Worst to Best Animated Films of 2016 Part 3

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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 editorial!)

Welcome back, everyone, to part 3 of this very long list. As usual, if you haven’t seen part 2, here is a link to it. I’m counting down the worst-to-the-best animated films that I saw from 2016, and we shall now move onto the films that are really good, and I would start highly recommending them as not just rentals, but purchases. These are the films that you should have in your movie collection.

18. Batman: The Return of the Caped Crusaders

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I think it’s safe to say that The Return of the Caped Crusaders was the most universally loved of the films DC put out in 2016. While yes, it did go off of nostalgia of the Adam West TV series, it still was able to hold its own with very clever writing and commentary about how Batman has been portrayed in recent history. The jokes are hilarious, and the cast of actors are all pretty good. The film does start to lose steam in the final act, and sometimes the actors deliver some clunky lines, but don’t let that get in the way of you from checking out the best DC film from 2016.

17. Mune: Guardian of the Moon

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I consider this to be the The Book of Life of 2016. Mune: Guardian of the Moon has a really great CGI visual style, a cool world, and it does that thing I like about foreign animated films, and dips into both CGI and 2D animation. I love the idea about how everything is a cooperative effort, and one side can’t do everything without having some setbacks. I also think it does the foreign CGI animation the best alongside The Painting, since it looks great with a truly unique visual style. It’s a shame though, that it suffers from the same problems that The Book of Life suffers from in that the lead characters aren’t that interesting and the token female is very bland. The world also need a tiny bit more fleshing out, since the beginning of the film sort of rushes you into it. They also could have taken out some characters, and they would not be missed. Still, I overlooked those flaws, because I had a blast watching a film that also gave off a bad first impression. Once GKids releases this film in August, I would definitely recommend watching it.

16. 25 April

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If you wanted something to compliment your copy of Hacksaw Ridge, then this is the film for you. 25 April tackles a real-life battle from World War 1 known as the Gallipoli Campaign. Like a lot of foreign animated CGI films, they use motion-capture, but pair it up with a rather colorful and vibrant comic book-style art to the characters. However, you shouldn’t think this is going to be nothing but rainbows and cupcakes that spew kittens. Why? Because the battle they show is brutal, violent, but since it’s animation, it also brings in some very pretty and creative visuals. I was really hooked on the characters, and learning a bit about the history of the battle since I’m not fully familiar with what went on during the first World War. However, the motion-capture movements can come off as wonky, and there are a few odd decisions in the story that did take me out of the viewing experience. I haven’t seen an official US release announcement of the film yet, but I hope to hear about it soon, so hopefully, everyone else can check out a rather unique film.

15. Your Name

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When I was making this list, and everyone was saying this was the best film of 2016 along with the best animated film of 2016, I knew I was going to upset everyone when I put Your Name so “low” on the list. I still very much enjoyed the movie. The animation was gorgeous, the scenery was beautiful, I enjoyed the chemistry between the two leads, and I think the overall idea and experience is one everyone should check out. Unfortunately, I found the story to fall apart by the second half. They also needed to explain some elements better, like the body-swapping, and what exactly is going on in the second half after the big twist. I was still invested by the end, and I still enjoy this movie, but personally, this film was overhyped. It’s flawed, but I still liked it, and people should indeed go support it.

14. Phantom Boy

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You mean the duo of directors behind A Cat in Paris made a new movie? Of course, I’m going to watch it and buy it. This tale about a sick boy who can leave his body, and gets wrapped up in a crime thriller is one of the more fun animated films of 2016. The kid is great, the police officer is great, and Vincent D’Onofrio is just perfectly hammy as the villain. It has the same charming chemistry and alluring atmosphere that kept me invested all the way through A Cat in Paris. It does have some issues, like I think they could have gone deeper and more complex with the lead’s ability to leave his body, and the ending is sort of confusing, but I still had a fun time with this creative crime thriller.

13. Kung Fu Panda 3

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Be prepared everyone, this is the last good DreamWorks film we are going to get for a while. Seriously though, all joking aside, I really did like the third film with its emphasis on the father-to-son relationship, and the father-to-stepfather relationship. It was really the heart of the movie on top of the great humor, fun action, and gorgeous animation. There is a reason why this is one of DreamWorks best franchises. Unfortunately, it fell a tad flat, due to a weak if enjoyable villain, and it had a few too many familiar story elements from the previous films. I still love this movie, but it’s one of those films that got hit by the sequel-itis bug, and couldn’t fully escape it. Even then, I really loved this film and it showed you can have good movies in January.

