enjoyed the review, and I will see you all next time.

Rating: Go see it!

The Other Side of Animation 67: The Boy and the Beast 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. It would help support my work, and keeps the website up. Thanks for checking out my work, and I hope you like this review!)

Finally, I get to talk about one of my favorite new directors in the animation scene, Mamoru Hosoda. Even though I say he is “new”, Hosoda has actually been around the anime/animation scene for a while, starting all the way back in 1999 when he had a hand with working in both minor and key animation roles on the Digimon Adventure series, Yu Yu Hakusho The Movie: Poltergeist Report, Dragon Ball Z, Dragon Ball Z: Broly – The Legendary Super Saiyan, Dragon Ball Z: Broly – Second Coming, Galaxy Express 999 Eternal Fantasy, and Sailor Moon Super S: The Movie to name a few of the projects on which he worked. Only in 2006 after some directing gigs with the Digimon: The Movie and One Piece: Baron Omatsuri and the Secret Island, did he finally get to work on his own original projects. His first release was The Girl Who Leapt Through Time, but essentially started to get more popularity among animation viewers when he released Summer Wars and Wolf Children. However, I’m going to look at those three films at a later date. For now, I want to talk about his newest film, The Boy and the Beast. This movie was originally released last year in 2015, but was brought over in 2016 by Funimation. So, how does Hosoda’s newest film stack against his previous works? Well, let’s dive in.

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The story is about a young boy named Kyuta, voiced by Luci Christian, and Eric Vale when the character is older. He is currently unhappy with a rather upsetting family incident where his mother passed away, and the father isn’t anywhere to be found. Kyuta runs away, and accidentally ends up meeting a humanized animal being named Kumatetsu, voiced by John Swasey. As a result, Kyuta takes the offer of Kumatetsu and follows him into another realm known as Jutengai or Beast Kingdom. After being shocked at running into a world not his own, he becomes the apprentice to Kumatetsu, even though Kumatetsu’s two friends, a monkey man named Tatara, voiced by Ian Sinclair, and a pig man/monk named Hyakushubo, voiced by Alex Organ, are concerned about the situation. The story also involves a fight between Kumatetsu and a boar man named Iozen, voiced by Sean Hennigan, about who becomes the new lord of the land. Will Kyuta train and become a great warrior? Will Kumatetsu be able to train Kyuta, and what will happen between the Beast Kingdom and the human world?

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I’m going to, of course, start off with the positives of The Boy and the Beast, since I really love this movie and want to talk about how great it is. First off, the animation is fluid with more realistic movements, but nothing that feels stiff or awkward about it, like when they do all cgi or rotoscope. It leads to some pretty beautiful animation with some outstanding fight choreography. I think what helps make the fighting in this movie so fantastic is that it’s more grounded and not flashy. The punches and kicks feel real, with actual weight behind the blows that characters give each other. Yes, there are some mystical elements, but it’s mostly punches and kicks. It gives Hosoda’s films a unique and iconic look, which is hard to say about anime these days with how generic and homogenous it can all look.

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Some of the other great aspects are the themes The Boy and the Beast tackles. The film deals with stuff like different family situations, not letting hate take you over, what true strength is, and what is probably the film’s greatest message, being upfront with your children. Yeah, we actually have an animated film that essentially tells the viewers that parents should be upfront with them and not lie to them. It’s a rather refreshing message, since so many films these days rather follow something generic and something we have seen before. It leads to some great parallels to the characters and their chemistry among the entire cast.

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The voice cast is also very strong. I felt like everyone had the right voices connected to their characters, and I love how natural the dialogue feels. It isn’t like in Ghost in the Shell where no matter how good the cast is, the dialogue is not organic, and feels robotic and unnatural. The music is once again extremely beautiful, and fits the mood in each scene. This is due to the talented Takagi Masakatsu, who also did the music for Wolf Children. It’s elegant, beautiful, atmospheric, and upbeat when the time calls for it.

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If there was really one major nitpick about the film, it’s the pacing in the second half. For the most part, the pacing is perfectly done, but some areas later on could have been better. It’s like how in Kubo and the Two Strings, in how there was no build-up for Monkey. She just appears and it’s like “um, okay.” The second half isn’t horrible. It still has a lot of plot-relevant moments and some really touching scenes, but its pacing is more noticeable in terms of how the story progresses.

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Even with the minor pacing problem, The Boy and the Beast is one of the best animated films of 2016, and one of my favorite films of the year. It’s touching, funny, mature, creepy at times, and an all-around endearing experience. If you can find the time to purchase or rent a copy of this film, I highly recommend doing so. Well, next time, we will take a look at the first in a month of Christmas-related animated films with The Magic Snowflake. Thanks for reading, I hope you all enjoyed the review, and I will see you all next time!

Rating: Criterion/Essentials