The Other Side of Animation 166: Lupin the 3rd: Goemon’s Blood Spray 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!)

Warning/Parental Heads up! This is a very violent special. You will see limbs fly off, blood, and visions of beheading individuals. There are also some sexual tension and minor pot smoking. This is absolutely not meant for a younger audience. Viewer’s discretion is advised. Hope you like the review!

When you have such an iconic cast of characters like Lupin the 3rd does, it’s always a bit concerning when the film decides to focus on just one of them, and that one isn’t Lupin. Sure, you can make an interesting story or experience with someone like Fujiko and Daisuke Jigen, but then you have Goemon. From all of my years of loving Lupin the 3rd, Goemon has been one of the more frustrating characters on which to focus a story, because of his stoic samurai character. He’s kind of boring, and only gets fun when he uses that sword to do over-the-top sword slicing stuff. That’s why today’s review is probably going to be the best way to form a story around him, Lupin the 3rd: Goemon’s Blood Spray.

Directed by Takeshi Koike, Goemon’s Blood Spray is the second of specials that connect back to the Fujiko Mine mini-series that may or may not take place at the very beginning of the Lupin the 3rd timeline. Listen, with continuity for this franchise, you just have to wing it, and not think about it so hard. Anyway, let’s dive right into this little gorefest.

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The story takes place after Jigen’s Gravestone, as we see our gang of likable thieves stealing from a Yakuza-operated casino ship. While on the ship, Lupin, dubbed by Keith Silverstein, Jigen, dubbed by Dan Woren, and Fujiko, dubbed by Cristina Vee, are just there to steal the money. Goemon, dubbed by Lex Lang, is there to protect a Yakuza boss from harm. Unexpectedly, a third party is thrown in the fray with a killer known as Hawk aka the Phantom of Bermuda, dubbed by Kirk Thorton. Hawk is sent to kill Lupin, Jigen, and Fujiko. Goemon tries to defend the three and fails to do so, but they are then saved by Inspector Zenigata, dubbed by Richard Epcar. Can Lupin and the gang avoid the killer ax swings of Hawk? Can Goemon redeem his failure to take down the giant killer?

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Like I mentioned above, while Lupin, Jigen, Zenigata, and Fujiko are in the film, much of this film’s focus is on the lone swordsman, Goemon. So, how do you make a character, which is usually untouchable, vulnerable? It’s rather simple, set the story with Goemon before he’s the unstoppable swordsman that he is in the main series. The plot is fairly basic in this film as it places Goemon against Hawk, and the main goal and drive of the story are for Goemon to achieve that level of swordsmanship that can put him on the same level or higher than Hawk. It’s a very samurai-style film, but it fits. A lot of that is because the special knows what it needs to focus on and to have a threat that can propel the story forward. One of the best parts about this special is Hawk. Along with Jigen’s Gravestone’s Yael Okuzaki, Hawk is one of the deadliest threats in the Lupin the 3rd universe. He’s big, strong, stoic, unmoving, and versatile with his two axes. He’s not a dumb or typical hired hitman villain either. Due to being an ex-military soldier, Hawk can and will adapt to the situation at hand. Even using bullets on him does not work. I love that he looks like something out of a Hong Kong or early 70s/80s action flick. He would fit perfectly in films like Commando or any of the action films Hong Kong was putting out at the time.

So, since this is pretty much Goemon’s story, what do the other characters have to do? Well, a lot of the plot that involves Lupin and Jigen starts and stops at the cruise ship heist at the beginning, and then becomes the targets of Hawk. Fujiko doesn’t have a whole lot to do, and I think that’s good. The problem with the last special within this Lupin continuity was that she did little, and was mostly fan service. In this film, she bails at the halfway point while Goemon is training. Zenigata has a bit more to do this time as he tries to not only capture Lupin and Jigen, but also find out why Hawk was there in the first place. The rest of the cast are setups for Goemon’s story, including the gang of yakuza that Goemon was protecting back on the ship.

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Animation-wise, it’s on par with the last special. The darker outlines, slicker designs, and action sequences are all beautiful to look at and watch on screen. The movements are so fluid, and you are constantly hooked to see how the fights pan out. Like I also said above, this is a very violent film. Not early 90s anime violent, but you will see limbs fly, blood spray, and Goemon get a part of his arm sliced like a Deli slicing roast beef. You will be getting action sequences that can be compared to the ones you see in Sword of the Stranger. The dub cast is also pretty spectacular. We have the returning cast of Keith Silverstein as Lupin, Dan Woren as Jigen, Richard Epcar as Zenigata, and Cristina Vee as Fujiko, but the two newcomers, Kirk Thorton and returning Goemon voice actor Lex Lang are wonderful additions to the cast. Kirk brings this weathered and tired portrayal to Hawk, and Lex brings his A-game and his best Goemon performance to date. Of course, this wouldn’t be a Lupin special if it didn’t have a pretty cheesy rock song at the end of the special by Rob Laufer.

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So, what did I not like about this special? Well, while it is stripped down, I would have loved a bit more connection and explanation about who hired Hawk to kill Lupin, Fujiko, and Jigen. They don’t explain it, despite this special being a sequel to Jigen’s Gravestone. Was it Mamo who sent Hawk after the gang? What happened to Hawk after the fight with Goemon at the end? I think turning this into a 90-minute feature would have helped flesh out the story more. I still love the plot, but it needed to either cut more or expand more.

