Mirai no Mirai -- literally Mirai of the future in English -- is a children's movie about Kun, a 4 years-old boy who gets a little sister named Mirai and then becomes incredibly jealous because apparently his mother + father doesn't have any time for him anymore.
Kun spends his days yelling, crying, begging for attention, teasing his little sister and being annoying in every imaginable way until several different time travels occur and Kun gets to meet alternative timeline versions of his family members, including the older version of his little sister... after which he still does this exact same thing, but we get to
see why. The worst part is that it all makes sense.
It's hard to decide which part of this movie sucks the hardest, but I did anyway; Old saying goes "your life doesn't suck, you're just surrounded by assholes." and this is very relevant here. Typical for kids movies, Mirai's entire story relies on parents who are portrayed to be a complete failures when it comes to parenting. They are total douches and it's a miracle that our kid isn't any more fucked up in the head than he already is. Without spoiling much, he thinks he is a dog, has a terrible attitude problem and sees people who aren't real. Great.
Let me repeat what I said a moment ago: the worst part is that it all makes sense. Apparently, the message here is that people around you as well as your family members influence you and make you who you are. The more you know the less hateful and more understanding you will become. Which is a good idea, but.
The story and characters in this movie are nauseating, fake and so incredibly bad I most definitely wouldn't recommend showing this even for its supposed target audience -- meaning children aged 2 to 7 -- unless their parents wish to be as good of a parents as seen in this movie, in which case I recommend. There are countless more psychologically accurate anime series as well as light kids movies which do better, even amazing job showing how much living environment and people close to us effect the growth of children. This one uses time travel magic tricks and bad parenting instead of anything even mildly genuine. This is just heartless + its story is more like "do this, but the opposite" which doesn't work -- at least not in this case.
Production-wise, the art design follows the safety route of kids movies, being down grated version of Ghibli in every way. OST choices are incredibly boring. Kun, age 4, is voiced by a nearly 20 years-old seiyuu first timer and (s)he doesn't sound like a 4 years-old in any way. Speaking of the Jap audio.
When it comes to enjoyment, there is a scene in the movie where the dad person browses memes or something and just goes "hmmmp" whenever Kun says anything. That's me when watching this movie. If you want to see a movie about enraged little boy who doesn't get the love he wants and starts developing some sort of mental illness to fight against solitude, then go ahead, this is perfect for you. As for me, it's not very good. Also, Academy nominated this for Oscars candidate so you know I am right.
This movie is very experimental in a lot of ways, and I appreciate that. Is it a masterpiece? No. Is it the best work by Hosoda? No. But it is a very cute movie, surprisingly deep, with phenomenal artwork and cinematography.
The soundtrack is rreminiscient of Ookami Kodomo Ame to Yuki, and each song is gorgeous.
I think the title and trailers were misleading, because they focused on Kun's younger sister, Mirai, visiting him from the future. This does happen, but it's a small part of the plot. The true title should be "Annoying Child Repeatedly Stumbles into his Courtyard and is Greeted
by Fantastical Events that Help Him Become a Better, More Responsible Child." It's a bit long, but it's more accurate.
We follow a four-year-old boy called Kun-chan, and he likes two things: trains and screaming at the top of his lungs. I'm serious, this kid is a NIGHTMARE. I can't think of another movie where the protagonist is this young (excluding Rugrats), mostly because nobody wants to follow a screaming pile of tantrums. And that is exactly what he is. By the middle of the movie, I legitimately hated this child.
Further, everyone around him is extremely nice. Even the BABY is better than he is. The BABY. The father stays at home, taking care of the children, while the mother returns to work and puts food on the table. This is a refreshing 21st century portrayal of a family, especially in Japan where they still kind of have a 1950's mindset of women in the workforce. We spend a good amount of time following the father as he struggles and learns how to do housework and properly hold a baby. Thus, Kun-chan does not get the attention he once got before and proceeds to throw vicious tantrums.
