EDIT: People, people. I went and saw this in a movie theater. In real life. Please stop asking me where you can download it, because I don't know. Thank you!
As perfect as they were, I almost regret giving the other two movies tens, for now I have no numerical way of showing that this one is far superior to even them. Spoilers for those movies, obviously.
Anyone who's seen the main Monogatari series can tell you that the difference between pre-Kizu Araragi and post-Kizu Araragi is like night and day. The question, though, is this: what happened in Kizu to change him so dramatically? There were
two catalysts: Hanekawa and Kissshot. In Nekketsu, we saw him learn the joy of true friendship when Hanekawa obstinately stuck by him where any sane human wouldn't have. In Reiketsu, we see the effect Kissshot had on him. This relied on buildup from the previous two movies - through them, the viewer and Araragi had to come to like Kissshot. But this is a review for Reiketsu, so I'll quickly move on to why that's important here and now. You know how Kizu has been devoid of the signature Araragi narration that pervades the main series? It comes back after a certain scene in this movie. My belief is that it's intended as a delineator between pre- and post-Kizu Araragi. "This scene is where the transition was complete." I don't want to go into further detail because I don't want to force my interpretation on you, but the takeaway from this paragraph is this: Araragi's character arc in Kizu is very cleverly done, making use of both female leads, who themselves have character arcs.
Readers of the book know that there's a very long talk scene in this movie (after the one I was just alluding to), meaning that Shaft has to pull out all their Monogatari tricks to keep the viewer's eyes open. And they do it well. The tone shifts at a moment's notice, with the OST and the animation style as its indicators, keeping it from becoming monotonous. The comedic timing was brilliant, enhancing jokes to be even more funny. The symbolism is cheesy and heavy-handed - to comedic effect. It was clear that Shaft knew they were being ridiculous with the symbolism in this scene.
This has nothing to do with Shaft, but the juxtaposition of the two talk scenes (both of which I talked about, believe it or not) really is brilliant. It's like a modified Hero's Journey template that has two Audience with the Father sections. It raises the stakes for the Ultimate Boon section.
Speaking of which, let's talk about that, shall we? The fight scene in this movie was a lot longer and more action-packed than I remember it being in the novel. Frankly, it was amazing. Several parts of it were somehow silly and badass at the same time. The best part, though, was that we knew our characters. They were both unique, well-developed, and interesting. Think about - REALLY think about the climactic showdowns you've seen and name one that fits all three of those criteria. Ain't easy, is it?
But as any reader of the novel knows, the real climax of this story is the very, very end. Remember that legendary narration from the last few paragraphs of the novel? They kept it. Every last word. A huge number of factors make it so that the end of the fight scene isn't also the end of the movie's tension. Your socks will be blown off.
After writing so much about this movie, it made me realize why I consider it so much better than the first two, though they were perfect too: out of the three Kizu installments, this is the one that feels most like a standalone movie. Its tone shifts multiple times, its pacing is extremely varied, and it feels like it has a proper climax. What was Tekketsu's climax? "Pleasure doin' business with you." It was hard to say that that movie was anything more than set-up (albeit very good set-up) for the next two. What was Nekketsu's climax? "I'm not a human anymore." The story was quite obviously nowhere near any satisfying endpoint, and we had two character arcs very openly unresolved. It was, again, hard to argue that it had merit as a standalone movie. These problems were borne of Aniplex's decision to cut Kizu into three, which is why they didn't affect my scores for the movies themselves, but it's worth noting why Reiketsu is so much better than Tekketsu and Nekketsu.
Now that I've talked at you for five friggin' hours, I'd like to end my review with this. Out of all the anime movies I've seen here in Japan so far (Kimi no Na wa, KnK, Nekketsu, Planetarian, Kagerou Daze, AC...), this is the only one where I've walked out of the theater and thought to myself, "I want to see this again, right now."
Oh, and there's no post-credits scene. Sorry! No "Owari S2 soon" or "Musubi in stores now" or anything.
Kizumonogatari is 1 movie contrary to how it was marketed, distributed, and how mal has it entered into its database. So I will speak about the series as a whole.
Kizumonogatari takes a cinematic approach on the well-established TV series the Monogatari series. This is truly a prequel that can only be appreciated when watching all of the series up towards Owarimonogatari. If you want Kizumonogatari in the chronological order you are watching anime wrong and the entire intention of the series is ruined. The foreshadowing is lost and you lose the bigger picture SHAFT tried to create for Nisio's work.
But before going through Kizu
1 and 2 we are here on this page for Kizu 3. Kizu 3 was truly a wounded story. A story that doesn't end happy nor does it end conclusive. It's a prequel to the giant franchise therefore whatever happens at the end is only just the beginning. The story begins right where we left off. Arararararagi has collected the arms for Kiss Shot and is now going to see her full form. After some talks with Meme, we finally see her beautiful, bodacious, succulent body in all of her motherly, milf, glory. Truly a work of art. Fastword and we get to see the conflict arise. Ararararararararagi begins to realize that Kiss Shot in her full form is a danger to the human race. Internal conflict starts to brew within our young naive main character. Most of the middle part of the movie is focused on Hanekawa and Ararararararararararagi getting prepared to fight Kiss Shot. Of course, this wouldn't be the Gatari series without fanservice. And with some big ole' titties, it's obvious that Hanekawa will motivate him with her body. So to summarize, the first half is Kiss Shot and Arararagi, Second half is Hanekawa. Now the final part is strictly a fight between the two. This fight goes on for a while but you never truly get bored. There are 10 different art styles and animation styles in this 1 fight that you never get bored. As I stated early, you will have so much fun with this. To be exact, this might be the best fight scene in all of the anime. Scratch that, might is underselling it. It is the best fight scene. Bless you, father Oishi, the series director of Bake and storyboard for Kizu. And we end with a great moment. But it's not a happy one. Everyone is equally miserable. But that's what true happiness is. Wait for that like communism. I digress. Ararararagi ends up not killing Kiss Shot and having her live her life feeding of him to live. Arararagi doesn't turn back into a human. And they will spend their lives worried about someone hunting them.
So where do the first 2 movies play in this? The first movie serves as a way to introduce us back into the world. However, in a new world, Oishi constructed. The world where things are more avant grade. The world where internal monolog isn't needed. Exposition is replaced with visual storytelling. The second movie serves as the meat of the story. Showing us the best fights and the most interesting plot points. This movie serves as the concluding narrative to branch into the sequels. Sincerely, this is the best installment in the Gatari series. But to understand the lore more one must have watched everything that aired. I have to say, this is one of the best movies I have watched in my life. Thank you, Shaft, thank you, Oishi. God bless Japan.
BUT WAIT THERES MORE. The ecchi scenes are amazing in this movie and so is the fight scenes. Hanekawa and Kiss Shot titties are a 10/10 alone.
