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13 of 13 episodes seen
Our story opens with a fairy named Syrup looking for strong people to join her Aquafall Defense force to protect the world from invading alien bug creatures. Naturally, she seeks out the silliest trio of girls she can find, Leviathan, Bahamut and Jormungandr. Okay, she doesn't try to recruit them because they're silly people, that's just a happy coincidence. The problem is that neither Bahamut nor Leviathan is interested in the position. The series mainly revolves around the misadventures of the three girls while Syrup tries to get them to join her in protecting the world. The series mainly revolves around two things comedic moments and action sequences. So, how well does the comedy work? Well, the series certainly has some really funny moments. In general the comedy is quite effective, actually, but there are also some jokes that fall flat and some that are just predictable and not all that amusing as a result. Putting the humourous elements aside, the story is rather mediocre and predictable and, unfortunately, the series does try for some serious story moments.
The characters aren't very well developed. The four main characters do have somewhat fleshed out personalities, but they aren't particularly deep ones. That being said, they are functional for comedic purposes. They interact well with one another which does lead to some good moments where one plays off of another. The familial relationships are decently handled, for what little you get of them.
The art is pretty mixed. On the positive side, the character designs are really nice, in spite of Bahamut's cap of +10 tomfoolery. The action sequences are also put together pretty well, for the most part, and have good intensity. Onto the negatives. The transformation sequences are fan-servicey, which you should never be able to say about a series that features characters who are designed to look roughly twelve. The series also makes use of fan-service in several other scenes because... the art design team was obsessed with Nowi. The backgrounds are also kind of lazy and the side character designs vary quite a bit. Jormungandr's family suffers from recycled designs with minor differences, for example. They also incorporate more traditionally CG designs for Fire Drake and Yurlungur, which are interesting but also look completely off when contrasted with the rest of the art in the series. It would be like taking Vincent as he appears in Advent Children and randomly throwing him into an episode of A-Channel. The styles simply don't work together.
The voice acting is pretty good. The main cast consists of Kitamura Eri, Taketatsu Ayana, Hayami Saori,and Hanazawa Kana, all of whom are good voice actresses who occasionally end up cast in something really terrible that requires them to pretend they aren't. While this isn't a series that requires them to be at their best, it is a series that allows them to show their skills. The music is okay.
The ho-yay factor is a 3/10. There are moments where you can envision them going that route, but nothing substantial.
So, how is Zettai Bouei Leviathan when taken as a whole? Well, the comedic elements are mostly effective and the characters are fun, the voice acting is good and there are some real positive aspects to the art. However, the fan-service is pretty bad, there are some other assorted art issues and the attempts at being more serious outright fail. That being said, if you're looking for a light-hearted fantasy story with some good action sequences you'll probably like it. My final rating is going to be a 6/10. It's decent, but nothing spectacular. Next week I'll look at the Bubblegum Crisis OVA, because why not? read more
1 of 1 episodes seen
The story takes place shortly after the second film, but before the first or third because the first four are out of order for no apparent reason. It opens with Shiki being taken to hospital, hopefully they don't forget about that protocol at some future point and leave someone lying on a couch in a comatose state for several days because that would be stupid, unconscious and bleeding. She spends two years in a coma before waking up, but something has changed within her and she can never go back to the way she was. The main narrative focuses on Shiki's own existential crisis. It uses both imagery and dialogue to make the struggle as poignant as they can. And it is incredibly effective. The build up is strong, the conflict is powerful, in spite of the first and third films giving away how it's going to ultimately turn out, and the climax is really strong. I will also give the film credit for having excellent, albeit short, build up for future films.
This film is really carried by its characters, particularly Shiki since she's the one going through an identity crisis. The film does an excellent job of showing you all of her inner turmoil, much of which it illustrates without dialogue, and just putting the viewer in a position where they can understand her on a pretty deep level. This is also the first film that really develops Touko's character and she is freaking awesome. She's both funny and badass. The interactions between her and Shiki are amazingly written and very effective at both developing their characters and keeping the audience engrossed. Kokutou takes a minor role in this one but his personality still manages to shine through in his scenes.
The art is excellent. This is especially true for the scenes that delve into Shiki's mind and the supernatural elements, but it also holds true for the regular scenes. The scenery looks good, the backgrounds and characters look good. The film just looks very pretty in general.