What this means is that the protagonist is the antagonist. The only real problems are caused by Kun-chan. As stated in the new title, when his tantrums climax, he stumbles into the house's courtyard and finds himself in a fantastical world, confronting one of his family members in an altered state. This includes his dog and, yes, his little sister as a middle-schooler from the future. These events have a dreamlike approach to logic and conversation, which falls in line with the idea that these are Kun-chan's fantasies. Why is the dog a human? Because Kun-chan sees it as such. Why is nobody worried about a 2-year-old walking around by himself? Because Kun-chan is the center of the fantasy, and thus his existence, in whatever state, is normal. Each event helps him in some way, and his tantrums die down afterward until the next thing happens. I can't really say that this is a coming-of-age story because the kid stays a kid, but he manages to connect with his family in a new way. Kun-chan is the deepest, most developed 4-year-old I've ever seen.
All in all, the stakes are low and nobody dies (spoilers?), so this movie doesn't conjure the feels that most Hosoda movies do. This is not a drama so much as a dramedy, with about an even split on both drama and comedy. Still, this is a very cute and refreshing story that deserves appreciation.
This is where the movie truly shines. I saw the "camera" used in a way I've never seen before. Animation allows for really cool things like that. The weirdly diagonal house allows for really cool linear transitions to different events within the house. Again, this is the same director as Ookami Kodomo Ame to Yuki, where he told the story of two siblings growing up in school by shifting the camera back and forth in a completely inventive way. The animations are clean, smooth, and lifelike. CGI is used in a non-obtusive way that allows sweeping shots behind a motorcycle. The backdrops are gorgeous, and they make use of them. The sky-shots at the end made the "camera" movement so realistic that I was legitimately terrified of falling, inside the theater...
Go watch. Enjoy the story. Pay attention to the animations and transitions. Be happy. I"m out.
In the planning stage of Mirai no Mirai, significant consideration was put into the designing of the house in which the majority of the movie is set. In fact, director Mamoru Hosoda employed a real architect, Makoto Tanijiri, to design the Oota house. The house is a series of four levels, not quite stories as it were, connected by a series of steps on one side of the house. It's a peculiar layout, as noted in a throwaway comment made by the grandmother at the beginning, designed in-universe by the architect father. A sloped tracking shot near the beginning of the movie, similar to Wolf
Children's famed lateral tracking shot, moves between each level to show how they are attached. The first level is a den, mainly inhabited by the four-year-old son, Kun, and his train sets and toys. The next level up is a lawn-type outdoor area, followed by the kitchen and living area, then finally the bedrooms. Tanijiri planned the house so that a "child will be able to see the bottom room clearly from the garden, but an adult will only be able to see what's right in front of them." The effect? "The child's view will change as he grows up.”
What seems like a small detail of the movie is in fact the most important, as it sets up the entire thematic structure. In contrast to Hosoda's previous grand cinematic declarations on family and life, underlying the superficial coming-of-age story of Mirai is a focused meditation on the architecture of time. Of course, true to his nature, Hosoda interprets time and space as relative to our family histories. For Hosoda, time does not move laterally, rather it flows back and forth through the levels of the family tree, just as the aforementioned tracking shot shifts repeatedly between the levels of the house. Each generation experiences time on their own distinct level, yet the time of their ancestors and descendants are always within reach.
In Mirai, this platitudinous reading of time isn't a reading at all; it's the extraordinary reality of the movie. The expanse of the narrative finds Kun, in the garden of the house, drifting through time to meet anachronistic versions of family members he currently knows. The first instance of time-travelling antics (though not the first scene of garden fantasies) delivers Hosoda's vision the best. Kun, frustrated with his parents doting on the newly born Mirai, runs into the future, middle school-aged version of his sister, along with their anthropomorphic dog. The scene is filled with Marx Brothers-styled hijinks and light exploration into the logistics of Mirai's time traveling. But the scientific implications are quickly abandoned because time travel isn't really the point. Kun goes on to meet the past versions of his parents, and then their parents, learning a lesson or two from each encounter, and these subsequent scenes are more mired in heart tugging magical realism than heart pounding sci-fi. Some may find the episodic structure to be off-putting, but given the design of the house, a matching series of seemingly contained yet faintly connected stories appears to be more than appropriate.
The kicker is that pretty much the entirety of the movie, time traveling and all, takes place inside the Oota house, in the garden, in the present. And this seems to be Hosoda's insinuation: the past and the future are united in the present via the family tree, a statement he articulates in the wonderfully directed climax in which present-day Kun and future Mirai witness landmark events from their relatives' pasts, including a deeply touching famed race mentioned by the grandparents earlier in the movie.