I had the opportunity to view this film in theaters. This film exceeded my expectations. The previous 2 films were, unfortunately, unable to stand alone. Out of the two, this was the most action-packed and climactic. I was continuously blown away by the excellent sound direction and animation. Like most Shaft anime, the last Kizumonogatari film has an avant garde method of storytelling. It might seem strange, but it works for the tone and comedy of the anime. Random clips pop out and sometimes seem disjointed, however they only add to the amazing animation. There was one scene in particular that had everyone in the
theater laughing due to its strangeness and eroticism. Overall, I highly recommend this film, although it may require getting used to the animation.
Kizumonogatari is back and at last we get the last piece of the puzzle, This time part three otherwise known as "Reiketsu-hen" or "Cold Blood". The final chapters animated, just how well did it do?.
Story 10 / 10
We start the film at a brief conversation between the characters of Oshino Meme and Araragi Koyomi talking how it is unreal how Koyomi managed to overwhelm the hunters that were after his life and his master, Kiss-Shot Acerola-Orion Heart-Under-Blade.
The film progresses as we see a rampant return of the eloquence of visuals, symbolism and long chats that have left a mark on
anime by the now known "The Monogatari Series". Reiketsu unites the presence of Monogatari by displaying thought and process of our main character Araragi Koyomi and the familiar Monologues as we se how Araragi opens up his conscious and spills it right before all of us all and notice how he has changed. Reiketsu shows us how is it that Araragi came to be as characters and show the transition to us all by splitting up the process.
As on Tekketsu, Kizumonogatari is Visceral as it appealed to human instinct of its rawness but also included a conversation oriented presentation that carried the first act.
Nekketsu focused more on youth, The youth of our characters reminding us just how over their heads the main protagonist are, being Hanekawa Tsubasa and Araragi Koyomi. It imposed the rampant sexuality and the ego of our characters and it brought forth action to the table that greatly differs from the first act, Tekketsu.
Reiketsu in the other hand combined all of that, and brought us the current formula of Monogatari as the last piece of the puzzle is unlocked and we get those ever so necessary inner monologues showing us the how! of how can someone who lives on being spontaneous and show us the results that it carry. It also shows us the result of forbidden knowledge, as the more you know, the less safer the world becomes.
Reiketsu at large, It can be called the very beginning of the franchise of The Monogatari formula, it can also be the start of series itself but buried in all that, Reiketsu was the conclusion and acceptance to the end of ordinary lives that will from now on live knowing of the supernatural.
Art 10 / 10
Shaft really outdid themselves with this final arc, and brought us more fluidity we ever dreamt off to the screen surpassing the preceding films in the direction of visuals and their rawness, the combination of 3D CGI with 2D artistry of the highest caliber showcased on a eccentric but fully working presentation that the trilogy is. as well as honoring the culture of animation now that it has become a well define characteristic of the new culture of japan, that marvelously attracts new blood to japan enticed for the ever newer pile of contribution to society with impact on international scale.
Sound 10 / 10
The sound direction was astounding, as it was the voice actors on their A game. followed by well composed OSTs and keeping the old school horror feel you'd normally feel from Alfred Hitchcock, as many reference and use of direction clearly referenced the style and with new twist to the presentation of the film.
Character 10 / 10
Our characters, Oshino Meme, Araragi Koyomi, Kiss-Shot Acerola-Orion Heart-Under-Blade and Finally Tsubasa Hanekawa were connected on highly unusual ways that your standard presentation, As their interaction feels timelined of progress aided by well directed visuals and ever accurate sound directions.
Our characters are weaved on the thread of ignorance, youth and experience. weaving them differently but ultimately presenting us in split acts the coming together of a series and the buiding blocks of a character we've enjoyed for years on the Monogatari franchise.
I've waited for this for a long time, due to work I sadly missed this film while on theaters because of work. Know this though, any anger I held and all regret that plagued me as I patiently waited for clearly was worth every second now that I've witnessed the final film.
If you're a monogatari fan, I highly recommend it and if you're not give it a shot, For it is very possible you'd be one of us and enjoy of the international harmony and fandom that surrounds The Monogatari Series
However as much as I loved the movies, If I was director I would have added and removed a couple of things. In comparison I liked the structure of Tekketsu. The Alfred Hitchcock direction references and the music with cold moments with well executed music.
For example, instead of the dancing monks when Araragi returns from the convinience store to Kiss-Shot, I would reuse the animation just prior, where Kiss Shot in all her forms are running about in the garden of flowers, I would reuse that but change the background into a landscape of corpses and/or entrails. Adding some blood to the faces of the multiple kiss shots creating a better visual of Araragi Koyomi world view, the alternative would be to use the style of Onimonogatari painting like style but of old Europe showing vampires with human skulls since it's a European folklore, Given the use of French I'm guessing Kiss-Shot is probably of French relativity . If used the first scenario with the landscapes I would put a stare similar to hanekawa just like how she looked right after passing out in front of ararsgi after being ripped open by episode's cross and place it in the multiple kiss-shots.
I would add the same effect to Guillotine Cutter severed head, and remove the CGI because that's the only section where it doesn't really play well the CGI environment and 2D people is awesome but making Guillotine Cutter that way really steals from the punch araragi is supposed to feel.
I would have also added on the beginning a little flashback in black on white, same style as tekketsu, when Oshino Meme first came In contact with Kiss Shot the legendary vampire and her power as a little background when Meme tells araragi when he took Kiss-Shots heart.
Maybe that's just me, Absolute masterpiece of a trilogy nevertheless.
Kizumono 3 answered questions that surfaced in the first and second installments. It also lessened my disdain for some of the objectives that were displayed in the previous films, particularly in regard to Guillotinecutter and his crew. After one last major surprise, Kiss Shot is returned to her final form. Her attitude has reverted to that of her 8-10 year old incarnation in the first film; cheerful, carefree and seemingly generous. Of course, her impression will appear differently to others. this is only my opinion and I admit, I didn't care for her person in Nekketsu. Araragis growth as a vampire and as a young
man were impressive and I really enjoyed his conversations with Meme, even though they were brief. Araragis interactions with male characters seem more organic in contrast to his shiftiness around female cast members who, in this case, were Hanekawa and Kiss Shot. I can appreciate Araragis pursuit of justice and even his shyness. I did laugh at the perverted scenes, but they went on for longer than expected and became unconfortable. Despite the awkwardness, these scenes were far better executed than those in Nekketsu in which the nudity not only seemed out of place but stupid.
Animation-wise, part 3 is probably the best of the trilogy. The freakin flashcards are at a minimum and the cgi or whatever looks less static than it did in part one. The color choices for this project were appropriate, conveying just enough intensity. I really enjoyed the eternal "heat" and haziness of the set. Kizumono def goes down on my list for best animated blood, it felt like i was watching calligraphy. There is a sensation about the style and effort of the animation that is more electrifying than the plot. This is problematic and I am in no way overlooking this error, but Reiketsu made better use of this device than part 1 and 2.