The voice acting is strong. Honda Takako gives a very powerful performance Sakamoto Maaya is also at her best in this. The only weakness is Suzumura Kenichi's musical number. Basically there's a scene where he sings “singing in the rain” and it's not the least bit good. Not because his English isn't great, but because he constantly emphasises the wrong syllables and the song just sounds disjointed and stilted. Even giving the film the benefit of the doubt and assuming that Kokutou is supposed to be tone-deaf, it sounds like he's trying to sing a song he's never heard before from a sheet with the lyrics written down. Aside from that, he does a good job and the music is excellent.
The ho-yay factor is a 3/10. Touko does flirt with Shiki a little bit.
That was Kara no Kyoukai 4. How does it compare to the rest? Really bloody well, actually. The story is interesting and really well executed, the characters are great, the art is amazing and the sound, aside from that one scene, is top-notch. This is definitely the best film in the series thus far. My final rating is a 9.5/10. That's going to be the last February review. The request queue going into March is: Ginga Eiyuu Densetsu, Shinsekai Yori, One Outs, Doki Doki Precure, Sword Art online, Shingeki no Kyojin, & Zettai Bouei Leviathan. Next week I'll take a look at the only one short enough to finish in a week, Zettai Bouei Leviathan. read more
3 of 3 episodes seen
I'll try to talk about the story without spoiling anything major, but it's not going to be easy. Basically, the narrative is cut into three time periods, separating it into three parts. The story opens with our protagonist, Takaki, receiving a letter from his best friend from elementary school, Akari, whom he hasn't seen for half a year. The first part focuses on them keeping in touch and culminates in him taking the train to meet with her. After that it skips ahead to the end of secondary school and from there it skips to adulthood. The story is about the way their relationship changes over time with an emphasis on the challenges of time and distance on that relationship. And I have to give Shinkai credit, it is really well done. The drama is very natural, very relatable. It never feels contrived or forced. Another aspect I appreciated was that it's not predictable. The course of events it goes over is completely realistic and makes sense, but it's not what a work in this genre would usually do. The way they transition from one time period to another is a little odd, but effective. The film's tone is absolutely flawless. The only real problem with the film from a story perspective is that some of the dialogue is kind of stilted and exposition heavy. The most obvious being from early in the film when one of Akari's letters goes something like “I don't know if you remember me. We last saw each other at our elementary school graduation. As you know, that was six months ago.” The first part is fine since people do talk like that, but the second is just forced.
This film has about three really well developed realistic characters, fortunately they're the important ones, and a bunch of side characters who don't do much but still feel like actual people from what little you see of them. A pretty substantial part of why the film works is that the characters are relatable. Their situation is familiar to just about anyone and the way they change over time is very natural. Even with the story skipping large periods of time, the character changes make sense and never feel like they were dictated by the plot.
The art is really stellar. The backgrounds are nicely detailed. The characters look good and the various miscellanea are all really well drawn. The film is very appealing from a visual perspective.
The voice acting is well done. Kondo Yoshimi, Hanamura Satomi and Mizuhashi Kenji all give good performances. As do the actors who voice the side characters. The music is used effectively to add to the atmosphere.
Th ho-yay factor is a 1/10. There is none in this.
That's 5 centimetres per second. It's a beautifully drawn movie with great drama, good acting and magnificent tone. Final rating 9/10. Check it out for a well done, but melancholy tale. Next week... you know, it's been a while. Next week will be Kara no Kyoukai 4. read more
13 of 13 episodes seen
Our story opens with Kiri, our protagonist, going to the house of a rumoured spirit with long hair because... that's his fetish. I'm not even kidding. He goes because he has a hair fetish. When he gets there he finds a petite girl roughly his age with hair down to her feet. He decides to stare at her, scissors in hand while breathing heavily. Contrary to common sense or basic survival skills, the girl, Iwai, decides that the best way to handle the situation is to invite him inside. Because in the land of poorly written characters, actions don't need to remotely resemble what anyone with a single functional brain cell would do. It turns out that Iwai has cursed hair that can't be cut. In spite of Kiri trying several pairs of scissors from her drawer. But that's okay because his pair is magical as it was a murder weapon at some point and it can cut her hair. The worst part is that that isn't even the stupidest aspect of this series. That's right, my friends, the idiocy escalates. It turns out that there are lots of people out there with magical murder weapons called authors and if any of them manages to kill Iwai, the “hair queen” they can get any wish they want and escape the spirit of the original murderer that still possesses the weapon. Kiri decides to protect her because she's surprisingly uncreeped out by him. The series from there follows the pair as they try to fend off a bunch of “authors” who either want to kill Iwai or Kiri. There are many problems that plague the narrative. The most obvious being that the premise is really stupid. Even if it was well-executed, which it isn't, it would still be just an absurdly stupid premise. Which might work in a parody but they play it seriously and try to play up the “drama.” Which is terribly written and the romance is cringe worthy to the point where it would fit into a Stephanie Meyer novel. I have nothing positive to say about the story. It starts out as mind-numbingly stupid and only gets worse eventually ending on an expositional onslaught about how much more there is to come.