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In the end, Goemon’s Blood Spray is a thrilling violent romp, reminiscent of some of anime’s best action films. I highly recommend picking up the recently released Blu-ray from Discotek Media. It’s very entertaining, violent, and it made a usually tough character to make interesting, well, interesting. It’s still not Castle of Cagliostro, but I consider it one of the best specials out of the Lupin the 3rd franchise. Now then, we shall move from the blood-soaked lands of Japan to the shivering mountaintops as we look at DreamWorks and Pearl Studios’ Abominable.

 Thank you for reading the review! I hope you all enjoyed it! If you would like to support my work, make sure to like and share this review! You can also be a patron for my Patreon at patreon.com/camseyeview. I will see you all next time!

Rating: Go see it!

The Other Side of Animation 164: Okko’s Inn 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!)

If we are going to have a healthier theatrical animation scene in Japan, studios and animation enthusiasts alike need to be supportive of newer voices. We can’t let already-well-known names be the only ones that get the spotlight. While the Japanese animation scene is going through some major obstacles with keeping people who want to work in animation in the animation industry, that means when a new or unfamiliar voice makes a film, we should go out and support it.

Whether you love the end product or not, it’s more important that someone new or not as well known gets the attention. This is why I wanted to support Okko’s Inn. Directed by Kitaro Kosaka, and based on the manga and anime of the same name, Okko’s Inn is a film that I find to get overshadowed by other 2019 US-animation releases, like Makoto Shinkai’s Weathering With You and Studio Trigger’s Promare. I think Okko’s Inn deserves more support, and I’m going to tell you why!

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Our story follows a young girl named Okko, dubbed by Madigan Kacmar. She ends up in an unfortunate situation where her parents are killed in a car accident. She goes to live with her grandmother at her inn. Okko then encounters some friendly spirits around the building, including a young boy named Uribo, dubbed by KJ Aikens, a young girl named Miyo, dubbed by Tessa Frascogna, and a small demon named Suzuki, dubbed by Colleen O’Shaughnessey. Okko will encounter different inn guests and even a girl who helps run a rival inn named Matsuki, dubbed by Carly Williams. Can Okko learn to be an innkeeper and learn how to help people? Can she learn about forgiveness and selflessness in helping others?

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So, something to note about the director Kitaro Kosaka is that he worked on multiple Studio Ghibli projects that include Castle in the Sky, Ponyo, Spirited Away, and even Mamoru Hosoda’s The Boy and the Beast. If you feel like Okko’s Inn has the same vibe as a lower-key Ghibli film, you wouldn’t be wrong. This movie focuses on Okko’s coming of age as she helps different tenants in the inn who have their hang-ups in their life. It shows how acts of kindness of any kind can help improve the lives of others. It’s a laid back film in the same spirit as Kiki’s Delivery Service or My Neighbor Totoro. You get some fun shenanigans with the spirits, but the film’s strongest moments are with Okko figuring out how to help out everyone who comes to the inn. It’s noticeable that this film, through its designs and tone, is an experience aimed at a younger audience, and even for a film aimed at that demographic, it doesn’t talk down to them. The film does tackle themes of death, and it’s not afraid to talk about it. Luckily, the characters feel like they were right out of a Ghibli film, likable, endearing, complex, and fun.

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Okko’s Inn was produced by Studio Madhouse and Dream Link Entertainment, which shows in the animation. It’s a gorgeous movie with charming designs, and fluid animation. There are some wonderful scenes, including the koi fish kite sequence and when Okko meets the fortune teller. The dub for the film is handled well. You can tell the kids in the film are voiced by kids, and the adults are voiced by adults. I have seen both the sub and dub versions of this film, and you really can’t go wrong with either. The music by Keiichi Suzuki is beautiful, and has that Japanese flair you would want with a film taking place in a mountain-side inn. If his name sounds familiar, he is the same composer behind Satoshi Kon’s Tokyo Godfathers and the famous RPG Earthbound.

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If I had to complain, I could, but a lot of the issues I have are nitpicky. The designs took a bit for me to get used to. They are more family-friendly, and it was jarring to me for some reason. They remind me of something like Hamtaro. I did look it up, and the person in charge of the art direction is Yoichi Watanabe, who worked on the Star Ocean EX series. The only major issue I have is that a lot of the major drama is shoved into the third act, and it’s abrupt when it transitions into it. However, I do like the ending, so I guess you can say that it’s also a nitpick.

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Okko’s Inn is a delightful little film about kindness, growing up, forgiveness, and helping others. It might be getting overshadowed by other high-quality anime films, but Okko’s Inn shouldn’t be overlooked. It’s available right now on Blu-ray and DVD, and I think everyone should get a copy. Now then, it’s been four years since I have been reviewing animated films, and I think it’s time to celebrate with something flashy. Next time, we will take a look at Studio Trigger’s first original film, Promare!

Thank you for reading my review! If you like my writing and would like to throw some support my way, you can become a patron at patreon.com/camseyeview. I hope you all have a good day, and I will see you all next time.

Rating: Go See It!

Animation Tidbits: Annecy Part 2

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(Originally written: May 29th: 2019. Sorry for posting this late!)

(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 editorial!)