12. Finding Dory

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I know this was also a very popular movie, since it was one of the most financially profitable films of 2016, but like Kung Fu Panda 3, Finding Dory did fall into a tiny bit of sequel-itis that holds it back from me fully enjoying it. Sure, it’s just the first 20 minutes, but still. I also just love Finding Nemo so much, and no matter how good this film was going to be, it was never going to top the original. However, even with all that said, Finding Dory is still really good. I love Dory’s story arc, and how the themes are aimed more at adults than the children, the animation is downright amazing, the colors are vibrant, the voice cast is perfect, and the characters are very memorable. It’s a movie that touches the heart and soul, even if it wasn’t my favorite film of the year.

11. The Red Turtle

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While it is a bummer that this film didn’t make more money, since it’s one of the most unique films of the year, it’s understandable, since for some reason or another, people don’t really know how to react to films with minimal or no dialogue. It means that with no witty or creative dialogue to rely on for the overall experience, the film’s animation and story has to be tight. For the most part, The Red Turtle does succeed in completing such a task. It’s a beautiful and emotional meditation on life, and how one goes through the hardships and challenges that life can put in front of you. I think the story could have been a bit tighter, and some elements could have been explained better. I also don’t see myself watching this Oscar-nominated film a lot, but I still really think people should support it.

Stay tuned for the final part of the list coming out in the future.

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Why Your Name Probably Wasn’t Chosen at the Oscars

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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 editorial!)

So, recently the Oscar nominations came out, and for the most part, people did a collective “no surprise” shrug at the nominees for film of the year and out of morbid curiosity, decided to see what the other nominees were, since they also matter. With the exception of the backlash for La La Land getting more nominees than any other movie, everyone felt fine about who was nominated. That is, unless you were an animation fan. The five animated films nominated for Best Animated Feature were Zootopia, Moana, Kubo and the Two Strings, The Red Turtle, and My Life as a Zucchini. While this sounds like a pretty good line-up, the internet was having a collective heart attack that Makoto Shinkai’s Your Name was not selected. Of course, the usual comments that “they are full of Disney bias” or “the academy is flawed and doesn’t watch all the films that are nominated” came up, and of course, the less favorable comments that popped up will not be mentioned here. So, are people just being upset for no reason and are not thinking straight about why it wasn’t chosen? Personally, I feel like there are perfectly understandable reasons that Your Name was not chosen. Let’s just ignore the flawed thought process of the Oscars, and as best as possible, take out personal bias for the film itself, and dive into why Your Name probably didn’t make it on the list.

There was literally no hype or push for the film in the states.

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So, like it or not, films get chosen by the groups who push and lobby for their films to be chosen by the voters of the Academy. It also helps if you get your films out there to as many viewers as possible, whether it be showing them at film festivals, or being released and getting hype a couple of months before the actual award show. There is more to this than what I just said, and there are definitely videos talking about what goes on with the films released during the Oscar season, and how to know what will get chosen. So, what did Your Name not do here? Well, everything. Now, not to say there was literally no one talking about it, but most of it was “Look how amazing it’s doing in Asia and Japan” or “It’s the highest grossing Japanese animated film in Japan”. Doesn’t seem like there was much talk about the American viewers, or even the rest of the world for that matter, was there? The only hype it got over here was when Funimation announced that they got the rights to distribute it. I mean, that’s cool, but there wasn’t much else. Funimation either couldn’t or, quite frankly, didn’t lobby or hype the film. They released a subtitled trailer, but no English dub trailer, and unless you were able to see this film at some convention or in Australia or any of the countries outside of Asia and Japan that got to see it in a limited theatrical run, there was no way to legally watch the film. So, this must mean that that America will get to see the film soon? You wish. The only possible legal way to watch the film will be when Funimation releases it in April. So, to recap, if you live in the states, and want to feel morally well-rounded and see this film, you will have to go two months after the award show. Even if voters were to watch every film in the running, how can anyone check it out when there are barely any possible ways to watch the film? Why didn’t Funimation make the push for people to see it?