The characters in this are horribly written. Their actions and motivations have no verisimilitude whatsoever. Kiri has a hair cutting fetish and protects Iwai because he's in love with her based on her hair. Iwai is an archetypal damsel in distress who spends her time either fixated on her love interest, crying or yelling for help. Most of the characters are defined entirely by exaggerated fetishes and the rest are just one-dimensional. The best characters are the dogs that appear briefly in two or three scenes. Just because they're the only characters who never do anything grossly stupid or incredibly annoying. To make things even worse, character motivations and actions change quite a bit in this for really flimsy reasons. They really couldn't use actual character reasons since the characters in this have less personality than a half leaf of lettuce so they have to resort to the tired “characters change because the plot says so.”
The art is meh. It's not as bad as the rest of the series, but it's nothing special. The character designs are pretty standard. The action sequences tend towards the slow, dragged out and uninteresting. They also mute the colours when things get violent. Having fetishy characters, including a pedophile, running around is fine, but showing blood would just be going too far. (Facepalm) There's really nothing visually interesting about the series.
The voice acting is pretty bad. Not because of the cast, I've heard most of them deliver good performances before, but because the characters have nothing to them. And actors can't make something out of nothing. As a result, the performances are pretty flat and the actors frequently just sound dis-interested. The music is okay.
The ho-yay factor is a 3/10. There are a couple homo-erotic scenes between two girls. Unfortunately, those girls are twin sisters. So it just ends up being disgusting. What is with creepy terrible writers and adding romantic subtext to relationships between twins? Looking at you too, Bendis.
This anime is horrendous. There's really nothing I can recommend it based on. The writing is terrible, the plot is stupid, the characters are bland at best and downright unpleasant at worst. I could only recommend this one to someone I hated and you're all such lovely people that I couldn't do that to you. Final rating 1/10. Next week I'll take a look at 5 centimetres per second. I know, it's not on my request queue, but I'm trying to finish Legend of the Galactic Heroes and it's quite long. Unfortunately, I don't have anymore requests that are short enough to watch in the meantime. Thank you all for being patient with me. This Friday I'll do a little something special for all of you. It's something I've wanted to do for a while and now seems a good time. And no, it's not images of myself in lingerie for Valentine's. I'm sure most of you would not be interested in seeing that anyway. read more
26 of 26 episodes seen
Our story opens in a training ground in Antarctica where a bunch of young female athletes are racing across an obstacle course while dragging giant steamrollers. It urns out that after an event that wiped out most of humanity, humans rebuilt and set up training schools to try and get the top athletes. The best students go to a satellite University to compete for the coveted “Cosmo Beauty” title. What I like about this series is that it doesn't take itself seriously. It uses all the regular elements of a sport anime, but it uses them in a tongue in cheek way, mixes in sci-fi elements and just plays up their absurdity in general. So, while it is predictable, the comedic elements keep the viewer invested and keep the action interesting. That being said, the series has its problems too. The biggest being that it's pretty racist. For most of the athletes, the series will give some specific country or place of origin: China, Osaka, Russia, the United States, a specific encampment on the moon and so on. There's one character, however, whose area of origin is a continent. Her name is Tanya and her area of origin is “Africa.” Not like that's a huge continent or anything. To make it worse, she's a very... “primitive,” is unfortunately the most apt term, character. She's superstitious, she runs on all fours, she's simple minded to an absurd degree, she even howls at one point. Who knows, maybe the nations of Africa were too busy making artistic and scientific advancements, but they didn't want to offend the rest of the world so they found the dumbest, but most athletic girl they could, made up a bunch of superstitions to teach her and sent her on her way. They bet on the rest of the world being too clueless to notice that Africa has multiple countries. Another issue is that the het romance, although there's very little of it, is really creepy and involves major age and power imbalances. On the positive side, the yuri romance, which there's a lot more of, is pretty cute and well handled. Was Hideyuki trying to actively encourage lesbianism or did he just figure people would accept the het regardless of how screwed up it was and, consequently, he didn't bother trying to make it good? The world may never know but this is the writer behind Read or Die, so the former seems likely.
