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: 8.631 (scored by 36147 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?
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 don't think I've ever given perfect 10's across a rating scale. I don't think the third Madoka Magica movie deserves 10's across the board either, but this is the closest I'll probably ever get.
I dreaded the day that a sequel came to fruition for Madoka Magica. This was a show that ended on a rather ambiguous note but still left a good, everlasting impression in its original run, hinting that there was really no need for a sequel, an explanation, or an "After Story", for that matter. I'm not saying I don't want any more of it, not at all. But seriously, Gen Urobuchi, there's no way you can write a sequel any better than the original series, especially when your original series was THAT good. So yeah. Like.... just stop.
Okay, I was jumping like a schoolgirl when I heard that there was a new Madoka Magica, but I didn't have much hope for this one either.
But what I believed to be a mediocre attempt to capture the world by storm and ultimately fail, I was proven wrong. I hate being wrong. I can't stand the thought of being wrong. To me, being wrong, is just wrong.
Never been happier to be wrong.
Story: What the original series packed was a story that was armed to the teeth with dark undertones and twists so shocking, Lindsay Lohan could be one month sober from her usual crack fiend habits and the power of the message would still be ultimately missing. So when Madoka Magica was renewed for a sequel film, they ultimately took the exact same impact and made it even better. For those of you who have already seen the original (and you HAVE to see it first), you might be wondering, "how does it get any better?" Remember when Madoka transcended into the heavens and became a holy power? Think of this as God's believer trying to make direct contact.
However, I think the real impact of the film doesn't happen until much, MUCH later. You're watching for an hour and thirty minutes and you probably haven't reached it yet. Ten minutes later, you're probably.... almost there, and I'm specifying what happens near the end. When you hear from other MAL users about how the ending was a serious shock, nobody knew how to take it, "ending of Oreimo", all that stuff, that's all true. But if you still have a vague idea of what they're talking about, then imagine it this way: life gives you a cookie, then kicks you in the third leg just to take it back (if you don't have one, forget the reference!). Only difference is, if life does it, you're rolling on the floor, writhing in pain. The ending to this third movie turns you into Niagara Falls for a while.
The story is just splendid.
Art: Aniplex can screw up just about anything on this list in the eyes of some, but if there's something a pissed-off fanboy or a nine-year-old shounen rage kid cannot base his bad rating on, it's the animation. Looks clean, characters move in a crisp and fluid motion, and the Nightmares that appear, while they don't retain the same animation style as the rest of the characters/scenes, it blends in, oddly enough. If they did those sequences wrong, it would pop out very noticeably, especially given the two conflicting animation styles. Fortunately, there's a sense of depth, and instead of that bolstered look where a character looks as if they "happen" to appear in the scene, the character looks like they're actually there (and there is a HUGE difference between the two definitions).
Sound: I'm a fan of ClariS.
.....yeah, moving on.....
Character: I didn't quite understand Homura's actions the first time I watched the movie, but after a good runthrough over the exact section I was skeptical about, I had to use my own judgment and speak for myself, "it's logical, it makes sense." This is the exact same place in the movie where everyone spreads rumors about Gen Urobuchi "ripping out your hearts and sending you into a black oblivion of nothingness and despair and I'm gonna go kill myself and-" you get the idea. You'll just have to watch this part for yourself and make your own decision about Homura's actions (that's a small spoiler, I think, but I know it's not enough to spoil the entire thing).
I don't like forgettable characters. Not the forgettable ones in the sense that we see them once throughout the whole movie and they dick off for the rest of the time to do as they please because we don't need them. I don't like forgettable MAIN characters, and while Sayaka was one of the main cast of the original series (and still is), I feel like she was neglected most of the time, and never really got the spotlight even after Kyouko came in, who ended up stealing it (as far as Character Favorites on MAL tells me). With the amount of screen time Sayaka got in the original series, I was impartial about her death. It never struck me as particularly noteworthy. That changes with the third movie. Her role is more defined, we do get to see more of her, and this "more of her" that we see isn't just a way to give Sayaka fans something to squeal about. This is her own persona, her own contribution, and what I would call redemption from her lack of presence in the first movie. I'm more delighted by the idea that Urobuchi doesn't neglect to use his characters when he needs them.