To wrap up, I enjoyed Kizu and perhaps it was for the best that this chapter was broken up into 3 films. It still came off as a money grab (tickets weren't exactly cheap) but the big screen experience was worth the price. It was fairly unique and more entertaining than most of the television titles released in late 2015 through now - a condition that obviously impacted Kizu's reception, at least in the West.
Kizumonogatari overall gets a 6/10. Reiketsu, 7/10.
Note: my native language isn't English. Sorry for any grammar/spelling mistakes.
Also: this is my opinion. Im not here to regulate thoughts or influence the way you look at this movie. If you loved it: great! More power to you. However, I would like you to remember that I also am entitled to having an opinion.
Also: yes, I've read the book and watched every part of the series till Owarimonogatari.
I'm planning on working this critique out a bit further sometime in the future, but for now, here is my critique of Kizumonogatari part 3.
This movie tried too hard.
As a mild fan of the Monogatari series (mainly
bake, Kizu 1 and the Nadeko arcs) This movie really disappoints. It tries too hard to be a work of art while also trying too hard to pander to the otaku crowd, coupled with being inconsistent with/to it's thematic messages/the rest of the series. This doesn't try to be a quirky/semi-serious movie like previous instillments in the series, and coupled with some weird directing choices I think that it hurts this movie overall, on a thematic and artistic level.
While critiquing individual categories of this movie, I will try to bring to light my main problem with it.
Starting with the:
Art: The base animation and more experimental animation cuts were lovely. Stylistically, I liked this movie a lot. The varying styles/art design could've been used a bit more tactfully, but in the end, they both were okay. The birth imagery and the visual callbacks to the other instalments in the series were interesting, but more on the imagery later. A more questionable addition was the idea of the non-chronological shots during this movie. I get what their trying to do with the idea of the unreliable narrator and the nuances between story and plot, but it was really hit or miss. It was a bit too overused.
the imagery: in my opinion, it was mediocre.
The shots constantly try to evoke underlying thematic deepness, which is unachievable with the:
1. inconsistent tone throughout the movie (first being about the choice between humanity and vampirism, then about the worth of a human life, then about sex, etc. Stick to one theme. Meanwhile it also tried to be otaku-ish with the close to rape scene of Hanekawa which was played off like comedy and was drawn to look very sexual, obviously for bait , while also dangling the message in front of us that hunger is comparable to indulging into someone sexually. This isn't the original series where sexual imagery was just a thing, and the constant popping up of it conveyed the themes of puberty, hormones and sexuality.)
2. wonky shot compositions (no film-school theory applied, except to the colour design)
3. hyperactive (enological) cutting, and scenes that drag on for too long, which prevents a consistent theme from developing in a scene.
This isn't The end of evangelion where the characters can actually support the imagery because of their realism; the characters in the Monogatari series are archetypes of harem anime; just a bit more developed ones.
However, it wasn't all too bad, because it sometimes did the imagery well. A great example is the first scene, where the positions of Araragi and Oshino, the cutting, the shot of the hallway behind them, the lenght of the shots and the color design really complimented each other well to make an engaging, atmospheric, and thematic scene.
Sound: good voice acting. Soundtrack was meh compared to the first and second movie, sound design was okay. Nothing special but not bad.
A thing which irritated me a lot was the amount of dialogue; unlike the first and second movie, this one was very strong on dialogue. Why would you add in a lot of dialogue in a film? It doesn't add to the tone here, (In the original Bake it added to the quirkiness, which wasn't as apparent here as there.) and weakens the effect of the more strongly staged scenes/shots. There is no reason you should have any advantages watching this over reading this because of the amount of info-dumping and dialogue, unlike the first 2 movies.
Character and story: this is a hard one. As I stated earlier, this movie tries too hard to be standalone and tries too hard to be part of the series. What do I mean by that? These movies try to develop their own, interesting narrative (which, is a decent one for the most part. Just poorly executed on every level.), while forgetting that it is:
1. inconsistent with the series (all the character development here is completely thrown out of the window when entering bake, where only a few elements of this story matter. Why try to make a dramatic narrative out of it when it doesn't even add to the story? This is a big problem the Monogatari series has in general.)
2. doesn't awnser many questions in a satisfying or deep/new way. (what is the worth of a human life?, What is the food chain and how does it influence our way of thinking about each other? What is the effect of the male gaze on the perception of female power? The answers provided here, if at all, aren't new, particularly deep or special.)
The character development was decent, for working out some archetypes in the harem genre. However, it suffers from the same fault as the story, with being inconsistent with the rest of the series. Again people, this isn't The end of evangelion, and in the end, these characters are meant as archetypes. Just some well-developed ones.
In the end, this movie is okay. This isn't a masterpiece, or a work of art in my opinion, but I just hate the attitude of this movie. It really, really wasn't my thing. I love the Monogatari series as a small, quirky series, but this really wasn't like that experience. And I know that my critique/score for the most part is very personal, but I'm trying to bring some legit problems with this movie to light.
This movie isn't as deep as it looks to be, because of meh craftsmanship or because everything that happens here, doesn't matter in the long run. Nisioisin isn't the next Shakespeare and I feel like people forget that in-between all the admittedly clever wordplay, In the end, he is an otaku, writing stories for otaku while being just being a bit above the norm. Same goes for the staff at studio Shaft. And I do not hate these peope! What I hate however, is the attitude of the fans towards non-fans, declaring them dumb for critiquing this/these movies for legit flaws, while not even looking into the thing that completely panders to their interest. Always look at something critically, don't buy into something blind.
[May contain minor spoilers (almost nothing)]
This is a review from a Monogatari Series fan, to Monogatari Series fans.
Oh boy, how do I start? I will be fast: If you are asking yourself "Shoud I watch Kizumonogatari?" the answer is: YES, AND NOW!
The first two movies were to introduce you the way everything happened. But now, at the third movie, you have one of the best screenplays and fights of the anime history. This is the movie with more fan-service in the world. You will be happy when you see what is awaiting for you. For Hanekawa fans: You will get one of the best scenes
ever made. For Araragi fans: You will see how strong he was (even if you have watched Kizu II already, this has way more blood and action). For Kiss-Shot Acerola-Orion Heart-Under-Blade fans: You will get to see the strongest vampire in the world at her full power.
Let me start, Kizumonogatari has been one of the most antecipated anime ever. It was confirmed by Shaft back in 2010~2012. Millions of fans were awaiting to get the chance to watch this masterpiece, and they finally gotten, after 5 years. Thank you, Shinbou, thank you, Watanabe, Nisio, and everyone envolved with the production, you brought us a masterpiece. That's what this movie, the third part is.
Story [10/10]: I don't need to explain you the story, if you are watching the third movie and the last series aired, you don't need some explanation. The novel "Kizumonogatari" being a movie was the best marketing, I can't deny. But it doesn't take you the quality you were expecting, it worth every single yen/dollar you paid.