So, you must be wondering then why The Red Turtle and My Life as a Zucchini get chosen when no one was really able to see them until now? Well, they have been making their rounds in the film festivals, and have been winning awards left and right, which result in the spread of word of mouth. It also helps that the two films have companies that are attached to them that have weight, GKids, Sony Pictures Classics, and Studio Ghibli. Those are all recognizable names that have had their films in the awards for years, so it’s no surprise that they got into the award show. Just because the film was doing gangbusters in regions that could relate to it more, doesn’t mean that same success is going to happen everywhere else if you don’t do anything to make it viewable to as many people as possible.

 Cultural themes and personal opinion might get in the way.

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Heads up, I am going to be using my personal opinion on the film for a bit with this example. Okay then, even if you were able to watch the film, would you honestly consider it better than what came out in 2016? Personal opinion will be put into perspective, and I simply couldn’t get into the movie as much as so many people praising it from head to toe did. I just don’t feel like it’s a film that can appeal to everyone in the right way, where it’s both entertaining, but complex enough to not be mindless fluff. I also found the film’s heavy use of Japanese culture, themes, and lifestyles to be distracting, and made it hard to get into the film about a boy and a girl swapping bodies.

Now, how does that make sense? Shouldn’t a film, no matter the country of origin, culture, and themes, be able to be enjoyed and understood by anyone? So then, why do films like Ernest & Celestine, The Boy and the Beast, and the American-made Kubo and the Two Strings, which has a heavy lean on Japanese folklore and visuals be so beloved by everyone? Easy, because they have stories and themes with characters everyone can get behind. The Boy and the Beast is about a father/son-like relationship, and has a unique moral for parents to be upfront with their kids and not constantly lie to them, and the consequences of doing so. Ernest & Celestine deals with discrimination, and is about the friendship of two souls who feel ousted by their own communities. Kubo and the Two Strings deals with the fact that life is about the balance of happiness and sadness, and how shielding yourself away from the hate and sadness in the world is not a good idea. These films are able to grab you, since they don’t really focus on their country of origin. They were telling good stories, and having interesting characters first. Personally, Your Name doesn’t do that. While it might have a pretty good chemistry among its characters, the film’s surroundings seem to take over the forefront. It also doesn’t help that a third act time travel twist happens, and ruins the film for me. I would have loved if they just focused on the romance between the two, or keep focusing on the body-swapping thing that somehow vanishes as the film goes on. Like, I get Makoto Shinkai has this thing about long-distance relationships, but once the third act comes into play, it feels weird and confusing to me. I really couldn’t get into it. I’m sure there are themes and ideals as to the sudden twist and the body-swapping, but it drags the film down. Plus, the character design and school day setting might be a bit bland and tiring to some. Make no mistake, Your Name is beautifully animated and looks downright gorgeous, and the fact that it has a theme of “everyone has someone out there” is nice, but it looks like a lot of other anime out there. I just felt too distracted by the film at certain points. I keep harping on the fact that so many people keep trying to say Makoto Shinkai is the next Hayao Miyazaki, but Makoto Shinkai needs to work on his storytelling and writing before he can get to levels of filmmakers like Miyazaki, Satoshi Kon, or Mamoro Hosoda. Shinkai is a very talented individual, but he uses “flash over proper substance” way too much, and I just won’t sit here and agree with the world saying it’s the best movie of all time, when it’s not what I believe. Even if the voters in the academy were not going by bribes or sweet swag offerings, personal opinion is still going to be a thing, and not everyone is going to agree on it being a good movie. Even checking out the reviews for it, there are people who don’t like it for understandable reasons. They aren’t doing it because it’s the popular thing to do by bashing a film everyone loves. Heaven forbid, that is what makes us unique, when we all have our own opinions.

 2016 was a tough year for animation.

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Personal preference for the film aside, it’s not like Your Name was going to get a spot in the Oscars so easily. To me, 2016 was one of the best years of animation of all time. Zootopia, Moana, Kubo and the Two Strings, Finding Dory, The Little Prince, Phantom Boy, Miss Hokusai, My Life as a Zucchini, April and the Extraordinary World, 25 April, Mune: Guardian of the Moon, Sing, Storks, Sausage Party, Kung Fu Panda 3, The Boy and the Beast, and you get the idea. It was going to have major competition. You have films from both big and small studios with distributors who aren’t going to be holding back in terms of wanting to be selected for those award nominees. It was a tough year. If this was something like 2002 or 2011, I would understand, but it wasn’t. It was 2016, and animation was strong.