The major characters are, for the most part, decently fleshed out and developed. The major exception being the aforementioned racist stereotype. One nice little touch is that Akari's development arc is pretty realistic. She goes through both good and difficult times with certain elements becoming prominent based on which end of the spectrum she's on. Each cycle she goes through becomes demonstrative of her growth. She becomes better at handling both extremes with maturity and grace as things progress. I also really liked Akari's love interest, Kris. She's just amazing.
The art is nothing special. It's pretty standard late 90s fare. About the most visually interesting it gets is towards the end when certain elements are introduced that I can't really go into without giving spoilers. That being said, it is competent artwork.
The voice acting in this is really good. You have some really great actresses like Hisakawa Aya, Kawakami Tomoko and Itou Miki being among the biggest names. The music is pretty nice as well.
The ho-yay factor is a 6/10. Primarily because of Akari and Kris. Although Akari and Ichino have their moments as well. There's also the dynamic between Lahrii and Mylandah.
And that's Battle Athletes. To be honest, I rather liked it, in spite of its racism. It's a fun series with some good characters, and one really bad one. The jokes are usually very effective, Akari and Kris have a lot of cute moments and it is an entertaining watch, if you can ignore or forgive its issues. Final rating: 7/10. Next week I'll look at Dansai Bunri no Crime Edge. read more
1 of 1 episodes seen
Our story is about a teenage girl named Umi and a teenage boy named Shun. They meet when Shun does a stupid publicity stunt to try and save the school's club building from being torn down in favour of a new one. That's pretty much it. The film is a tweenage romance with a sideplot about saving a building. About the most exciting thing you get are the cleaning montages just because something is actually happening. This film is just dull and tedious. They try to inject some tension with a plot line that interferes with Shun and Umi's relationship, but the resolution is really obvious within thirty seconds of it being brought up. The predictability of the film is a big part of the problem. There's no real investment because you know how everything is going to turn out. It may surprise you if you've never seen, read or heard the basic plot of a teenage romance. In which case, welcome to Earth. Flee before we take your beloved classics and make so many bad remakes, adaptations and sequels that you always have to make exceptions when expressing your love for them. “I love X... except for the horrendously bad BBC show written by Moffat, the American show that tried to copy it with slightly less crap results, any Hollywood film version, that stupid cartoon where the main character comes out of suspended animation in the far future and that idiotic anime where the protagonist is a dog for some reason.” The romance is just trite and stale. The characters have no real chemistry. They spend roughly ten minutes of screen time together before just deciding they like each other because the plot says so.
I'd say that the main characters have the personalities of twigs, but twigs are more interesting and are part of a greater whole. They're more like grains of sand, relatively shapeless and insignificant. They aren't remotely interesting nor do they have depth. The side characters aren't any better. The major ones being the people from various clubs who are defined by the stereotypes associated with people in that type of club.
The art is gorgeous, just like every Ghibli film. It's not so good that it's worth sitting through an hour and a half of complete and utter nothing but it's really nice and vibrant.
It's difficult to say how good the cast is. They aren't really required to do much acting since the characters are so flat. The music is nice and soothing which, when combined with the lack of anything interesting happening, makes it really difficult to stay awake during this film. So, it might make a good cure for Insomnia.
This has no ho-yay.
From up on Poppy Hill is really boring. Nothing happens that's even adjacent to interesting. It's dull, it drags, it's predictable and trite. Even if it does have gorgeous art and some nice music, I can't recommend sitting through it. At least it's not as bad as Tales from Earthsea. Final rating: 4/10. Well, Ghibli month ended on a bit of a low note. The request queue going into February is Battle Athletes Daiundoukai, Ginga Eiyuu Densetsu, Dansai Bunri no Crime Edge, Shinsekai Yori, One Outs, and Doki Doki Precure. Next week we begin with Battle Athletes. read more
1 of 1 episodes seen
Our story opens near the end of 1945 with our protagonist, Seita, dying of starvation in a railway station and that pretty much sets the film's tone. It goes back to show the events that led up to his demise. Beginning with an air raid in which his mother dies... This film is really depressing, and it continues from there. To the film's credit, it handles emotion excellently and not just the really depressing and sad moments. It also has some really joyous and happy moments mixed in. Which could have easily created a tonal clash, but they're done so well that it serves to create a good contrast and to strengthen the emotional impact of the sad moments, even though you know they're coming, instead. This film has spectacular tone, it's simultaneously one of the saddest and one of the most bittersweet movies I've ever seen. I do have a gripe with it, however. The biggest is that they give away every tragic moment before it happens. They're still sad, in fact I'd hate to meet the person who could watch this without crying at least once, but it does lessen the impact somewhat. Who knows, maybe they thought it would be way too emotionally crushing if they didn't give the viewer forewarning. Which may be a valid concern, actually.
