English: Puella Magi Madoka Magica the Movie Part III: Rebellion
Synonyms: Mahou Shoujo Madoka Magika Movie 3, Magical Girl Madoka Magica Movie 3
Japanese: 劇場版 魔法少女まどか☆マギカ 叛逆の物語
Status: Finished Airing
Aired: Oct 26, 2013
1 hr. 56 min.
R - 17+ (violence & profanity)
L represents licensing company
Score: 8.671 (scored by 26493 users)
1 indicates a weighted score
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SynopsisWere all the magical girls truly saved from despair? Now, the great "Law of Cycles" leads the magical girls to their new fate. Madoka Kaname, a girl who once led an ordinary life, sacrificed her very existence to set every magical girl free from their cruel destiny. Homura Akemi, another magical girl who was unable to keep her promise with Madoka, continues to fight in the world in which Madoka left her behind.
"I dream of the day when I can finally see your dear smile again."
Madoka Kaname has changed the world. In this new world, is what the magical girls see a world of hope... or despair?
This third film once again brings together the members of the Madoka creative staff. Led by chief director Akiyuki Shimbou, the script is written by Gen Urobuchi from Nitroplus and the original character concept designs are by aokiume. SHAFT is once again the studio bringing their work to life. With a completely new screenplay and animation, "Puella Magi Madoka Magica The Movie -Rebellion-" is a brand new tale of magical girls!
Related AnimeAdaptation: Gekijouban Mahou Shoujo Madoka★Magica: Shinpen - Hangyaku no Monogatari
Prequel: Mahou Shoujo Madoka★Magica, Mahou Shoujo Madoka★Magica Movie 2: Eien no Monogatari
Other: Mahou Shoujo Madoka★Magica Movie 3: Hangyaku no Monogatari - Magica Quartet x Nisioisin
Characters & Voice Actors
There're anime where the ending will leave you satisfied.
There're cliffhanger anime for people to die for a sequel.
There're even anime that just leaves cliffhangers and never come back.
There're those garbage anime that you just don't feel anything at all.
And there's Madoka, an anime with an amazing story, art, sound, character, but a soulless and downright devilish ending.
There will be absolutely no plot at all, because I want people to understand and be ready for anything.
And, I tell you, you'll need to be.
[P.S. There are absolutely no plot summaries in here, but the vocabularies and terms I use may indirectly suggest a minor point of the story.]
This story is meant to leave an unsatisfactory ending. The motif is pretty clear: the Bible and the genesis of God and Lucifer.
Come on, our world hasn't come to an end, has it? A story based on our world, a never-ending cycle of unsatisfactory endings cannot be satisfactory by itself, unless by deception and/or imagination.
Urobuchi, author of Fate/Zero and Madoka among many others, is famous for a seamless plotline. I cannot state that this movie has brought down his fame, because all his stories had dark motifs. Indeed, this movie has left an unsatisfactory ending, but this is a masterpiece, creating an amazing transition between theogenesis and diablogenesis.
How could I dare say that unsatisfying ending crushes this masterpiece?
Imagine Madoka being reanimated with Monogatari: Second Season's animation technology.
Now add malice to that.
Now add another plot twist to that.
That does not even begin how great the movie was.
The seemingly childish animation was still there, but the malice was all the more heightened, getting into the fine line between creepiness and evilness.
A wise mangaka once stated that drawing a malicious face (not angry face) was not an easy job. He stated that the background, the eye, the position of the panel, the position of the character, darkness, facial expression and etc were all necessary to make one malicious face.
Then how much harder would it be to draw nearly an hour-long malice?
Shaft studio, producers of monogatari series and of course madoka among many others, is known for their ability to, despite using quite "cheating" methods, send chills down the viewers' spine. Using scenes where the character simply stands, or where the name of the font used or color of the scene or sometimes seemingly scanning the clothings or skirts of an unknown origin, Shaft studio actually makes a great success of delivering an heightened message to the viewers.
And, truth be told, I could not catch a single misgivings about the animation of the movie. When malice was needed, Shaft did their job. When they needed a happy tea time, Shaft did their job. When they needed a battle scene, Shaft did their job. No more colors or fonts. They did their job.
If there's one criterion I always cut down and attack, it's the sound. Being a very keen person in sound, I always wanted the producers to use the "perfect" BGMs (of course nothing is perfect but still I can dream?!) at the "perfect" moment. But I have to say it--rebellion nailed it.
The song was as creepy as it could get. The background musics at the moment of realization was so good that I got a chill down my spine and nearly pissed myself (true story). On the opening, ClaRis did their usual mislead. The general "ah, this is a magical girls' story! There're absolutely no genre-twisting stories or one of those Urobuchi things in here!" and comforted the slaughter lambs. Then, came the usual malice.
Scary it was.