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With all that out of the way, am I saying that these are the 100% facts? Of course not! This was never meant to be actual factual information. It was a guess as to why the film wasn’t recognized at the award show, and some logical reasoning behind the “snub”. Was I annoyed that Frozen beat out Wolf Children, The Wind Rises, and Ernest & Celestine? Of course, but I knew they weren’t going to win. Was I annoyed that Big Hero 6 won Best Animated Feature, when there were Song of the Sea, The Tale of Princess Kaguya, The LEGO Movie, and DreamWorks’ How to Train your Dragon 2? Yes, but I’m not going to sit here and be grumpy that Disney got yet another Oscar. Yes, it’s very hard for non-Ghibli Japanese-animated films to get recognition from the Academy, but in the end, what makes these types of films special to you also makes it not  matter if they get an award or not. GKids might have not won any of the American Awards, but it doesn’t diminish that the films they bring over are fantastic. While I’m not fully on-board with Your Name’s popularity, it shouldn’t matter if it was nominated for an award or not. Some recognition would be nice, but if you consider it a good movie, then by all means, keep considering it a good movie. It’s in my top 20 of 2016 for a reason, since I feel like its strengths are indeed strong. Don’t let it being left out of the Oscars weaken your love for the film. Go see it when it comes to theaters in April, and buy it when it comes out on DVD. I’m just saying don’t be freaked out that it wasn’t picked.

Was It Really Our Fault For The Death of 2D Animation?

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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 editorial!)

Around the mid-2000s, 2D animated films were struggling, with a majority of the flops coming from Disney and DreamWorks. This was when their 2D animated films were not bringing in waves of delicious greenback bills, and were instead being critically panned, and flopping/underperforming. This list of films include Home on the Range, Brother Bear, Sinbad: Legend of the Seven Seas, Treasure Planet, Atlantis: The Lost Empire, and you get the idea. The only 2D animated films that were doing really well during this time period were the films made by Studio Ghibli, like Spirited Away and Howl’s Moving Castle. When Home on the Range and Sinbad came out, both Disney and DreamWorks told the world that 2D animation was not a profitable way of filmmaking anymore, no one was seeing 2D animated films, and the new profitable form of animation was CGI-animation. This was essentially throwing 2D animation under the bus. So, was it really the public’s fault that 2D animation was dead? Is there a reason Europe and the rest of the world is keeping it alive and not getting wide releases? Well, let’s talk about what was going on around this time period.

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On one side of the spectrum during the early to mid-2000s, the only financially/critically successful animated films that were being made were of CGI, and Pixar and DreamWorks were leading the charge. This was when we were getting films like Shrek 2, Finding Nemo, and The Incredibles. All of these films were critical darlings, and are pretty fantastic films. On the other spectrum, you were unfortunately getting Disney and DreamWorks 2D animated films that were not doing well with audiences and the bank. Like I said above, the 2D animated films were not making enough of a profit, and were getting critically panned at the same time. Sure, you would get a film like Lilo & Stich, Emperor’s New Groove, and Spirits: Stallion of the Cimarron, but those films were few and far between in terms of being successful 2D animated films. The point is Disney and DreamWorks were losing money, and the only thing that was bringing in the cash besides their live-action films were their CGI animated films. Not to say that each CGI animated film during this period was a success, since this was when DreamWorks was trying to compete with Disney/Pixar, but the numbers and money talked.