What really makes this film work are the characters. The way they respond to things, their faults and so on all have verisimilitude. Unlike a lot of films about children experiencing tragedy, these kids aren't put on a pedestal as great innocents nor do they have no survival skills whatsoever, they act like real children. Which really adds impact to the tragedy. Let's be honest, it's hard to feel sorry for a character who's too perfect to actually exist or to emphasise with someone's tragedy when they suffer for their own idiocy. It's much more poignant when the character has the strengths and faults of an actual person.
The art is what you always get from Studio Ghibli, magnificent. The colours are surprisingly bright and vibrant for a film that spends a good chunk of its time in the middle of a bloody war. The backgrounds are beautifully drawn and the disturbing scenes are really disturbing. If you've seen it you know which ones I'm referencing. If you haven't... you'll know when you see them.
The cast in this is good. Studio Ghibli maintains its tradition of getting people who are inexperienced, the right ages and who do really well when it comes down to it. The music is absolutely perfect. It's atmospheric and enhances the tone.
There's no ho-yay in this one either, or romance at all. The film doesn't need it.
This movie is powerful, tragic in the best sense of the word and just a masterpiece in general. I suggest watching it with something furry you can hug, because you'll need the comfort. Final rating: 10/10. Next week I'll finish Studio Ghibli month with a look at a very recent film, and one of their only movies I haven't personally seen, From Up on Poppy Hill. read more
1 of 1 episodes seen
The Cat Returns follows a young girl named Haru. One afternoon she's heading home from school when she sees a cat about to get run over by a truck. Acing quickly, she saves his life. The cat wipes itself off in a very humanoid way, thanks her and goes about its way. That night Haru is visited by a procession of cats walking on two legs and the king of cats thanks her for saving his son and gives her a scroll listing all of the “great” gifts that she'll receive, including the right to marry his son. Haru, not wanting to marry a cat for obvious reasons, seeks out the cat bureau. A place run by a cat figurine given life by the power of animism named Baron Humbert von Gikkingen. Baron agrees to help her, but she's quickly grabbed by a horde of cats. The story goes from there to the kingdom of cats and Haru's struggle to escape. On the positive side, the story is well-paced with both good and funny moments. On the negative side, it's really predictable and there's very little tension.
The characters in this are okay. I did like Baron quite a bit, but Haru is one of the most generally useless protagonists I've ever seen in a Studio Ghibli film. For most of the film she's just going along with everything and having to be rescued. The characters as a whole are pretty under-developed.
The art is spectacular, of course. The character designs look good. The action sequences are drawn well. The backgrounds are stunning. It's what you'd expect from a Ghibli film. One thing that is noteworthy are the movements. They manage to make the movements of the feline characters look very catty while still using gestures and posing that are readily recognisable. Which does make for some interesting sights.
They got a pretty good vocal cast. All of the performances are well done and pretty memorable. The best probably come from Hakamada Yoshihiko, Ikewaki Chizuru and Maeda Aki. The music is just superb.
The ho-yay factor is a 1/10. There is none in this.
The Cat Returns is a rather silly film, but it is pretty enjoyable. It's certainly not one of Studio Ghibli's best works, but it's one that's worth checking out. Final rating: 7/10. Next week I'll look at something more serious. Have a handkerchief ready, it's Grave of the Fireflies. read more
1 of 1 episodes seen
Our story opens underwater where undersea David Bowie is moving around in his magical submarine spawning jellyfish. Yes, I know that isn't his actual name, but he looks kind of like David Bowie, so that's what I'm going to call him. Anyway, one of his young fish daughters escapes the submarine and makes her way to the surface where she's found by a young boy named Sousuke. He decides to keep her in a bucket as a pet, but undersea David Bowie is not pleased and decides to rescue his daughter. But she decides that she'd rather live on the surface as a human with Sousuke, whom she knew for maybe an hour... and the story progresses from there. This one does have some pretty glaring weaknesses. The biggest one being the characters' ages. This story really doesn't work when the main characters are five. It just makes the romance seem stupid and contrived. It also makes the climax seem really idiotic and the adults come across as really irresponsible. That being said, the film does have some really epic moments in it and a lot of it is a lot of fun.