It was a great adaptation, with a lot of dialogue, just like the novel. Shaft always do a great job adaptating Monogatari Series. Nothing much to say about this point.
Art [10/10]: Shinbou Akiyuki is for sure an ambitious man, his hability as director is unbelievable, this art style fit so well with the movie that made me cry (not for real). That's why I love Shaft, they always want to inovate. Every movement was tought to give you the best experience. It doesn't difere from the previous movies. This movie has more gore than I've ever expected to see in my life. So here is the alert if you don't like these kind of things.
Sound [9/10]: Great sound, even the small details aren't forgotten (when the "camera" changes for some high place you can hear a helicopter, that's amazing I think :v. I don't have so much to talk about the sound, just that the seiyuu(s) were acting great, like always.
Character [10/10]: The Monogatari franchise is made of its characters and dialogues, the Characters here are so well done that you can see the way they were before the anime series. Hanekawa wasn't so charismatic, she is almost boring in the first movies, in this one we can see that she changes a lot during her journey. Even Kiss-Shot and Araragi also change during the whole movie, this is what amazed me.
Enjoyment [10/10]: The hype almost killed me, one of the best anime movies I've ever seen.
Overall [10/10]: No regret, you should really watch it if you are a Monogatari fan. I'm glad I am alive and had the opportunity to watch this movie.
Thank you for reading this review, I am not a native speaker, please forgive grammar or expression errors.
"If you were to die tomorrow, I'd be fine with tomorrow being the last day of my life."
"If you were to live through today, I will also chose to live through today."
*May contain spoilers*
Kizumonogatari One and Two was really the base for this Three part series. Part One and Two explains the beginning of the relationship between Araragi and Kiss-Shot or aka Shinobu. Part one explains on how Araragi found Kiss-Shot injured with none of her limbs. He saved her thinking by giving up his own life, he hopes to reborn as a non-selfish person that is willing to help anyone without doubting
and without being selfish. This is the backstory on how Araragi becomes a vampire and starts the relationship with Shinobu. This is the backbone of the whole Gatari series which foreshadows and connects to the MAIN series. Part 2 shows Araragi have to fight three enemies to take back Shinobu's limbs back to regain his humanity. I would like to point out that part 2 action was amazing but simply felt a bit lacking since it felt its too short to be on its own.
Part 3 is simply a masterpiece that really wraps this 3 part series of a movie. If you follow the order of the series and actually pay attention to the series, Part 3 foreshadows and connects to the main Gatari series line. You will see how SMART everything is planned ahead and how the story really amazingly connects like a straight line. You will need to have to watch Kizumonogatari before you can watch Owarimonogatari Season 2 in order to understand and see the connections.
The fighting scenes in Part 3 is mind blowing. It's probably one of the best animated fighting scenes of all time. It's art style and how smoothly the animation is simply mind blowing. Every detail in every frame, you could tell that the studio really put effort into the animation. This is not your typical fighting scenes where it lack frames or lost in consistency of animation. Every frame in the fighting scene and the whole movie itself has perfect consistency in the animation and it's art.
*Will contain spoilers now*
The last 20 minutes of Part 3 is probably the best 20 minutes in the WHOLE MOVIE or even the WHOLE SERIES itself. Words can only go so far of explaining how beautiful it is. The last 20 minutes of the series really show strong character development and shows such painful but beautiful truthful emotions to the character. Shinobu wants to be released from the hell that is call immortality and want to die for someone's sake that she truly loves before that. Shinobu wanted to die for Araragi and regain his humanity. This is where Araragi selfishness comes in and didn't let her die. Araragi wouldn't let Shinobu die but made her to live even longer. Chaining her back to her cruel fate. Araragi is trying to be a savior but to Shinobu's eyes it's cruelty. Rending her useless but an empty shell that have to live only by his blood. Shinobu, no.. Kiss-shot is probably one of the most tragic yet but beautiful character in the whole Gatari series. The feeling of her humanity is stripped away from time and immortality and yet the person she wanted to die for his sake is making her live even longer. Tragic but beautiful.
The writing is simply amazing. You can really tell that he really loved writing this series. The details, the foreshadowing, the clues, everything connects in a straight line. This has to be the best Gatari series of all time.
Ive seen monogatari series from the season 1 and all the movies and mini series/side arcs. Shaft doing really good job in making this series interesting if not for them i'd definetely alrdy dropped this series long time ago, definetely will give 9 score to the main arc bakemonogatari and nisemonogatari and 7-8 score for some of the side arcs.
This series feels really dragged already. and it basically have almost the same pattern for every arcs after bakemonogatari and nisemonogatari, things going down hill from there and boring for me,
Araragi likes girls and surrounded by girls but seriously just go fuck hanekawa or
senjougahara already, the series always have that kind of scene where araragi want to fondle breast or he is feeling horny and some scene with foreplay(but not actually doing anything) thats getting old and really dumb.
In this movie he did it again we can see hanekawa running naked but without nipples and vagina so its not censored and they both do some bs foreplay but ended up not doing anything and suddenly after araragi sees hanekawa massive tits he somehow got massive spirit coming from nowhere to fight kiss shot and this kind of things have happened basically in almost every arcs, this series can be easily turned into the hentai series. I was laughing real hard watching this movie especially hanekawa parts where she become slut for araragi it isnt a serious thing anymore for me its been going on from season 1 until now.
So basically the pattern is a new girl with big trouble is appearing-breakdown-horny phase-sudden enlightment-defeating enemies-adding a new girl to his harem. Well after seeing araragi so long i started to feel disgusted bcs he seems like something that the creator of this series wanted to become in his dope fantasy the guy who got backups in higher place which is pretty chicks except oshino and beats badass alpha male to save pretty chicks and save the day, its just become repetitive and the story isnt that interesting anymore, well with all the money he made from this series alone will be enough to fuck all the girls in his fantasy or even roleplaying. I started to get that thoughts in some of the recents monogatari series and thats disgusting.
Ps: for any weird people out there who likes to jerk off with anime and likes harem bs bcs your life is miserable, this is just my opinion and save me from your bs and just scroll down if your fragile little heart is hurt and you feel like to debate this.
It completely destroys and re-imagines the box into something unique and beautiful.
It doesn't JUST have beautiful, high-budget animation... The actual ART......The visual & auditory presentation is designed to get the viewer out of their comfort zone.
The visual presentation is a direct compliment of the story's unorthodox narrative.
The movie doesn't really fall into tropes or common generic overused storytelling tools...in fact, Kizu is the direct antithesis of ALL generic media. It takes what seems to be simple and glamorizes it with a mind-blowing, visionary flare.
Great movies...outstanding pieces of art....unique.... must watch.
Kizumonogatari III is good, but not as good as I was expecting. Kizumonogatari II is better by leaps and bounds, but Kizumonogatari III is better than Kizumonogatari I.