Alrighty, for the final part of this look at Annecy 2019, I decided to combine a bunch of films from different categories. This is because the various categories don’t have enough to warrant talking about in individual articles. At least, that is my opinion on the other categories. The one major change they made was a new category called Contrechamp, a category with animated features that are in competition, but have visuals that challenge the medium of animation. Otherwise, the films on the list will be from the screening events and In Production section of the festival. Let’s get started!

Children of the Sea (Contrechamp)

Directed by Ayumu Watanabe, the story focuses on a girl named Ruka, who saw a ghost in her dad’s aquarium when she was little. She becomes attracted to the aquarium and the appearance of two mysterious boys named Umi and Sora, all the while the adults who work there figure out the mass disappearance of the earth’s fish. In a lot of ways, it’s almost unfair that this film is the perfect representation for the Contrechamp section of the festival. It’s almost unfair how downright jaw-dropping-off-your-face beautiful the film is. Studio 4C has done a lot of great work, but this easily looks like it will be their best. Plus, with GKids now attached to bringing it over to the states this year, I have major hopes it’s going to be at Animation is Film 2019! If that wasn’t enough to get you hyped, Joe Hisaishi, the composer behind many of the Studio Ghibli classics, is composing the music for this film.

Away (Contrechamp)

Directed by Gints Zilbalodis, Away is about a young man who’s riding a motorcycle, trapped on a mystical island while trying to avoid a shadowy monster chasing him. This is also a film that looks like it will be taking advantage of the Contrechamp title. Sure, it kind of looks like an indie game that’s trying to be the next artistic achievement in gaming, but that’s sort of the fun of it. Plus, this was directed and animated by someone who is 25 years old. That is wildly ambitious and I give him kudos for that. It looks like a visually creative film that I hope does well.

Underdog (Contrechamp)

Directed by Sung-Yoon Oh and Chun Baek Lee, the story revolves around a blue dog that was once a house pet, but ends up back in the wild. He encounters wild dogs, and tries to help them survive and live freely. Generic title aside, I really like the visual look of this film. It reminds me of the work arounds French animation uses in projects like The Painting. It has a super vibrant color palette, and while the CGI may not be Pixar or Disney level at all, it has its own identity and personality to it. I’m happy to see South Korean animation finally making some break-out titles to show that they can make animated features that aren’t tied down to propaganda, and can be watchable by all. Though seeing some of the marketing blurbs say it was more emotionally gripping than Zootopia? Yeah, we will have to see about that.

Ville Neuve (Contrechamp)

Directed by Felix Dufour Laperriere, Ville Neuve focuses on a man named Joseph, who moves into a house with his friend, and tries to get back with his ex-wife, and this is happening with the 1995 Quebec Referendum happening in the background. I like the minimalist approach with its focus on whites, blacks, and grays. It comes off like a more personal and intimate film, and I can’t wait to see what the reviews say about this one.

Playmobil (Screening)

Now then, let’s jump in with the first film in the “Screening” category. Directed by Lino DiSalvo, the story focuses on a young woman named Marla, played by Anya Taylor-Joy, who gets pulled into this Playmobil world with her brother Carlie, played by Gabriel Bateman. They get separated, and it’s up to Marla to team up with Rex Dasher, a secret agent voiced by Daniel Radcliffe and Del, a food truck driver voiced by Jim Gaffigan, to get her brother back and avoid the evil clutches of Emperor Maximus, played by Adam Lambert. Yeah, this film did not get the warmest impression, being negatively compared to the 2014 The LEGO Movie. I can understand why. It comes off as a bit outdated that there needs to be a reason for the Playmobil world to exist, when people would rather just enjoy the world that they make. Still, the film looks silly and aware about itself, and some of the jokes I saw got a chuckle out of me. Hopefully it can be an entertaining flick once it releases later this year.

The Prince’s Voyage (Screening)

Directed by Jean-Francois Languionie and Xavier Pircard, this is a follow-up to a film Jean Francois did a while back called A Monkey’s Tale, which follows the prince from that film, as he washes up on the shore of an island, and encounters an individual named Young Tom and his two parents, who were exiled scientists. The film itself looks great, but that should be no surprise, because it’s the same guy behind The Painting, but I am curious to see how they make this film work, because who remembers A Monkey’s Tale? It has only gotten an English UK release, and no one in America has probably heard of this guy or his films. Still, the CGI looks stylized, and I’m curious to see how this film does in continuing the story with these characters in a travel diary-style form.

Abominable (Screening)

Finally, we are seeing actual trailers and footage for this film. Directed by Jill Culton and Todd Wilderman, we follow the exploits of a young Chinese woman named Yi, voiced by Chloe Bennet, as she encounters an actual Yeti on the rooftop of her apartment building. It was previously caught by a scientist named Dr. Zara, voiced by Sarah Paulson, and an evil rich man named Burnish, voiced by Eddie Izzard. It is up to Yi, her friends Peng, voiced by Albert Tsai, and Jin, voiced by Tenzing Norgay Trainor, to get the Yeti back to his home in the mountains. This is an important film, due to this being DreamWorks first Chinese collaboration with Pearl Studio. As per usual with their non-comedy stuff, Abominable looks visually great, and has some endearing moments, but the jokes and references made in the first trailer and in the recent trailer are iffy. Hopefully, this is more of DreamWorks working at a How to Train your Dragon and Kung Fu Panda level, and not Shrek the Third level. Also, what is up with their marketing for this film? Everyone has already seen a trailer for the film for two or so months before the “official” trailer was released last week. What was the point of having two trailers and one of them was already viewable in theaters? Oh well, I hope this is a good movie.