At certain points, Mirai no Mirai offers glimpses of Hosoda at his compulsive, unrestrained worst. Pregnancy fetish and furry scenes can be checked off the "obligatory Hosoda-isms" checklist within the first act, and his penchant for exploring enclosed dimensions, seen in his earlier works, returns in full masturbatory force during the worst scene in the movie, the lead-up to the climax. Animated mostly in (decent) CGI, it's visually incongruous with the rest of the movie's style and thematically divorced as it has little to do with the nature of time or family. It's full of those (POV travelling?) shots he employed so daintily in Wolf Children, but instead of snowy knolls and forests, it's ugly, repetitive train tunnels. It also lingers for far too long, almost ruining the climax. But these pockmarks are minimal and eclipsed by moments of Hosoda at his most honed, absolute best.
Mirai, also known as Mirai no Mirai, is an animated film directed by Mamoru Hosoda. He has directed other notably well-received anime films such as Wolf Children, The Boy and the Beast, and The Girl Who Leapt Through Time. Mirai is about a boy named Kun who unexpectedly goes back in time on different occasions to meet his relatives from different eras. This film makes a wholesome and heartwarming statement -- that family shapes who we are and are the primary reason why we exist and we should be thankful and loving towards our family members, even in the toughest of times. This film shows
that family is an integral part of what makes a certain individual’s personality and that family is an important part of society. We can learn how to behave and how to grow up through socialisation. Hosoda accurately portrayed a misbehaving young boy and the struggles of raising up multiple children. This film is beautiful in the way that it teaches Kun to grow up and not to misbehave through experiencing his relatives’ past and future. This fantasy element was so gorgeous to look at on the screen and it was a pleasure to absorb the positive joy it emits.
The animation by Studio Chizu is familiar and meets the standards that they have demonstrated in the past. The character designs of some of the characters resemble characters from previous films Hosoda has directed which creates a familiar yet inviting environment for this fantasy-adventure film. I absolutely admired the opening shot where it's an animated shot of an angled top-down view of households and the surrounding roads. The streets and the houses were very well animated and were quite captivating.
The soundtrack is quite good. I liked the opening theme, "Mirai no Theme" by Tatsuro Yamashita, and the ending theme, "Uta no Kisha" by Tatsuro Yamashita. Both the opening and ending theme fit the anime quite well and set the mood for this feel-good anime. The voice acting is superb, especially by Moka Kamishiraishi who voices Kun. Kamishiraishi absolutely nails the voice acting of a young boy who is upset that his parents are not giving him as much attention since they had their second child, Mirai.
Character development was done well as the film explores the family tree through time-travelling. The film gives each character a moment to shine and give a sense of purpose to progress the plot and send out the overall message of the film. This film is great for all ages, but it has a very important message that might help kids get through life -- the message being that life can be hard at times and sometimes you aren’t always the centre of attention, but continue loving your family as they are very important and an integral part of shaping your personality and how you will grow up to be in the future. Having close relationships with your family members is important and you must always keep them close, by your side so they can help you and assist you in many ways throughout your life. You can’t do things alone!
This is the first film that made me tear up out of overwhelming happiness. It just made me so happy. Other films have made me cry because they are sad in nature but this one was a tear-jerker because of the joy that it put on the screen and the fantastic plot-device of seeing the adventure through Kun's point of view.
I enjoyed this film and this film had a clean and concise ending, unlike some of Hosoda's other works. The start may have been slightly convoluted, but it explains itself and resolves everything in the end to a satisfying conclusion.
I watched this at the Sydney Film Festival (SFF) on the 17th of June at The State Theatre which was the second screening of the movie at the SFF and I highly recommend that you go check this film out when it gets released in your area.
Mamoru Hosoda giving us a visually accurate depiction of both sibling bonds and the stressful yet typical things families ALL grow through...
Mirai no Mirai through basic means tells of a 4 or 5 year old boy by the name of Kun-chan and the trials and tribulations when his "love" is taken away by the arrival of his younger sister Mirai and thus we see his journey of not only both his looking at his family members backstories but also learning about the world one step at a time..........with MANY screaming along the way.