Kizumonogatari III is a relatively average, plot heavy arc from the Monogatari Series. It is similar in quality to the other Shinobu Arc, but it looks like Kizumonogatari. Speaking of which, it looks more like Kizumonogatari I than II, as in: it is also overly ridiculous and dramatized.
Kizumonogatari III is very simple, making it hard to talk about. I really enjoyed it, but I am underwhelmed by it after watching Kizumonogatari II. Don’t get me wrong,
it is really good, just as good as any other Monogatari arc, but it is not Kizumongatari II quality.
I don’t have much else to say. I am mildly stunned it didn’t blow my mind. It is rated higher than Kizumonogatari II so I had hope. I truly believed it would be better when I started watching, but now I feel like there is a black hole where those expectations were. I feel like I am missing the real Kizumonogatari III that is a masterpiece beyond all other Monogatari. But then I come to the nihilistic realization that this masterpiece doesn’t exist and never will. Truly tragic.
That hopeless rant aside, Kizumonogatari III is still really good. We both know that if you watched Kizumonogatari I and II, you’re watching III regardless of what any review says. I’m also not telling you not to watch it, you totally should. Just don’t expect a masterpiece beyond Kizumonogatari II.
(Sorry for the bad English, this review has been done with gogole translator)
What to say about this movie, is a visual marvel in every way, an excellent animation by shaft and an incredible soundtrack composed (if I'm not mistaken) by Satoru Kousaki.
The story of is the continuation of "Kizumonogatari II" and we will see what will happen with Araragi and Kiss shot. An anime that you can not miss and a perfect closing for the start of a great anime and without a doubt one of my favorites.
finally I would like to say that this is the movie that I liked most of
the three parts
It's been a while since a movie had me experiencing every type of emotions out there.
Character development and Story: 10/10
From the giddiness of the "romantic" scenes between our main protagonist and Hanekawa to the existential crisis posed by the dilemma of immortality, I can say for certain that these 3 movies, especially this one, achieved its goal of strengthening the characters from the main anime story line. The center piece to all of this was Araragi and his character development. By being imperfect and making *many* wrong decisions throughout the plot, the audience is far more likely to connect with
him on an emotional level. For example, his indecision when it came to picking a solution during the final conflict was a key element in showing that despite his "vampiricism" he's truly human at heart, for what human can have the resolve to make the righteous choice in that situation. A mediocre movie would have had everyone satisfied. Sadly, this is barely the case in reality and this movie portrays this fact brutally and accurately.
Art and Sound: 10/10
The symbolic art and dramatic change in style from time to time fits perfectly with the detailed and beautiful animation throughout the movie and really keeps this masterpiece from becoming stale at any point. The music was also delivered perfectly and really enhanced the emotions intended behind each scene.
Overall this movie really is one of a kind and really tells a wonderful, yet tragic, story.
Going into Kizumonogatari III I was somewhat worried. Part two, for it's spectacular visuals and astounding fight sequences really left a hollow first impression from it's character perspective. The inclusion of Hanekawa as a focal point was disappointing, and her sequences with our protagonist, Araragi were either barebones fanservice, with understandably beautiful shot composition, or tedious, obvious dialogue-driven moments that were unexpectedly banal for a series that has illustrious and hilarious writing. With the focus on Hanekawa, there was a lack of development between Kiss-shot and Araragi, which made me extremely worried for the eventual climax of this film since it is reliant on that
relationship to be real.
Monogatari has never been a series to handle emotion well, in my opinion, mainly because it always undercut it with misplaced humor or fanservice or character development. Araragi never felt like someone I could relate to through his romantic responses because I know how many girls he fucks with daily. That nature is at total odds with itself, which makes this series very emotionally dissonant, even if it is one of my favorites. With this knowledge, going into Part III was a bit unnerving, how would they handle this?
Well, for one, they upped the length by a solid twenty minutes, which made it feel like a proper feature film. Second, they obviously decided to give Kiss-shot more screentime, which thankfully established her character more. If only they cut half the Hanekawa moments from Kizu II out and placed Kiss-shot in her place, we could've been dealing with a deeper more impressive character arc. That being said, the second I clicked play and the first shot exploded on screen I was grinning from ear to ear.
This is the Monogatari effect. This is the result of having some of the most unique and jaw-dropping shot composition in anime. It looks gorgeous, and the new aesthetic these films embraced was in full affect. Awesome uses of colors, lighting, and CG. Just about every environment was a 3D CG mesh, with some stylized realistic textures. They composited the 2D characters into this CG environment to create some very unique visuals that you don't see every day.
Needless to say, this brand new aesthetic, which emphasizes the "new" feel to an old world we've already become used to within the context of the main series does wonders in emphasizing the new thematic elements. A world that focuses on the night and dusk, with the black hue of night mixing beautifully in the orange morning sun, this new color pallet meshes harshly with the sculpted CG environments in a very purposeful manner.
A french noir aesthetic is further accentuated by the series' already utilizing a wide variety of filming techniques popularized within the French New Wave. Monogatari as a whole is already New Wave inspired in its dialogue and editing, so this trilogy really takes that to new heights. From a purely visual standpoint, this final chapter was near-perfect, only a few moments breaking my gaze of awe. One specific moment, where they try to composite a CG head into a character's hands looked pretty bad, but apart from that, it was glorious from head to toe.
The new character designs are also much more dynamic and less stiff, with thinner lines than in the main series, creating for much more fedility-intense movement. This fits these film's capability of creating some really spectacular looking motion, as these characters stumble back, or run forward, or clash with one another. I wish there was some more character-animation, though, as some character seem to take on very similar movements, particularly Kiss-shot and Hanekawa had a paralleled scene where they walk along an elevated edge with their arms out. I wasn't sure whether this was meant to be a callback or if the art team decided to animate them in the same exact way, it felt overly similar for two characters that felt incredibly different.
This final act really did a great job showing more Kiss-shot, which as I've said was a big worry coming into it. With the disappointing focus on Hanekawa in part II, part III really did need most of it to be Kiss-shot oriented. Thankfully, that's exactly what we got for the most part. A lot of Araragi/kiss-shot development, which thankfully made the final act of this final act, the climax, really engaging and surprisingly funny.
The fight scenes in Monogatari, even in the series, have always been brisk and amazing. The directors consistently crafting the kinds of action scenes which I wish more anime would embrace. Heavy violence and shorter, more action-oriented moments that weren't bogged down by constant exposition. Here, in Kizu III, the team at SHAFT really got to play around, creating some utterly insane visual moments and scenarios that expounded upon the already insane story.
The climax also helped paint the more somber, and intriguing conclusion which paved its way brilliantly to the start of Bakemonogatari. Yeah, I was just so happy with the way this film rounded out. I felt a complete connection between Bake and Kizu. With the eventual connection between Kiss-shot turned Shinobu and Araragi becoming evident.