Toy Story 4 (Screening)

Directed by Josh Cooley, we follow our heroes dealing with their new lives and a new encounter with a self-made toy named Forky, voiced by Tony Hale. One day, Forky gets out, and Woody, voiced by Tom Hanks, sets out to bring Forky back, but also runs into Bo Peep, voiced by Annie Potts. Shenanigans then ensue as Woody and the gang try to get Forky back to their new owner Bonnie, and Woody starts to have a crisis of what it means to be a toy. It’s too easy and frankly lazy, to say how this is a “cash grab”, when all films are cash grabs. We didn’t need a 4th one, but if we needed this one to get back on the train of original films starting with next year’s Onward, then so be it. Plus, I have been hearing good early word of mouth, and plus, who doesn’t want to see Keanu Reeves in his first ever voice role? Even if we might “not need it”, I’m glad to go back if the story is good.

Frozen 2 (Screening)

Directed by Chris Buck and Jennifer Lee, our heroes from the first film, Elsa, Anna, Kristoff, and Olaf are off on another adventure to go beyond the kingdom of Arendelle. Yeah, there isn’t much known about the film right now, so let’s talk about how incredible the teaser trailer was. This film looks jaw-dropping-off-your-face-and-exploding gorgeous. I’m sure a lot of this is just teaser editing, and the film may not be this serious in tone, but wouldn’t that be awesome if it was? I know there is a bit of Frozen burnout, but I liked the first movie, and I’m excited to see how this new one unfolds.

Weathering With You (WIP)

In the Work in Progress section, we have the newest film from Makoto Shinkai. The story revolves around a young boy who moves to Tokyo alone, and almost becomes broke, until he gets a writing job for an odd occult magazine. His life feels like it’s constant misery, as rain and dark clouds follow him everywhere. One day, he encounters a young girl who has a mysterious power to clear the sky of the clouds and rain. While I have been critical of some of Shinkai’s efforts and directorial touches in the past, this one has me very excited. To no surprise that Shinkai has more drop-dead eye-popping visuals, something about the story feels instantly likable, and GKids recently announced that they will be bringing it over! I can’t wait to see this film, and I hope to see it sometime soon.

Promare (Midnight Special)

Finally, for the Midnight Special, we have Promare. Directed by Hiroyuki Imaishi, and animated by Studio Trigger, we follow Galo Thymos and his team, the Burning Rescue Fire Department. Their main goal is to take down a group of evil mutants called BURNISH that emits and can control a special fire that is engulfing the planet. This movie looks so over-the-top, silly, nonsensical, it’s super drenched in its anime identity, and this is why I follow foreign/indie animation. This movie looks crazy in the most positive way possible. Sure, if you know anything about Studio Trigger’s previous work like Kill la Kill, Space Patrol Luluco, Little Witch Academia, and SSSS Gridman, then you know you are going to get some of the most vibrant Japanese animation around. It looks like a lot of fun, and I hope to also see it soon.

And that wraps up what I think looks to be the most promising at the Annecy International Film Festival. Even with these listed, there are truly more interesting features being shown in their completed form or work-in-progress form. Just go check out the site, and see the multitude of animated projects being shown, and find your favorites.

 

 

The Other Side of Animation 153: Maquia: When the Promised Flowers Bloom 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!)

Something that’s unfortunate not only in the animation scene, but the theatrical animation scene in general is that there is a huge lack of non- white male directors. At least, I find that to be a major observation. Maybe it’s a lack of awareness for the directors in question, because we know about women like Lauren Faust and Nora Twomey, but it could also be the fact that many powerful male creators for studios like the ex-head of Pixar and other areas of the animation scene have ruined the chances and passion many non-white male had with working in animation. Not every great story is going to come from one type of person. The more diversity we get with animation, the more stories we can tell, and the more voices that can be heard. A darn good example of getting a unique voice that told a compelling and powerful movie would be Mari Okada’s Maquia: When the Promised Flowers Bloom. Released last year by Eleven Arts in the states, Mari Okada’s fantasy drama was her first theatrical directorial debut for which she also wrote the script. This is on top of a successful career of writing, including Anohana, Gundam: Iron-Blooded Orphans, and The Anthem of the Heart. So then, let’s dive in and see why this was one of the best animated films of 2018.

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The story follows a young woman named Maquia, dubbed by Xanthe Huynh. She is a being known as a Lorph, a race of human-like individuals that stay young and live longer than normal humans. They also weave their stories in these giant cloth-like fabrics. One day, a kingdom attacks her people to take a maiden from her clan to offer to the kingdom’s prince, so they can make long-living children and keep the kingdom afloat forever. Luckily for Maquia, she escapes when one of the dragon creatures the knights rode on goes berserk, and she ends up riding on it out of the reach of the kingdom. She then finds herself in a village that was attacked by bandits. Among the debris, she finds a human baby in the arms of his dead mother. Maquia decides to take care of the infant as the film follows the challenges of raising a child, learning about life, the trials of love, and being a mother.