Enjoyment: If you can classify "enjoyment" as sitting at home and drowning in my own puddle of tears while watching, then yes, I did enjoy it.
Madoka Magica is one of those shows that never initially grabbed my attention, but then again, it doesn't take very much to draw me in at the same time. All it needs? Good storyline, good execution, and I can cope with the rest. But while a select number of shows can do a combination of both and I would still point out a flaw or two, and while some will gradually lose my initial attention, Madoka Magica is, for me, a very, VERY difficult show to dislike or change the rating of, or keep my eyes off for that matter. I wasn't swayed by the hype, I've listened to all the criticism, and at the end of the day, this series still stands as one of the best series I've seen, if not the absolute best. Even with the ending as controversial as it is, there's no way I can bring myself to dislike this series. I thought it wasn't a proper ending, as diehard of a fan as I could be, but I was satisfied having seen it.
And while I have a tendency to associate myself with shoujo and rom-com shows, I'll have to admit eventually that I loved the action sequences just as equally as the idle explanation scenes. You know, those ones where they just sit around and talk to each other? Yeah, I don't know why I like those scenes. Maybe I'm just weird.
Overall: I think everyone who previously didn't know I like watching anime and everyone who does know has heard this from me at least twice within the past two days: WATCH THIS MOVIE. If I keep this up, I probably won't have a social life. Whatever the case, I don't think I've been this hyped over an anime show, nor have I had such a strong desire to watch it again.
Maybe I'm being biased because this is my favorite show, and maybe I'm missing something here and I failed to pick it up, and while this third movie may probably be one of those shows that will still get bogged down on hype alone, there's no reason for any of that. It's brilliant, it's well-thought-out, and it really doesn't need any of its hype to prove its worth. 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.
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.
First, NGE and Madoka are very similar series, and I have to recommend sticking it out and watching both. They have very similar archetypes, plot/character development, and have a wonderful series of darker twists and turns that keep them from becoming "kiddie" anime.
Besides the fact that "End of EVA" rewrites the ending of NGE and "Rebellion" continues Madoka, I would say they share many of the same positives.
Rebellion has some of the best action sequences in the series, in all of the right ways. The fights give you exactly what you wish there was more of in the other works, and there are some fantastic uses of powers that I really found impressive.
End of EVA naturally keeps up with the high-action themes of its series as well. There are some very intense EVA fights that will totally keep you on your toes, but it's important to note that there are also a lot of sequences involving the characters without the use of an EVA.
The feels? Check
Rebellion. I can't really even go into it too much without giving away too much, but I will just say that there are MANY places where I had a lump in my throat because of both joy and sadness. This film was an emotional roller coaster, and I enjoyed every minute, even the ending.
End of Evangelion definitely hits hard in some places, but it often times made you cringe as you watched horrible things happen to characters you love. There were definitely some really sad moments, but it feels a lot more distant as opposed to Rebellion's smooth changes backed by fantastic BGM choices.
WTF Factor: Check
(Ok, more of a psychological twisty-turny factor, but I wanted a short phrase)
Rebellion. Again, wow, Rebellion has two giant twists, with a smattering of smaller turns that keep it engaging. The first twist comes at you slowly, allowing you to take in information with a detective, but it also lets you see into Homura's character a lot more, letting you get to know her better. Rebellion uses its smooth storytelling with some choppy/surreal artwork to keep its dark themes.
End of Evangelion, honestly, is the exact opposite in this respect. It has some darker themes, a few twists, but overall it just throws the characters' mental anguish in your face full force. The artwork is all very bright and everything is so much more visceral than in rebellion. End of EVA doesn't care about leading you to conclusions; things happen, and there is nothing you can do about it.
Personally, I put Rebellion over End of Evangelion, as it seems to keep with the underlying mood of the show better and gives the viewers smoother transitions. Yes, the ending was a real ... interesting way to take it, but after thinking about it enough, I think I can justify it. End of Evangelion just seemed like it was a rushed way of pleasing fans that tried to keep the emotional/psychological impact that the original series had. It was good, but Rebellion puts a better capstone on Madoka than End of EVA does NGE.
No denying, both movies will leave you with a sense of awe after having seen their respective shows. Not for the faint of heart and a very similar final act to the final act of this movie. Watch Neon Genesis Evangelion first.
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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