Ok, LA might as well get LA's gripes done and away first before
carrying on and to LA's persoanl bias would be that quite easily the most annoying thing to this movie is Kun himself, he's nothing but a selfish brat and SCREAMS ALOT, but to this defense LA will say well what did you expect from a child no less than 5 years old, OF COURSE he doesn't know any better but better yet he learns from his mistakes through the movie. Mamoru Hosoda always had a way of storytelling but Mirai was somewhat episodic in nature compared to Hosoda's other outings done mostly in vignettes of Kun's life with his imagination going wild for that supernatural element into the mix giving us both into the mind of 5 year old but also translating that into real life in many respects and him learning from what his imagination takes him to learn a lesson about life as well as his family members. The next gripe really was that things weren't explained to us in detail however considering this movie's narrative is entirely on Kun a 5 year old, LA thinks this gives itself a good leeway, yeah things DOESN'T make sense to a 5 year old be it if things doesn't goes his way or he's in the wrong or right, things are confusing and "doesn't make sense" in a 5 year old mind. Finally is the ending was abrupt to say the least and sure it gave Kun character development as not only a family member but a sibling but let's just say the transitioning was a tad rushed and it's probably the only flaw LA can't exactly defend.
Yeah, the thing is Mirai though LA has flaws to nitpick this movie about, LA can give alot of defense for alot of the flaws in the process and that is kinda because even if the movie is episodic in nature, Kun is a bratty annoying kid or "things doesn't make sense", Mamoru Hosoda has a way of making things VERY relatable and realistic even if the movie in itself can veer into the imaginary.
The episodic format and how it's structured in vignettes of Kun's life well this is Kun's story first and foremost and him diving into his family members to how they become who they they are now in many cases under related catalyst plots for Kun's next thing learn about, be it Kun's mother, father, the family dog (no seriously), his Great Grandpa, Mirai or Kun's moral compass of what his family means to him, it's KUN's narrative focus all the way. The episodic style may be "basic" but it's effective to say the least and with Mamoru Hosoda's expertise with the theme of family, it just it makes it that much more effective.
The animation done by Studio Chizu..well it's expected all things considered, from how fantastical Kun's imagination looks to Mamoru's typical character designs being an obvious mark of his. With Kun's imagination being rampant in this movie well it's expected the visuals to not only be beautiful but what with the anime's setting being limiting to Kun's house and Kun's vast imagination well it's homely to say the least getting used to Kun's house as well as Kun's cognitive imagination and how he view things and it's brilliantly animated by Chizu.
Voice acting well, as much as LA really didn't like Kun's consistent screaming and crying with Moka Kamishiraishi but nonetheless was a convincing 5 year old voice. Future Mirai voiced by Haru Kuroki to Kun's mother and father voiced by Kumiko Asou and Gen Hoshino were great as expected giving us the head strong mother type to the more struggling transitioning stay at home dad. Really as annoying Kun is, LA will praise Moka for doing a convincingly annoying 5 year old voice with a GREAT voice cast backing it up.
Mirai on the surface has ALOT of flaws to itself, from the likes of "not making sense" (be it in Kun's real life or in his imagination), annoying main protagonist to how watered down the plot structure it is compared Mamoru Hosoda's previous ventures and how abrupt the ending is but with all that LA will say it has strengths but strengths hidden in plain sight. Mirai first and foremost pretty much details what's like in the mind and perspective of a 5 year old and in comes the flaws right in the offset but the strengths of showing not only sibling bonds but family bonds which Mamoru Hosoda is extremely good at executing and telling a story VERY well. Yes Mirai as a whole as problems but as a sum of it's parts as episodic of a movie Mirai really is, tells us a MUCH deeper story of family and Mirai pulls it off, flaws and all.
Is this Mamoru's best work?, from LA's perspective no, LA sees Wolf's Children as that but LA imagines that Mamoru Hosoda wasn't trying to make another movie to top it but to tell a story of a 5 year old, see his perspective on the world he sees and learns about his family and what it means to him and Mamoru does just that.
Not gonna lie, I want to like this movie but it did disappoint me in some ways. Let me explain:
Firstly, the art style is very reminiscent of Wolf Children and I liked it a lot. The composition of the music was top-notch as well. But this movie lacks the character development and plot that makes the movie fall short on meeting my expectations.