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So, what really cements Okada’s writing and directorial work in this film? Well, the themes this film tackles of loss, love, and motherhood. We have seen those themes before in films like Wolf Children, which has unfortunately been compared and contrasted with Maquia due to the focus on a mother raising a kid in a unique situation. What makes this film so dastardly with its way of using emotionally powerful moments is how Okada catches you off-guard. It’s like she sneaks up behind you, pokes you with a knife to tell you to get ready, and then when the time comes, stabs you right in the feels to deliver an extra powerful punch to your heart. I don’t think I have seen a film like Maquia that has made me cry harder the two times that I have seen it. Its themes are beautifully woven into the story as you get involved with the trials of Maquia taking care of this child when she is, considering her kind, young herself, and doesn’t really know what to do. You watch as decades pass and she stays the same, but everyone grows up and dies around her. You watch as her son gets older, and the challenge of their relationship and dynamic starts to get in the way of how they come off to other people. Everyone, from the kingdom to the immortal beings, see the rise and fall of mystical creatures becoming extinct and the fall of the kingdom at the end of the film. It’s a brilliantly somber but touching film that, while having incredibly gorgeous animation, shows Okada’s strengths as a writer. You feel heavily invested with the characters and what is going on with them. You want to see Maquia become a mother, you want to see her make sure her son grows up, you want to make sure the son doesn’t get killed, and you want to see her friendships blossom and stay connected. It’s a well-paced story that knows what main plot elements to focus on, and when to sparingly show off what is going on with the other characters.

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Animation-wise, Maquia is a gorgeous movie with beautiful vistas, great camera work, soft rounded character designs, and very well composted CGI. Yeah, once again, a Japanese animated film shows how to do it properly where many anime series fail in regards to the CGI. It can still be noticeable, but it’s not as distracting as say, any of Polygon Pictures’ products or that horrible Berserk continuation. In terms of the original language and the dubbed version, I think you can’t go wrong with either. Xanthe Huynh is incredible as Maquia and simply goes through the gambit of emotions, and you believe her every time. The other actors are good as well with Ryan Shanahan, Eddy Lee, Cherami Leigh, Kevin T. Collins, Brooklyn Nelson, Marc Thompson, H.D. Quinn, Ryan Bartley, and many other voice actors do great with their respective roles. While the music is nothing that you haven’t really heard before, Kenji kawai, the composer for shows and movies like Patlabor, Ranma ½, Devilman, Project A-ko, Burn up!, Ghost in the Shell, Dai-Guard, and Ip Man still delivers a sweeping epic score and soothing tunes that pull you into the experience.

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If I had to complain about something with this wonderfully touching film, I would say that the art direction isn’t all that creative. Yes, it’s a more human and adult story, but when you have the character designer Yuriko Ishii, who was inspired by the artist who did Final Fantasy Tactics, Vagrant Story, and Tactics Ogre, Akihiko Yoshida, you kind of expect something more creative. It all looks great visually, but there is nothing that unique or outstanding about the fantasy world that they live in. Also, while it’s not as bad as other films or anime series, you can definitely see when they use CGI. It’s not a major detractor, but it’s something worth noting. I also found a few times where the dub sounded like it got slightly drowned out by the music.

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Even with those criticisms, they are incredibly minor, because Maquia is such a powerful and moving film. It makes me excited to see what other directing gigs Okada will get in the future, and it makes me want to check out what she has done in the past. It’s finally out on DVD, but heads up. You can only get the Japanese dub version with the Blu-ray version of the film. The DVD version only comes with the English dub. Still, I’m happy and hopeful more people can finally check out this classic from Japan. Now then, we travel from Japan to go on a trip around the world! Next time, we are going to check out Laika’s newest film, Missing Link. Thanks for reading! I hope you all enjoyed the review, and I will see you all next time!

Rating: Criterion/Essentials

The Other Side of Animation 150: Netflix Godzilla Trilogy 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!)

As much as I like writing reviews for films, I will say that the one thing that has lost its magic is the discourse of talking about movies that I don’t like. With the current film climate that is focused on being hyperbolic, toxic, nitpick-obsessed, and pedantic about everything for the sake of “comedy”, it ruins talking about movies, because people think that is how you approach movies, when it’s not. Film criticism is wildly subjective, and is never a straight path to whether a film is good or bad. Everyone has different priorities when they look into movies. I wish it was more of a conversation piece, and not a race of who can be the biggest pedantic waste of air that drags down film culture rather than elevating it. I may have had more energy to put into talking about bad movies two or so years ago, but now I don’t. However, to be a good critic, you have to look at a wide range of films from big budget to small budget, action to romance, and theatrical or straight-to-video. So, where do I sit with the Netflix-distributed Godzilla trilogy? The trilogy was directed by Kobun Shizuno and Hiroyuki Seshita, with the screenplay written by Gen Urobuchi. The trilogy of films were made by Polygon Pictures, the studio that animated films and shows like Transformers: Prime, Tron: Uprising, Knights of Sidonia, Blame!, the CGI elements of Ghost in the Shell 2: Innocence, Star Wars Resistance, and helped Studio Ghibli co-produce Ronia, the Robber’s Daughter. The trilogy came out over the span of 2018, and suffice it to say, there was very little fanfare or warm welcomes after the trilogy was complete. While Netflix might have a promising animation output in 2019 and onwards for feature-animated films, this, to me, was one of their biggest blunders. Why? Read on to find out.