Then we have the characters, I've already hit on this a bit, but the major characters in this one are pretty weak. With Ponyo and Sousuke a lot of it is just that they don't have a developed relationship and a lot of their actions seem to be entirely because the plot says so. Lisa is pretty badass though, and one of the most developed characters in the film. One character who is done really well is undersea David Bowie. I like that he's a sympathetic antagonist with actual developed motivations. One thing that sets him apart from other Ghibli antagonists is that he's a well-intentioned and jaded environmentalist rather than someone carelessly or shortsightedly causing harm to the environment. I also really like the elderly female characters in this. They're just a lot of fun.
The art is stellar. As expected of Studio Ghibli. The environments are rich and vibrant. The character designs are well done and the action sequences are really cool.
The vocal cast in this is strong. Even the child actors like Nara Yuria ad Doi Hiroki deliver great performances. But the best are definitely Yamaguchi Tomoko and Tokoro Jouji. The music is really beautiful and really helps the atmosphere.
The ho-yay factor is a 1/10. This film doesn't have any.
That's Ponyo. How does it fare? Well, it's certainly not as strong as Nausicaa. It's biggest weakness is that it made the two main characters far too young. They really should have been teenagers, minimally. They also don't spend much time developing them. That being said, the film does look and sound lovely. The adult characters are pretty well handled and interesting and it does have some great moments. My final rating is going to be a 6/10. It's a decent little film, but it certainly has its issues. Next week, the Cat Returns. read more
1 of 1 episodes seen
Our story opens in the toxic jungle, a dense area with poisonous plants and spores everywhere that giant insects make their habitat. We're introduced to Yupa, a man who wanders around the toxic jungle trying to unravel its mysteries, and our hero, the young wind rider, Princess Nausicaa. They return to the wind valley, a haven where humans can still live peacefully thanks to the wind keeping spores from settling there. They catch up for a while, but all isn't well. An aircraft crashes and they find themselves in possession of a giant pulsating cocoon. One desired by the powerful armies of two kingdoms, Pejite and Tolmekia. Nausicaa finds herself and her valley caught in the middle of the conflict and has to find a way to safeguard her home and stop the creature in the cocoon from being released. The story structure in this film is impeccable. The pacing is perfect. The silent moments are used superbly. Even the environmentalist message is excellently handled. As is the anti-violence component. Neither one comes across as preachy or like they've otherwise been dumbed down. Which is weird given that those are both themes that tend to be done very poorly, especially in movies for kids. The world is spectacularly built and a lot of thought clearly went into all the elements. There's really nothing the film does badly. Although, if I were going to nitpick, I might say that the ending is a little cheesy. But even then it's not in a way that's annoying or feels contrived.
The characters, also excellent. Nausicaa is one of the best protagonists I've seen in a long time. The antagonists aren't just petty or evil for the evils, they have actual motivations that make sense and substance. Even the more minor characters who you don't see much of feel like actual people. And any named character is going to have a reason to be there. There's no one who's extraneous.
The art is amazing. Especially for a film that's nearly thirty years old. The world is vibrant and beautiful. The backgrounds are stunning. The character designs look nice and the tech just looks really cool. This is simply a gorgeous film.
The film has a really strong cast. Shimamoto Sumi, Naya Goro, Sakakibara Yoshiko... everyone really. The music is... enchanting is probably the best term. It's always perfectly suited to the situation and serves to just immerse you in the action. And the film is already incredibly enthralling.
The ho-yay factor is a 1/10. There really isn't any.
Nausicaa of the valley of the wind is simply brilliant. It's an excellent film with amazing visuals, a compelling story, unforgettable characters, spectacular music and excellent acting. It does everything right and any complaints I might make about it are very minor. Final rating: a perfect ten. If you haven't seen it, make it a point to. Next week, I'll look at a more recent Ghibli film, Ponyo. read more