Oshino plays a bigger role here too, which is great because the specialists are always the most interesting part of Monogatari to me. I was saddened to see we wouldn't get to witness more bad-asses make their way out of the mist to witness the clash between two titans, but regardless, Oshino is more than enough to satisfy me. His stiff coolness and spectacular character design speak perfectly towards the kind of character he is, and once again paint a better picture of him once you come back into Bakemonogatari. I eagerly await re-watching this series once Owarimonogatari finishes so I can get a better picture of it all.
The fanservice is the fanservice. It's a bit more palate-able here since it didn't feel so lacking in purpose as it did in Kizu II, however, it was still exactly what I believe is the weakest aspect in Monogatari. Not the sexuality, but the way that sexuality is portrayed. For a series that had the moment between Senjougahara and Araragi in the car, and that whole episode really, it really saddens me that it still treats sexuality in the same childish manner I see most other anime treat it. I get that anime, as a medium, is aimed at teenagers and their view on sex is obviously immature, however, it still disappoints me no less.
The idea here is that the scene between Hanekawa and Araragi could've easily escalated, not in rediculousness, but in a much more intimate, sexual manner, but never did due to restraint shown by the writer, director, creators, and what I can only assume is the entire culture in Japan that indulges in this medium. Why is sex is such a taboo? Why can't two characters fuck? Why is it okay to show a nude twelve year old but not to indulge in two consenting human beings banging it out in an abandoned gymnasium?
This whole scene obviously played as totally over-indulgent fanservice but also as comedic relief, albeit surprisingly serious comedic relief. But the relief wasn't necessary. While the scene itself wasn't bad in the grand scheme of things, it still felt like it jutted out of the story like a splinter. Sexuality is an inherent part of Monogatari, but I feel like for a film that has a much more mature vibe to it, and Araragi isn't necessarily being as unreliable of a narrator as he usually is, this could've been ample reason to give a more mature look on sexuality that this series definitely needs. In the end, Araragi hardly even tells this story, with very little monologuing and exposition driven moments from him.
Overall, these moments, or, I should say, one moment wasn't as obnoxious as part II, but it still could've been played and done better, and in the end never quite meshed with the entire film in my opinion. Especially since Araragi's arc, as he battles between humanity and monster, wasn't really assisted by Hanekawa, who in the end plays more like a cheerleader and "obvious dialogue sayer" than anything else. Sure she comes to a few important realizations, but since we never see how these realizations where come up with, it just feels like she's there to answer questions and have her utterly unbelievable udders bounce around like two Christmas hams.
With that said, everything else worked very well within this film, which against surprised me. I think that this film really relied on the previous one to be narratively sound, and since part II wasn't all that impressive from a story standpoint, this film could've really suffered. Thankfully, the suffering was kept to a minimum, with only a few moments that could've improved if they were expounded upon in the previous product. I'll take it. Even the emotional resolution of the climax felt good from a dramatic standpoint.
What this trilogy, and in return, this final part has to offer is astounding directing from series veteran Oishi Tatsuya, spectacular shot composition, melodic and stylistic sound design and music, a decent narrative, and somewhat underdeveloped characters. I think that some people may call this, and most of Monogatari a very "style over substance" product. While I may completely disagree with the series being anything but brilliantly put together, narratively, I can at least see some weight to what that critic would say about these films. I think they paint a great picture as a prequel, but for how rich a lot of Monogatari characters are, don't really do a lot of them justice in the highest degree, even if that would be near-impossible.
I do want to challenge that comment, though, the idea of "style over substance", and really ask why people always make "narrative" or "character" the sole inhibitor of "substance". I disagree with that. Substance is whatever you want it to be. Monogatari is so encompassed within it's unique and astonishing visual style that to say it isn't a part of the substance of the series is being either ignorant or totally avoiding the entire concept of the visual medium. Monogatari's visuals are definitely substance, and these films prove that. If I see someone walk out of this film completely satisfied with the product I know he or she is thinking the same thing. To a certain extent, I think the same thing too, even if it isn't a flawless work it is still great and shows the strength of the series it is piggy-backing off of.
The Kizumonogatari trilogy may not even be a mandatory product from a holistic narrative standpoint, but it is undoubtedly a welcome one. I may not have needed this trilogy, but damn it if I'm not happy I watched them. At best, they are visual feasts with spectacular moments of somber resolution, but at worst they are overly-pandering and empty from a character standpoint. Treat that as you will. I think the positives far outweigh the negatives here in just about every way. A bloody good time, really.
The third act and boy does it complete all it's requirements to be a third act. The climax of having most of the main tension being brought up into a more dramatic fashion, resolving subplots and finally and most ironically at least, the main protagonist has a new sense of who they are...
Kizumonogatari Nekketsu had by all means brought up some subplots it had missed to resolved and like any third act should, it resolved it. So what is there really left for Araragi to do?, well the fact of the matter is of how Araragi was able to defeat vampire hunters even
if he was a rookie underling to a vampire who had lost all her powers and more or less how those vampire hunters even overpowered Shinobu in the first place, her being overpowered as she was. Reiketsu deals with this fallacy and in a rather interesting Nisio Isin way of doing it.
The climax was crazy and interesting to say the least, LA won't spoil but for the matter of "final fight" was both gruesome, oddly playfully serious and seeing the two fighting was actually well worth it.
Araragi learns by Reiketsu of being in other end of the stick of the situation he is truly in and the life and by extension Shinobu they will go on to lead, with his demeanor and how the anime series plays out even starting from Bakemonogatari, his white knighting plays a major factor but how Reiketsu acts on it, is not of benevolence but sadness and the inevitability of the situation Araragi and Shinobu is in, as much as Reiktesu resolves many of it's subplots and fallacies the entire Kizumonogatari film series has gotten to this point and all the goals and feats Araragi managed to reach, it's telling when most of the sadness and inevitability for LA was that it was almost all for nothing with the state of how Araragi now lives now and yeah we KNOW how he deals with it in the anime series but as a standalone, Araragi's life, for all the kind-hearted things he did for Shinobu, in the end, he will ALSO suffer along with Shinobu for his kind-hearted acts.
Even if Hanekawa and Meme Oshino being in the support, they both had some stake in the plot and Reiketsu managed them well even with their reduced screentime, but LA can see why considering this final act is more focused towards Shinobu and Araragi in the first place.
SHAFT's animation is still coursing through the final act and the gory factor only goes up from this final act and completely uncensored to the visceral acts that Shinobu does that is the final turning point for Araragi is telling that even LA wanted to throw up along with Araragi of how gory this final act is and LA praise and commend SHAFT for not holding back. Yes there is one extended perverted scene where it nearly goes in the path of the infamous toothbrush scene in Nisemonogatari but nonetheless it's "something" of a breather until the climactic final fight so LA will give that scene a pass (it wasn't even that lewd...just pure fanservice).