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I’m going to review this as one giant review, because the movies themselves feel like an overly long three part OVA special. So, the trilogy takes place in the future at the end of the 20th century. Giant monsters have ravaged Earth to a point where everyone on Earth decides to do the sensible thing and pack up, leave Earth, and try to find a non-monster-filled planet.  That seems a bit drastic, but when one of those monsters is Godzilla, you wouldn’t really want him as your next door neighbor. I mean, he could be a good neighbor, but I’m getting off track. Anyway, the humans were joined by two other alien races, the religious Exif, and the technologically-advanced Bilusaludo. After not finding a planet after years of searching, a young man named Haruo Sakaki, dubbed by Chris Niosi, tries to pull rank and suggest that the current living situation that is 11.9 lightyears away from Earth is not going to be livable for everyone. After a failed scout ship exploded going down to a planet they were looking at, Haruo finds out some prime time information about Godzilla’s weaknesses from an Exif named Metphies, dubbed by Lucien Dodge. Haruo convinces the committee in charge to go back to Earth, retake it from Godzilla, and live there again. They head back to Earth to find that nature has pretty much taken back the entire planet. They encounter ravenous life, a mysterious race of humanoid individuals, and, shocker of shock, Godzilla. Can the humans retake the planet and take down Godzilla? Do the other alien races have ulterior motives? Who are the mysterious beings living on the planet?

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So, it was really tough to find a starting point as to what to talk about first. How about the directing and writing? So, what have the directors and the writer of the films worked on? Kobun Shizuno has mostly directed Detective Conan films and the Soul Buster and Knights of Sidonia series. The other director, Hiroyuki Seshita, has mostly worked on Polygon Picture-related properties like Knights of Sidonia and Ajin. So, where does that leave us? Well, let’s talk about the writer of the three films, Gen Urobuchi. He is mostly known for writing the scripts to Fate/Zero and Psycho-Pass. While I have not really seen Psycho-Pass, that other title I mentioned is pretty telling at what kind of movies I should have expected. The three Godzilla films that make up this trilogy are drawn-out, boring, convoluted, and don’t really feel like Godzilla movies. I know Godzilla has had movies that range from the fun monster-fighting romps, to the social commentary side of films, but these three films essentially show off the worst of both Godzilla and anime at the same time. When you think of Godzilla, you think of grand scale destruction, fighting other colossal monsters with their own creative attacks. Now, what are usually the most boring aspects of Godzilla films? The humans! The human/humanoid characters are fairly dull anime archetypes that you see in a lot of anime. You have the angsty young male, the calm-headed best friend, the token female character, the religious nut that has ulterior motives, the war-hungry meathead, and you get the idea. No one is really that interesting, and the story/writing constantly focuses on philosophical elements of living, being on a world ruled by Godzilla, and life, which are just boring as tar.

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A story about a planet ruled by Godzilla didn’t need to be this complicated. Why is it so hard to make something with giant monsters just giant monsters and action? I’m not judging this movie by what it’s not, but what we got, and what we get is not interesting. Godzilla isn’t even a major player in any of the three movies. He rarely shows up, and it’s really at the end of each movie. Also, for a film series that takes place on a planet taken back by nature and swarming with giant monsters, the other monsters involved are really boring. They are just these generic-looking rock monsters that don’t look good, and the iconic giant monsters you want to see from Toho are only seen in still frames. You only get, like, three of the iconic Toho monsters, but one is only spoken of, while the other one is Ghidorah, but not the traditional Ghidorah. It’s like this movie was afraid to be a giant monster movie. I know we all make fun of the old Toho monster flicks, but they were very entertaining, because seeing giant monsters fight was, and will always be, entertaining. They even have Mecha Godzilla, but not in the same sense. It could have been interesting, but it was sadly not. That’s the big takeaway from this trilogy, it could have been interesting, but it was drawn out between three films, and the few action scenes that were there, were not enough to save the film’s sluggish and confusing story.

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Animation-wise, it’s getting a bit tiring to criticize Japanese CGI animation, because there are good signs of some studios knowing what to do, like Land of the Lustrous, but I didn’t really find anything all that impressive about Godzilla’s CGI. It was fine, everything was animated decently, the action was mostly readable, and when you could tell where the budget went, it looked good. You just see a lot the films reusing character models, and you get the typical clunky anime CGI movements from time to time. Polygon Pictures is getting close to showing how well CGI can work, but a show like the mentioned above Land of the Lustrous does it better.

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So, do I like anything about this trilogy? Well, like I said above, the CGI anime is pretty decent. When Godzilla is actually on screen, you do feel his presence, and when he actually does something, it’s a lot of fun. It’s just common knowledge that watching Godzilla blow stuff up and fight actual monsters is a proven good time. The dub script is pretty okay. I don’t really say this will be anyone’s best performances, but they did a good job with reading the scripts given to them.