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So, does this mean that 2D animation was 100% dead? Of course not! Even if Disney, Pixar, and DreamWorks were moving toward full-on CGI animation, due to the masses leaning more to CGI animation by overall audience appeal, there were a few studios and directors that were passionate or really stubborn about Hollywood’s sudden lack of 2D animation. This was when we were getting a lot of the Studio Ghibli films brought over by Disney, like Spirited Away, Howl’s Moving Castle, and Porco Rosso to name a few. Other directors like Sylvain Chomet gave the public The Triplets of Belleville, one of the best pieces of 2D animation around, and was a critical and Oscar winner. Japan has a multitude of amazing animated films during this time period, and even today we have incredible 2D animated films, like the late Satoshi Kon’s Paprika, Mamoru Hosoda’s Wolf Children, The Boy and the Beast, and Summer Wars, Makoto Shinkai’s The Garden of Words, and of course, Katsuhiro Otomo’s slew of films like Steamboy, and anthology project, Short Peace.  Europe has been rocking the 2D animation, with films from France, Spain, Scotland, and other areas including Song of the Sea, The Secret of Kells, A Cat in Paris, Phantom Boy, Ernest & Celestine, The Illusionist, Nocturna, Wrinkles, and Chico and Rita. Even Disney came back with two 2D animated films, with The Princess and the Frog and Winnie the Pooh. Sure, they didn’t break a gigantic amount of bank, but I love that Disney at first was going to do one 2D film, then a CGI film, and go on like that until they went full-on CGI animated. Even Brazil gave us Boy and the World, one of the most visually amazing films, not just animated films, I have ever seen.

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So, if 2D isn’t technically dead, since the rest of the world and the indie scene are treating it with the respect it deserves, then what really killed it? Well, it’s actually pretty obvious and simple. There is no reason to go into a college-based philosophical journey for the answer. Really, it’s the Hollywood machine, and the studios’ fault for killing off 2D animation.

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Yeah, I know it sounds like a hipster thing to do, and blame the bigwigs for killing off a style of animation, but it’s quite frankly the truth. So, during the mid-2000s of 2000-2005 or so, what were the companies releasing during this time that was 2D? This was when Disney was releasing films like Atlantis: The Lost Empire, Brother Bear, Treasure Planet, Lilo & Stich, Emperor’s new Groove, and Home on the Range. On top of that, this was also the tail end of their Straight-to-DVD fling, where they released a bunch of mediocre sequels to their popular Disney films. I’m sure you can find merit and something positive to say about certain elements of these films, but they were really scraping the bottom of the barrel in terms of quality with these straight-to-DVD flicks. DreamWorks on the other hand only released about two 2D animated films, with one being a hit, and the other causing the infamous “2D animation is dead” quote with Spirit: Stallion of the Cimarron and Sinbad. Now then, we’ve got our suspects from the 2D side of things from both companies, what went wrong with the studios making these films? After watching them recently, with the few exceptions that I have mentioned above, the rest feel like movies that were ruined by the higher-ups putting their focus-grouped hands into the mix. Films like Brother Bear, Sinbad, Treasure Planet, and Atlantis: The Los Empire could have been incredible movies, but what you get are films with bits and pieces of greatness and things to like, but then have to get past the elements that are distracting or not very interesting. Most of the time, the biggest blunder these films made was within its dialogue. When the characters talked like they were part of that time or setting, it was great and engaging. You felt like you were there with them. However, when the modern dialogue, Disney whimsy, and hip lingo pops into time periods where it isn’t remotely appropriate, and is only put there because some idiot higher-up thinks everyone would like it, it’s frustrating. It’s like they couldn’t fully stay invested in their own tones. If you want to be dark in Atlantis, then you need to keep the mature tone, and not throw in so many side characters, humor, and a weak bad guy. How much better could Brother Bear be if he didn’t turn into a bear and he was kept just as a human? I could say all of this with the other films like Treasure Planet and Sinbad. These studios, for the most part, would rather throw someone or something under the bus to avoid the honest truth that they made a bad movie that no one wanted to see, or have to admit that they were trying to cater to the lowest common denominator, and it wasn’t working. Oh, and was anyone really asking for Home on the Range? I mean, really?

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Yeah, I don’t buy that 2D animation died because people stopped caring about it. I think it died because studios here in the states kept giving us films that either couldn’t stay in the tone they set out for, higher-ups got their meddling hands into the pie, or were just terrible movies. Luckily, with the huge success of films like Zootopia, The Secret Life of Pets, Finding Dory, and the animated films distributed by GKIDS, animation has become a huge success during 2016, where with a few exceptions; a mass majority of the 2016 big Hollywood flicks are not panning out. Sure, you could argue it’s just the summer movies, but I feel like the animated films and indie films have been getting more of the spotlight and praise. Hopefully, this means that the bigger companies can try and come back to 2D someday, but due to how current Hollywood is run, it will probably take some time. Just remember, it’s not always your fault Hollywood made a stupid mistake. Thanks for reading, I hope you liked the article, and see you all next time.