Let's talk about the character development, The main guy, Kun was a spoiled kid who had an attention child complex and demands a lot of attention. This is a good driving point but the way he handles the situation is honestly very
annoying. Throwing tantrums over everything and anything is getting really sick. But what's disappointing is that even though he did see his family's past he did not change a little bit. I can't blame him. he's a kid but still... I also think that they could have done a better job at picking the voice actor for Kun. The voice in the film sounds like thaat of a 9 year old but he looks no older than 4.
Now about the plot it is lacking the essence that Wolf Children has. So damn tasteless. It's all about Kun being pissed, he throws tantrum, cries like a little bitch, sees something like he smoked blunts, then ammends relationship. But it doesn't focus on his relationship with his sister like the trailer focused. I mean the name of the film is the name of the sister but what do we get? His dog's view on life, his mom's childhood, his grandfather's past et.cet.
All in all, if you're expecting enjoyment such as Wolf Children I suggest you to turn away and watch something else like Spirited Away.
Mirai is truly precious and downright heart-melting, while rarely coming off as treacly or overly-saccharine thanks to the clear place of experience and insight showcased in the portrayal of family and siblings that Hosoda possesses. His understanding of the essence of family grows more profound with every film. The man has always been fascinated with the theme of family and how our bonds to our lineage form us into the people we are. Mirai is perhaps the most resonant implementation of this theme the visionary director has yet conceived. Truly a beautiful, heartwarming and downright infectious and endlessly charming experience. The film doesn't follow a
traditional plot structure and is possibly the director's most "arthouse" work yet, and this may not work for viewers less inclined to be fully absorbed by its child's eye view of the world, but the film perfectly captures that essence of a child's point of view.
In less capable hands the main character Kun, as a young child, could have easily been unrelentingly obnoxious and insufferable, but in his grasp the character is often more endearing than not. And when he isn't, its purposeful. The entire family feels extremely real and grounded. Kun feels like a real 4 year old kid. The parents feel like real, well-meaning but exhausted people simply trying not to screw up raising these little gremlins. Their relationship together is often chaotic and just barely avoids tearing at the seams, but ultimately their intrinsic love for each other always brings them to reconciliation.
Like many of his works, Mirai is an ode to the bonds that tie multiple generations of family together. It wasn't structured like a traditional narrative, or even most other Hosoda films, working rather as an interconnected set of dreamlike vignettes tied together by the recurring theme of familial ties and Kun's arc of understanding them instead. But the 4 year old protagonist made the film's childlike perception of the world and the blurring between reality and imagination believable. The film isn't interested in exploring the sci-fi mumbo-jumbo implications of the time-travelling aspect and it's honestly probably better for it. It would unnecessarily convolute its simple message.
Production-wise, this was possibly the director's best-looking work yet, with lots of interesting and diverse implementation of both traditional AND CG animation. Particularly, the use of CG for the house in the tracking shots to convey time passing through different sections of the massive structure was super cool and reminded me a lot of the extended take in Wolf Children that continuously shifts between the classrooms to show the children growing progressively older and climbing grades, only much more ambitious in scale. The final act was possibly the most exciting portion of the film for me, filled with dark, twisted imagery in a vast, disturbing and purgatory-esque train station. The art and color choices on display here was absolutely entrancing, expertly blending the 2D and CG mediums together.The level of detail in the character-acting in general was truly impressive. They went above and beyond to make every character's movements in the world perfectly fit their personalities and age.
This is simply one of the most effective cinematic expressions of a pure idea/theme I've ever seen, and the stunning visual and sound direction (particularly in the final act) can not be understated in its contributions to this. And regardless of one's opinions on the Oscars as a legitimately respectable awards ceremony, Mirai was certainly more than deserving of its nomination for Best Animated Feature, as well as being the first to hold the distinction of being the first non-Ghibli/Miyazaki Japanese animated film to earn such an honor.
I was looking forward to the release of this film since I seriously love the director other works (especially Wolf Children). So it goes without saying that when I saw this film get an oscar nomination I was ready for it to be the second coming of Christ.
Well, it was far from that
I found the Story quite boring and unintersting. It felt that something that was mostly directed for small children. I think it would be more fitting for this to be a short collection of episodes, since the sections of the movie felt like that. 4/10
Now for the art, what could I possibly except?