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I think the biggest failure of these films were that they got the wrong team to make them. Godzilla didn’t need to be yet another philosophical think piece, when the most recent live-action Godzilla film was flawed, but way better at tackling such subjects, and had much better action set pieces. If you are a hardcore Godzilla fan and haven’t checked out these films, I wouldn’t recommend it, but if you must see every single film, then check them out. I just couldn’t be bothered to be hyperbolic and angry about these films. The more I hated these films, the more draining it became. They aren’t good movies on their own, and it’s not a good overall story as a trilogy. It wastes opportunities by being a three-part film, doesn’t take as many opportunities with its premise as it should, and shows how far some studios still have to go to make good-looking CGI-focused animation. However, after seeing this trilogy, it made me realize why I like talking about movies I enjoy, so, next time, how about we talk about the smash hit How to Train your Dragon: The Hidden World? Thanks for reading, and let’s keep spreading the support for more positive film conversations and more mature and in-depth film criticism. I hope you all enjoyed the review, and I will see you all next time.

Rating for all Three Films: Blacklist/The Worst

The Other Side of Animation 146: Mirai 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!)

When I started writing reviews, and made it by goal to avoid talking about the fairly obvious Disney/Pixar films, I knew what I was getting into. My opinion doesn’t really change or differ that much from most critics when it comes to the films those two studios release. It’s why I wanted to talk about movies from other studios, big and small. You get more diverse experiences and different opinions from them, but I know they are not the big view/click vacuum that Disney is. I don’t resent talking about them, and who knows, I may make a separate set of reviews or editorials about them in the future. Still, the point I’m making here is when a film like Mirai is getting a lot of big award talk, with a bunch of critical acclaim behind it, it makes me happy. Directed by Mamoru Hosoda, Mirai is his fifth film, and is being distributed here in the states by GKids. Upon its first world premiere back in June 2018 at Annecy, and its US premiere at the Animation is Film Festival back in October 2018, it has been, like I said, critically acclaimed and winning hearts around the theater circuit. I’ll even say that I have now seen this film twice in theaters, and that it’s my favorite animated film of 2018. For Catch Up Month 2019, let’s begin this review of Mirai.

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We follow the story of Kun, dubbed by Jaden Waldman. He is excited when his Father, dubbed by John Cho, and his Mother, dubbed by Rebecca Hall, come back home with Kun’s new baby sister. After going through the stages of hating that he’s not getting all of the attention anymore, Kun acts like any other kid in this situation, and acts out. However, something mysterious happens. Anytime he is going through some kind of issue, when he enters the garden in his family’s house, he encounters a family member from different periods of time. This includes his mother when she was a child, his great grandfather after World War II, a “prince” that was there before him, and his sister, who is much older, and dubbed by Victoria Grace. Can Kun grow to care about his sister, his family, and his future?

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So, an interesting take on this film that Hosoda has said the two times that I have seen this film, is that it’s a film about nothing. Kind of an odd/slightly funny comment to make, but he has a point about it. Technically, Kun never leaves the house, as the entire world to him, is in the home he grew up in. It’s also true that he does leave the home from time to time for routine things, but anytime they decide to jump around the timeline, he’s always in the garden and his home. I think that’s what Hosoda means, and I find it a clever set-up with how the story unfolds. Once again, Hosoda is one of the few directors that I know understands the mind and mannerisms of a child. His inspiration for this film was when he was having a second child, and being jealous that his son was going to be able to grow up with another sibling, something he never got to do. The kids in his films act like real kids. Kids can be funny, loud, grumpy, inconsiderate, selfish, but they can also be kind and caring. It’s a coming-of-age story of Kun learning to be a better brother, a better person, and to not care about the short-term matters, but care about the long-term relationships, memories, and family. Its premise of Kun meeting younger or older members of his own family is wildly creative, interesting, always keeps the story going, and can be really funny when Kun finds out who is who. It’s a small-scale story told in a very big way. Not only is Kun one of the more developed male child characters, his parents are fleshed out, and have their own little arcs that you follow throughout the movie.

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As usual, Mirai is an outstandingly beautiful movie. Beautiful colors, fluid animation, more cartoony expressions, and wonderful shots and backgrounds. With a film that takes place in one setting, they find visually creative ways to transport Kun through time. In terms of the original language versus the English dub, I think you can watch it either way. The English cast has a really good list of voice actors and celebrities that perform some of the best voice work of 2018. John Cho, Daniel Dae Kim, Rebecca Hall, Victoria Grace, Crispin Freeman, Eileen T’Kaye, Victor Brandt, and Jaden Waldman all do a wonderful job with their roles. I could make super minor nitpicks, like Rebecca Hall could have had a little more work in her comedic timing as the mother, but overall, everyone is great. The music is once again done by Masakatsu Takagi, who did work for Wolf Children, The Boy and the Beast, and the Studio Ghibli documentary The Kingdom of Dreams and Madness. He has yet another great soundtrack for this film.

To be a good critic, I need to talk about some of the downsides. Even then, to me, they are nitpicks. I wish Kun could have seen his father when he was a child and not just the mom, some of the jokes were kind of weird, and I wish the opening credits were fully animated. Outside of that, this film sets out and completes its goals.

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Mirai is a wonderful film. I think it’s just as good as Wolf Children, and I might even like it slightly more than Wolf Children. It’s coming out soon to Blu-ray, but if you can find some way to see it in a theater, please do so. It’s the best animated feature from 2018, and that’s saying something, when Spider-Man: Into the Spider-Verse and Ruben Brandt offer it some healthy competition. Now then, let’s move on over next, to a film that I felt like should have gotten more support when it was released back in September. Next time, we shall talk about WB’s Smallfoot. Thanks for reading the review! I hope you all enjoyed it, and I will see you all next time!