And somehow, even at the ending, although the song was in major pitch and no double voice or alterations have been added, it was still creepy and malicious. It created a sense of Judas' kiss, meaning that while the act itself was a beautiful act, the inner sense was dark enough to creep our intestines. If there is one thing that music should do, it is to do that. Even through the electronic amplifiers, music should always deliver the feelings.
Rebellion was an amazing exemplification of this job of music. It did its job when it needed to, creeping our guts out after cleansing our soul with "cute" music, then presenting the "Judas' kiss".
Sound--a job well done.
No one expected this.
No one could have expected this.
No one could have seen this coming.
Yet this was inevitable.
Urobuchi always does this. He reveals a down-to-Earth fact that has been in front of our face the whole time yet at the same time a fact that no one has realized.
The development of our main character, Akemi Homura, is wonderfully presented with this motif.
Her "transfiguration" was something no one have realized, yet something so obvious and inevitable that everybody should have known.
I will not go onto further details.
As for minor characters, such as Mami, Sayaka, Kyouko and our all-time hated con artist, MOTHER****ING KYUBEY, they have done their job spectacularly. Every bit of stories they shared and every bit of clues they presented showed and developed the story rapidly. In a way, they "created" the main character. It is always difficult to involve all of the characters and giving all of them important roles. Failure to do so may not be the doom of the anime, but a horrible trial of doing so means the end of the anime and doom of its production. However, Rebellion Story, while providing every character a role, also succeeded in not awkwardly fitting in their roles into the original plot.
It is indeed a job well done.
Now, before you say anything or go away, let me explain myself.
Indeed, this was an amazing movie, and I don't think any other movie can create a seamless storyline as this one.
However, I didn't enjoy this at all.
In fact, I don't think I can ever see the movie again.
It was too soul-breaking that it felt like my soul was breaking apart.
Indeed its story was good, indeed the art was amazing, indeed the sound did its job, indeed the character development was godly.
But I just couldn't like it.
Still, this was only my opinion. Some people might like it.
In fact, exactly because I liked it, I want people to watch this.
It both critiques the conventional "now everybody's happy" anime endings and the well-known "good guy always is the good guy" logic and crashes it down to Earth.
Because of this, I have to take off the Enjoyment spectrum out of the overall rate.
It indeed is an important aspect of anime, but not in this one. This movie DOESN'T want you to enjoy the show. And that is exactly why this is great.
Great story, art, sound and character.
It is the work of our lifetime.
Don't miss it.
If you are in a region where you can go watch the movie, you are blissed.
GO WATCH IT.
IT'S WORTH EVERY PENNY.
Then, happy anime-ing. read more
I'm bitter, I'm sad, and I'm filled with despair. To some this might sound bad, but for those who have experienced this film then you know it is the biggest complement I can give.
The final chapter in the highly acclaimed Madoka trilogy/show has come to a close, and studio Shaft has closed this book right (if not heart wrenching). The story is all tied to Homura after the events of the first two films. We follow her as the story travels down a road most fans never saw coming, but since this is the final chapter there is an end to this road. A very fitting end. I won't go into detail because of spoiler reasons, but some fans might feel crossed (Homura's actions during the final moments of the film). Thematically speaking this series has always been about the balance of hope and despair. How the influx of these two emotions create the balance of the world. I feel that once you see the film (and are done crying in a puddle of tears), if you think about what the show has been leading up to, then there is no other way this could have ended. Also there is some excellent fan pandering in the film. Several fights, and scenes were crafted for your viewing pleasure and entertainment. Which this being the final film I really appreciated (mainly in the beginning of the movie). Very minor complaints are near the beginning of the film tho. Lets just say it is a little jarring (for a good reason of course), and takes a little while to get going. Once it gets moving however it never stops, which is a good thing given the run time of the film. Overall an excellently crafted narrative, and conclusion to the series. Filled with tid bits, and nods to the fans of the series. What more could you ask for from a final chapter? For me at least, nothing.
I've always been a fan of the style of animation in the Madoka franchise. The artistic nature of the backgrounds, and the world I have always found incredibly appealing. Here is no different. The world is beautifully rendered, and full of little details brimming with color and imagination. The Character designs are top notch as well. Fans will be happy to know there is also new transformation scenes, which look fantastic as well. The fights in this hold a cinematic quality to it that I just don't see in Anime all that often. They were fluid and fast, which added to the spectacle of what was going on. If the Madoka animation hasn't shined you on in the past then I don't think this one will do anything different. For fans on the other hand, they will be happy.
The rule of thumb, besides pure enjoyment, that I use for judging an OST is if it amplifies the tone of the film. All to fitting is what I can say. The music moves with the scenes, and allows the audience to feel connected to it that much more. The voice acting as well is top notch. Saito, Chiwa delivers a fantastic performance as Homura, which is a good thing considering this is her show. Everyone else was great across the board, but her specifically was a stand out.