The voice work is again on the same level as the previous movies but this time LA will give the MVP easily to Hiroshi Kamiya as Araragi for how much range he gave in this movie and boy with how much Reiketsu wasn't holding back, you'd know Hiroshi goes full ham in some areas. The other would once again be Maaya Sakamoto as Shinobu, considering she's something of a deuteragonist in this final act and once again HER RANGE is exceptional.
Nisio Isin for once didn't give us an anti-climax for an ending!
Kizumonogatari III: Reiketsu-hen is the final act of the trilogy of the Kizumonogatari series and by all means LA was completely satisfied with how Reiketsu was handled, by ticking all the conditions of a good climax, character development and resolving all subplots and then some by not half-assing how the Kizumonogatari's ending transitions into the anime series, it just all added up into a solemn yet satisfying finale about one too kind-hearted human becoming a vampire then wanting to become human again...
But by the end of all it all, at the cost of both of their existences...
Well, I've finally arrived at the end. I first read the book an entire year ago, and I'd be lying if I said I didn't love it. It works beautifully as an installment of the franchise, as its own stand-alone tale, and as a subversion of Shounen tropes. A key part of the book's triumph was its relentess pace and editing, which ensured that no quality dips were to be found all the way to the end.
It is thus with regret that I come to terms with the fact that the third film adaptation is a disappointment. The biggest offender of course is the
Hanekawa scene mid-way through, showcasing Monogatari at its most offensive, while Kiss-shot's supranatural antics felt way too detached to the slow march the film was taking to the very human tale of Araragi that comprises the main Monogatari series. Kiss-shot as a character had a lot of potential, sad to see her squandered in such a way that it ends with her becoming just another loli. This can be laid at the feet of Nisio as well, but ultimately he did enough of a good job with the book that it matters little, something that simply cannot be said of the film.
Reiketsu-hen was always going to be the toughest film in the Kizumonogatari trilogy to talk about. It does many things that are tough to analyze from a critical perspective, most of which are due to the way the adaptation has prioritized character development across its three parts. While Monogatari as a whole has many dark parts, I would easily call this the second darkest part in the entire series. Character motivations are either not made entirely understandable or otherwise vague. The grand, powerful final fight has a mix of different tones and emotions that are tough to sort through the first watch
or two. And despite being the final film for a series obviously intended to be watched as a whole, it arguably feels the most like a full stand-alone film, putting it in an awkward position get a hold of, also resulting in some weird pacing. On top of all that, it has two polarizing scenes to drive home its theme of misery. One is the scene right after the long-awaited fight.
The other is that scene.
You know. That scene.
It's my belief that talking about and sorting through that scene helps make it easier as a whole to decide how to feel about this movie. Or in other words; why one likes/doesn't like the scene influences how one feels about this movie (and Kizu as a whole, really). I believe it's that important to the film, and even if it isn't, it's inspired me heavily enough to critically analyze and write about it, so spoiling it to some degree feels like a must. Having watched anime the past ten years and coming from a nearly-unwaverable "ecchi is bad for an anime" viewpoint, Monogatari has always been a tough series to fully immerse myself in, but each of the Kizu films has their own specific moments of ecchi fitting for the films they're in, and the moment in this film is intense, to say the least.
Before getting to that however, it's important to stress how fucking fantastic this film is with its commitment to its themes and lessons. Of the three films, characters feel the most complex and explored here. Even though Shaft's approach to the Monogatari series has always been artsy and indulgent, this feels the most artsy of the Kizu trilogy (or even the series) by stripping away the flashy layers and getting right into the ugly nature of the characters' predicaments and motivations. Vampires are cruel, possibly not worth saving, and people can easily be just as cruel. In the most dire of situations, there's no way for everyone to be happy; only misery. Wounds run deep. The consequences of your mistakes can be eternal, born entirely from personal flaws. No matter how you look at it, the entire story of Kizumonogatari has no firm uplifting outlook for nearly anyone. They can only go uphill, in other words.
So about that scene. The exact nature of how the ecchi/fanservice plays out in this movie takes on a different context from either the previous films or the rest of the series. Such moments are usually intended to be comedic and played for laughs, regardless of how far they go, and are generally surrounded by either light-hearted or neutral moments of the show. But in this case, total darkness and despair surround it.
Araragi can't bear the thought of living if it means his family dying to Kiss-Shot, or even eating people himself. Hanekawa, his savior, goes far and beyond his (and our) expectations by boldly allowing herself to be eaten by him. Not only would she selfishly throw away her life for Araragi, she would gladly do it for anyone she considers her friend, putting her actions in the three movies and in the rest of the series in such stark context. The degree to which she considers him to be her friend (and the not-so-subtle text of her being in love with him) is such that she's fine with enduring the consternation of her underwear in full view of him, or the vastly uncomfortable buildup of Araragi wanting to touch her breasts, even anticipating it resulting in more. It's Koyomi Araragi, so she will gladly put up with it all. And as she states afterwards; she definitely has to put up with it.
Meanwhile, the entire scene was initiated by Araragi, for the first time since becoming a vampire, indulging in his hormonal desires of "want touch boob, must touch boob". His excuse for it is so flimsy, ridiculous, and desperate that Hanekawa sees through it immediately, but still acquiesces to him. After hearing from her that she won't get mad, his approach to the situation changes almost immediately and he acts in a way that's easy to see as cruel. Even as Hanekawa accepts and is ready for things to go much further, he still acts dominant, almost using her promises and feelings for him against her just for him to touch her boobs. The entire scene plays out in an almost pornographic manner, so of course he never goes that far. He snaps him out of it and the situation gives him an incredibly silly reason, yet 100% fitting to his character, for continuing to live on and fight.
He got to hear a girl, in-person, to him, talk about the sluttiness of her boobs. His whole life lived up to this singular, incredibly human moment.
It's this kind of incredibly complex mess of emotions that makes this scene feel so vital. I have to admit that I would have liked this whole series a lot better (or a lot more readily) if it wasn't so open to ecchi and fanservice, sometimes pretty intensely. But with what the series has given us, this is maybe the most they justify it beyond "Araragi is perverted" and also the most enjoyable (besides, even if the series had way less ecchi they probably could have justified this still). This moment is hugely important for both Araragi and Hanekawa and defines aspects of their relationship and interactions down the road, and does so as wonderfully directed as it is. And because it goes intentionally over-the-top, it manages to paradoxically feel way less gross. The classical piano right when Araragi has his realization is not only perfectly timed and fitting, but combined with his face manages to make it incredibly funny.
But as much as I talk about one scene, so much about this movie is eloquently done. The absolute one-two sucker punch of Araragi and Shinobu's (now fully Kiss-Shot) conversation followed by the very next scene is so beautifully done and cruel to the viewer that I can't think of how much better it can be done. The tense escalation in the first scene with Oshino and Araragi, culminating in the reveal of the full extent of his involvement in everything, is brilliantly done and sets the stakes well, especially with the foreshadowing. The final two scenes crushes the viewer's hopes that this story has a positive ending so swiftly and quickly, as if the movie never gives it a second pause, works fantastically in placing them along with the characters. The bittersweet monologue from Araragi at the very end. Each scene itself could warrant paragraphs of analysis and praise.