Rating: Criterion/Essentials!

The Other Side of Animation 145: MFKZ 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!)

One of the things I can’t stand about the current image of animation is how many see it in a fairly limited way. They think that animation can’t be successful or good if they step beyond the family market, which is just incredibly ignorant thinking. That’s like saying adult comedies can’t go past a Seth Rogen stoner comedy, or horror films can only have jump scares and gore. The best part about animation, and I will say it as many times as I need to, is that animation is limitless. You can do anything you want with the medium. For every Dr. Seuss’s The Grinch (2018), you get a Liz and the Blue Bird. For every Incredibles 2, you get a Mirai. For every Duck Duck Goose, you get a How to Train your Dragon. My point is, films like today’s review, MFKZ, is to show how varied and vibrant animation can be. Directed by Shojiro Nishimi and Guillaume Renard, and produced by Ankama Animations and Studio 4C, this high-octane action flick stood out from rest of the films from 2018 for its odd, grimy, and intense visuals that were based on the comics made by Guillaume Renard himself. It was one of the first films during 2017’s Animation is Film Festival, but got a wider US release in October of 2018. So, was the wait worth it? Well, let’s check it out!

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So, what is this movie about? Well, a lot. We follow the story of Angelino, dubbed by Kenn Michael. He lives in Dark Meat City, a hyper-stylized, grimy, and grungy version of Los Angeles. He scrapes by making rent money with his friend Vinz, who’s a walking skeleton boy, dubbed by Vince Staples. They have to deal with living in the more poverty-riddled parts of the city and deal with the rent situation from their landlord Willy, dubbed by Dino Andrade. One night however, Angelino and Vinz get their apartment raided by Stormtrooper-like policemen that are chasing down Angelino for yet unknown reasons. This is on top of Angelino getting over an accident where he crashed into an armored car. The accident in question has him able to see individuals who are not who they supposedly are. This is probably why Angelino is being targeted. After that, Angelino and Vinz get sucked into a world that mirrors They Live (the John Carpenter horror flick). They encounter a group of luchadores who protect the world from evil forces, a group of thugs led by a man named Shakespeare, dubbed by RZA, a lovely woman named Luna, dubbed by Dascha Polanco, and getting relentlessly chased down by an evil man named Mr. K, dubbed by Giancarlo Esposito and his right hand Bruce, dubbed by Danny Trejo. Can the two make it out alive, and find out the mystery behind Angelino’s new abilities?

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So, yeah, let’s get this out of the way first, this film has a lot going on. However, unlike many movies with plenty of plots happening, MFKZ is definitely more focused. It’s more They Live, but with over-the-top action. I know nothing can beat that infamous brawl between Keith David and Rowdy Piper, but the action in MFKZ is easily one of the best elements of this film. Once again, with the knowledge that its animation, and the fact that Studio 4C is the studio that animated the film, the action is topnotch. It’s fast, intense, gritty, over-the-top, and varied. You get car chases, luchadores body-slamming Stormtroopers, Angelino gains new tentacle nightmare powers, and gunfights. For the most part of the film, you are constantly moving and learning about the characters. It’s a lot of fun to see them deal with one another, while dealing with constant action and darkly comedic dialogue. I mean, you can be critical of this film, but you can’t be mad at a thug leader who quotes Shakespeare while carrying large machine guns. It’s deep enough for you to care about the characters, but the film knows you want the fun schlocky sci-fi action, too.

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Another major highlight is that the cast is probably one of the most diverse groups of actors for dubbing and films in general. Rarely do you ever hear or see voice actors who aren’t white. There are ethnic voice actors, but they don’t seem to balance out with how many white voice actors there are in the business. It makes sense that MFKZ would then have ethnic actors/voice actors, including Kenn Michael, Vince Staples, Dino Andrade, Michael Chiklis, Giancarlo Esposito, Jorge Gutierrez, Dascha Polanco, RZA, Danny Trejo, and you get the idea. They all do a pretty good job with their roles.

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While I do love this movie, am happy that it exists, and overjoyed to see an action-animated feature aimed at adults, I’m not entirely surprised by the overall rating and the critic-rating on Rotten Tomatoes. Not saying that it’s bad, because I really enjoyed it, but it is flawed. The third act especially has some pacing issues. It goes full steam ahead when the story gets going, but then it halts in its tracks. It then underplays some of the major plot elements by that point in time, and scales it back down to being more intimate and personal about not losing yourself to your darker intentions, and being human on top of the anti-establishment They Live story beats. The final scene also ends on a sequel bait joke that was funny, but also rubbed me the wrong way, because who knows if we are going to get a sequel or not.

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While it sort of unravels in the end, and I get why people aren’t fully on-board with this movie, I love that this movie exists. I’m always down for more action animation and films with weird and out-there plots. I find it hard for myself to be mad at its flaws, because there are a group of luchadores that protect the world from demons, and it’s essentially a wacked-out version of They Live. I definitely recommend either finding a theater that will play this, or checking it out when it hits DVD. While not perfect, I’m glad films like MFKZ and Ruben Brandt exist. For now, let’s talk about what is possibly the best animated feature of 2018 with Mamoru Hosoda’s Mirai. Thanks for reading! I hope you enjoy the review, and I will see you all next time.

Rating: Go See It!