The Other Side of Animation: The Garden of Words Review

(If you like what you see, go to camseyeview.biz to see the rest of my written work. If you want to, consider contributing to my Patreon at patreon.com/camseyeview. Thanks for reading, and I hope you enjoy the article!)

After that grating, obnoxious, and horrible heap of a movie that I previously reviewed, Cool World, it always makes me glad when I get to see something good. Sure, seeing the bad will help improve one’s filmmaking skills and make sure it doesn’t happen again, but sometimes, I just want to watch something that is interesting and something that resonates with me. After watching what the Hollywood entertainment system thinks we like to watch, it’s good to revel in something that at least made you think and be engaged. I just so happened to find a short film that has what I am looking for. Today’s review is of the short film, The Garden of Words. This 48-minute short film was distributed by Toho, and animated by CoMix Wave Films. It was directed by Makoto Shinkai. If Makoto Shinkai sounds familiar, then you have probably seen his films before, since CoMix Wave Films and Makoto have made such well-received films as Voices of a Distant Star, and other films like The Place Promised in Our Early Days, 5 Centimeters Per Second, and Children Who Chase Lost Voices. So, what do I think about this short film? Well, let’s dive in and get started then, shall we?

The Garden of Words centers two humans. The first is a 15-year old male named Takao Akizuki, voiced by Blake Shepard. On a rainy day, he cuts class to go sit in a pavilion in a park to draw shoe designs in his sketch book. One day, he meets an older woman named Yukari Yukino, voiced by Shelley Calene-Black. After a while, they create a bond between one another as friends until they realize that they may have known each other in more ways than one.

So, what is great about this short film? Well, what this film downright immerses you with is its atmosphere. By golly, this film just pulls you into its quiet, wet world. A lot of the time, there is no music or background score playing, and all you hear are the sounds from the areas around the main characters. The many rainy scenes are something right out of a yoga or meditation CD. It also helps that the film is beautifully animated, and while the character designs are, in my opinion, okay, everything else looks amazing. I have read where some people had a problem with how this film was presented and animated, but to me, I wasn’t distracted. While I have some problems with the personalities of the two main characters, I do like the relationship between them. Sometimes, all you need to find is a kindred soul that you can talk to/relate to. Another element that helps pull you into the movie is the beautiful piano score. It’s just gorgeous music to listen to. If you are curious about who wrote the music, it was Daisuke Kashiwa.

With all that said, this film does have problems. The two biggest problems are the character themselves and the running time. The two characters the film follows are not really that interesting, personality-wise. Granted, they are both suffering some form of depression, and you could argue that people display depression in different ways, but I blame the running time for the weak characters. I mean, it’s not like the characters have no personality or interesting things about them, like how the male is a hard worker. But, if the film was a bit longer than 46 minutes, I think we could have gotten more breathing room with the two leads, instead of multiple montages set to the beautiful scenery and musical score. This short film is based off a one-issue manga, but it doesn’t mean they couldn’t flesh things out more. For example, besides the two leads, who are likable in their own ways, everyone else feels petty and mean-spirited. A lot of this comes from the twist in the film, but I don’t want to spoil it for anyone who may have not seen this short yet. Of course, they could just get curious and look up the plot on Wikipedia. I also found the ending to be rushed and overly dramatic. Not that there isn’t some kind of corny enjoyment out of it, but again, a longer running time and a better-paced ending could have fixed so many problems the short film has.

Overall, after a couple of viewings, I ended up really liking The Garden of Words. I still think Makoto Shinkai could have fixed a few problems, but when he really hits the nail on the head, he is truly one of the best talents that Japanese animation can offer. The film itself is about $20, but if you can find it for cheaper, I would definitely recommend it. It has its issues, but it’s one of the more beautiful and atmospheric movies that I have ever seen. Well, we have seen what good Japanese animation can give us, let’s see what the worst of Japanese animation can give us with OVA, Cybernetics Guardian. Thanks for reading, and see you next time!

Rating: Go See It!