I only have two complaints about the movie. Despite the fight ultimately making itself worth the payoff, I can't help but feel Shaft may have gone too overboard. At points it feels like slapstick harshly interrupting the action so unnaturally, and threatens to spoil the mood the movie worked for. Perhaps there was a different way to handle the humorous aspects or make it flow better into the action.
My second complaint, a bit oddly, is with the story itself. Characters in the series can end up being real inscrutable and thus makes everything nonsensical. Given how the show's universe works, this ends up in its favor. However, some revelations that get unearthed end up making things super convoluted and hard to hold up to scrutiny, or are otherwise just total headscratchers. It's maybe one of the most convoluted plot points of the entire show, if not one of the most convoluted parts in the entire series, which definitely says a lot. Thinking too hard about it could probably lessen the impact it has for you, but even then it's not such a big deal; it almost makes what happens even more tragic for those involved.
Somehow, even with its faults, even with its incredibly polarizing moments, it pulls it off. It pulls it off in such style that I can forgive the second part for feeling a little bit like a drag. I end up crying during moments of this, and feeling so engrossed in the action. No other part of the series has made me like (or at least sympathize with) Araragi nearly as much as this does, and it manages to do so much and be successful. But this part really pulls out all the stops in making itself worth the watch, garnering respect without even trying. While the first part is more easily watchable whenever one wants and by itself, as well as feeling more loose and benefiting from it, the third part is how everything ties together and tries to answer all the questions remaining by it. It makes Kizumonogatari my favorite part of the entire series.
The weaknesses of each individual movie — uneven pacing, abrupt endings and dubious adaptation choices — are erased when seen in its proper form. Up-and-coming director Tatsuya Oishi vanished into a cave after 2009's "Bakemonogatari" and emerged several years later with his over-3-hours-long prequel. Aniplex trisected its release but fortunately a local theater ran a triple-screening: the only worthwhile way to watch it.
There are three ways to approach an adaptation of Nishio Isin's pulp novel. One is to clean up its more dubious aspects and present it to a mainstream audience. Another is to adapt the material faithfully to please preexisting fans, presumably the current
TV anime's route.
Oishi's adaptation represents a third path, arguably the most honest path: amplify the source material's trash appeal until it becomes visual comedy. Hanekawa, Araragi's ally and sex object, is redesigned into a grotesque uniform-stretching tit-monster with a cat's grin. The boob-touching scene of the novel is now an over-the-top spectacle that prompts guffaws of laughter and disbelief. (I'm glad I saw it with an audience!) Its vampiric showdowns also become strings of imaginative sight gags in Oishi's hands.
But calling it subversive would be a step too far. It still performs its perfunctory duty. Reams of dull, expository dialog form connections with preexisting franchise lore. And what it is, fundamentally, hasn't changed from novel to film — an escapist, nostalgic genre story that is self-aware but not especially critical.
Within those constraints, however, we get a bold visual reimagining of the "Monogatari" world that makes it difficult to return to the cookie-cutter TV sequels. One wonders what's next for Tatsuya Oishi. Maybe he'll reassume his place in the Aniplex-Shaft sequelization assembly line. Maybe he'll disappear into another cave for a new special project. Or maybe, like many Shaft directors before him, he'll decide that he's outgrown the nest.
I'm just gonna review all three Kizu movies here if you don't mind.
Every so often I come upon a piece on entertainment where the public opinion differs a lot from my own. But after watching Kizu, I would have never imagined it would fall into this category.
So yes, I think these movies are bad.
I'll start with the animation, because it hurts the least. Kizu has the same abstract art approach as the rest of the series. However, there are two things that are different here. First, Kizu ditches the colorful look of the TV series for a more somber exterior. The palette is murky and
generally less interesting. Second is the introduction of CGI. It was painfully obvious whenever it appeared, with a few achingly bad instances. E.g. a swinging severed human head, which looked so ridiculous I had a hard time understanding how it got into the final cut of the movie. There are some instances of brilliant 2D animation, but not enough to liven up the rest of the movie.
The main issue I have with Kizu is the story. Specifically Hanekawa. The series has no problem portraying female characters whose sexuality is a natural part of their personality. Kanbaru and Senjogahara being at the top of the list. But they just can't seem to make it work with Hanekawa. She's either the big boobs klutz ready to indulge or the behind the scenes mastermind of whom all the big players are afraid of. I have no idea how these two could possibly mix. In the TV show she tends to fall mostly in the mastermind end of the spectrum, but in the movie they went all out in the big boobs department. And it hurts the character significantly when it's time for her to step up and say something enlightening. It's hard to take her seriously when her cleavage spends most of the screen time fighting back the force of gravity.
Hanekawa's relationship with Araragi in this movie is even more confusing. At the beginning of Bake, their relationship can best be described as camaraderie with hints of it progressing towards something more. But by the end of Kizu, these characters are half a step away from a full blown romance. They have so little to do with their versions in the TV series, they might as well exist in another dimension.
Speaking of Araragi, the movie doesn't feature his trademark inner monologues. Again, it only works to degrade the character. Without them, Araragi in Kizu is just your everyday edgy high schooler. The plot tries to be about him becoming less selfish and learning to interact with the people around him. However, there is no introduction to him being estranged from society in the first place and him changing to a better person is mostly supported by rather vapid interactions with Hanekawa. Most of Araragi in Kizu is just wish fulfillment: turn into a sexy vampire, crush all your enemies and get the girl in the end.
There's a bit here about how Araragi and Shinobu's relationship came to be. It's generally an interesting take on the formulaic vampire story, but is so cramped into the third movie it can barely be digested. Other than exposition, they have only one genuine conversation and then it's straight to the climax of the movie.
Oshino mostly feels out of place. Kizu should have been the story about his introduction to the series, but Oshino only appears when it's time for some deus ex machina bullshit. There's nothing here about his past or motivations. The vampire hunters are not even worth mentioning.
Kizu wouldn't be as bad if it were a standalone movie, but it's triple as bad by being a part of the Monogatari series. The TV show actually raises interesting questions about human interactions and, fuck it, even life. Kizu barely has a point to make and messages it does try to convey are so laughably simplistic it feels like it can't possible be part of the same series. It's only insulting to the fan base when something as vapid as Kizu comes along to carry the series' flag.
Those who are still dwindling whether to watch this or not. Please do watch in a quiet place without interruption. This movie is truly a masterpiece. I believe it pushed the boundary of anime-world again like other Monogatari stories.
The poetic way of telling stories with enticing art style will keep you glued to the screen until the last moment. All you need to do is to keep your mind wide open and try to grasp the real feelings of all the characters to enjoy this and find the hidden meaning that the tales express: "We are all crooked inside in some way. Let's embrace this
commonality and live together patting each other's back till the end."