Everyone is back this time around including some new additions. Of course the spot light is on Homura in this film, and this journey for her has been a rough one. It truly is heart breaking. Now like I said earlier some fans will be split on Homura's actions in the latter half of this film. So it is up to you to decide on how you feel at the end, but for me it was tragic in a good way. I've rarely ever felt more understanding, and sympathetic for a character. This is the fruition of her development, and it is damn good. Concerning the rest of the cast, none of them were really side lined, except for the new addition, Nagisa. Nagisa is the new "magical girl" in the film, and she is underused. Which I am actually fine with considering I came to see the characters I have grown to love, but then I just think back to why she was there to start with (fan service probably). Anyways it was great to see everyone for one last show, and minus the addition of Nagisa, they brought their all.
This film broke my heart in all the right ways, and I will take good story telling over happy any day. Filled with moments that made me want to cheer, and sink into a pit of sadness; this final film was what I needed in my life.
Like all good books one has to reach the last page sometime, and this closing chapter delivers. As a fan I would recommend this to anyone who has enjoyed the original series/films (because they are necessary for this one). If Madoka was never your thing then this won't win you over. Fantastic characters, story, art, and sound, nothing more to really say except one hell of a good film, and I can't wait to watch it again. As always thanks for reading. read more
Both films share enough in common. Both are deeply complex and have confusing plot lines that converge to a major climax to twist everything previously established by its predecessor, combined with dazzling visuals in an apocalyptic thriller.
Visually compelling and very thought provoking sequel movies to highly popular (and deservedly so) TV anime that changed their stereotypical genre (magical girl for Madoka and mecha for Evangelion).
Both have endings that will blow your mind. In fact, the entire movie will blow your mind.
Both are the sequel of a popular franchise with a ridiculous ending
Psychological movies, that are a sequel to a deconstruction anime, which rewrite the main series end.
Hangyaku no Monogatari parallels End of Evangelion in a number of significant ways and it's not just the fact that they are both high-budget sequels to successful franchises that are notorious for playing with the conventions of venerable genres of anime. As expected, the each of two films features top-notch production values, but they additionally both use much of their generous budgets in service of their shared affinity for visual experimentation. However, as the Madoka Magica franchise is already known for its use of unconventional animation techniques, Hangyaku no Monogatari ends up being decidedly more experimental than End of Evangelion with regards to the way that it presents itself. While Gekidan Inu Curry's involvement in the previous installations of the Madoka Magica franchise was mostly limited to scenes in which witches were involved, their signature style is seemingly omnipresent in this film. In other words, many viewers will see this as the most SHAFT that SHAFT has ever gone. The series' signature form of heavily stylized mahou shoujo combat is also the at the best it's ever been. no doubt due to the increased budget. Similarly, with its acclaimed organic mecha design on full display, End of Evangelion features what is arguably the most well executed straight up mecha brawling in anime. Extremely well animated action sequences is not all that it has to offer in terms of visuals, however, and it takes the Neon Genesis Evangelion television series' fondness for symbolism even further with its infamous giant Reis, vulvae that Georgia O'Keeffe would be proud of, and, of course, crosses—can't forget the crosses. The two differing philosophies of visual representation here are the insertion of traditional mahou shoujo elements into the context of expressionistic experimentation versus a uniquely sleek and allegory-laden reinterpretation of the sci-fi mecha aesthetic.
Furthermore, each of the two films takes a somewhat different approach to storytelling relative to its respective predeccessor (and relative to each other, of course). As in the television series, hints are scattered throughout Hangyaku no Monogatari while the full scope of the plot is withheld. However, as the television series was already a visually-driven work by nature, the shift toward an even more theatrical and expressionistic style of presentation has a profound effect on the way that the narrative elements of the film are conveyed to the viewer. Not only has choreography become a major motif that subverts the linearity of the pacing, but the ubiquity Inu Curry's influence establishes surrealism as the norm—we are told that, once again, the rules have changed. As a result, Hangyaku no Monogatari has the potential to be a bit less accessible than its predcessor, as the reaction of some early viewers is already starting to reveal. In contrast, the ending given by End of Evangelion is considered by most to be much more accessible than the television ending. The film doesn't dip too often into the highly minimal and abstract style of the later television episodes and even if it is less than straightfoward at times and features quirks like an eight minute musical interlude (which is totally awesome, by the way), End of Evangelion is in most respects a distinctly more conventional and conclusive rendition of the events of Third Impact. As a result, it finds overwhelcming acceptance among the large portion of the fanbase that finds the original television ending to be dissatisfying.
Finally, certain choices made in both films can elicit very polarized reactions from viewers and especially from fans. Why that is, I'll leave to you to watch and find out.
Opening Theme"Colorful (カラフル)" by ClariS
Ending Theme"Kimi no Gin no Niwa (君の銀の庭)" by Kalafina
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