As usual the visuals are beutiful, even though there was some annoying cgi at some points. But it doesn't really ruin the experience since it's trippy visuals are enough for anyone to forgive the cgi. 9/10
As for the soundtrack, I was not a fan of it. I don't know why, I just thought that it could be more fitting to the film (and maybe more than just average). 4/10
The character were...boring and annoying. I don't really have anything else to say about this. I mean yes the main character is a small 4-year old child so of course it would be an annoying little shit ( like how everyone is in the age of 4) but I found nothing intersting about his character. As for every other character, I really didn't feel them. Same goes for their designs (except maybe the baby and the great-granpa, who I really liked). 5/10
Now I watched this film with some friends' of mine, and it obviously made me enjoy the movie a lot. So yeah I guess if you want to watch the film watch it with friends and joke around about how the kid is probably on drugs. 8/10
Overall, if you like good animation, trippy visuals, cute children (I guess) and also liked the director's previous work, it's certain that you'll get at least a small amount of enjoyment out of it.
Though from it, I don't know if it was the high expectations I had for the movie or anything else but I found the movie just a little over average. I will probably revisit this at some point and I hope I like it more then than I did now.
Mamoru Hosoda is an absurdly talented filmmaker. He's able to take the masses on an emotional roller coaster through his visual prowess and maximum enhancement of his characters' emotions while making it look as easy as flipping a switch. If there is someone worthy of being called 'the next Miyazaki' then look no further.
With that being said, I'm not really a fan of his films. That's not to say I dislike any of them per say, I just don't think they resonate with me on a personal level as they do with many people. Also I find some of their thematic content, drama and strange
directions his stories tend to take, to be offputting and weird sometimes.
My favorite film of his is One Piece movie 6 of all things (and I don't even think that's the best One Piece movie)...
That is, until I watched Mirai no Mirai which took about 15 minutes in to the film for it win me over and become my favorite among them.
This film has a simple story about a 4 year old kid getting over his mom going back to work after giving birth to a little sister. We focus on this kid feeling neglected by his parents in general while his dad who works as a freelancer from home has to take care of him and his baby sister. One day the kid storms off in to the backyard and finds a time portal...
Yeah that aspect of the film is ambiguous on whether it's really a time portal or just the child's imagination at work. I mean if it's a time portal how come the first thing he sees is his own dog in human form speaking Japanese? Does his dog become human in the future? Was he one in the past? (Insert "Hosoda is a furry" joke here).
And if it's just his imagination, how come these characters that come through this portal appear to have a real physical presence in the real world on several occasions?
The film doesn't answer these questions and I don't think it has to. Unlike Hosoda's other films this is not a detail based story or even a particularly dramatic one, but rather one that's purely driven by emotion. And that's exactly what I love about it. I think that communicating human emotion is Hosoda's greatest strength, not so much his storytelling in a broad sense (though he is great on a moment to moment basis). Thus I feel that this film benefits from highlighting his greatest strengths as a filmmaker.
At the end of the day, this is just a simple coming of age story with a protagonist at an especially young age of 4, which is quite rare in anime and film in general. It also strikes the perfect balance between appealing to both adults and kids by having much of the film's attention centered on the young parents and their struggle to raise these kids. Despite the fact that the entire film is shown through that child's perspective, I'm sure lot's of parents were smiling at each other while watching this with their kids. Seeing scenarios that are very familiar like the kid behaving very bratty, proffering his mom and giving the dad a much harder time. Or hitting his little sister on the head with a toy for no reason. There's lot's of realistic little moments like that, that lesser films don't bother with.
It's through this kid that we experience the daily struggles of his immediate family in the present, past and future as well as meeting some of his distant relatives from the past and get a glimpse of their daily struggles that were vastly different from his parents'. Throughout the film we (along with the kid) hear casual conversations between the household members which foreshadow what the kid is going to experience in the time portal down the line. That's generally how the film plays out.
And though these relatives he meets don't have much depth, we really get a feel for each of them and the relatively little screen time each of them has is extremely effective in showing the gist of what their life is like at that point in time. Whether it's his sister's struggle to get attention of a boy she likes or whether it's his great grandpa getting injured in the war etc'. They all come back for the climax helping the boy deal with his own struggles of getting back his parents' attention. I think these are things that should resonate with all us on some level making it all the more effective emotionally.
In terms of flaws I'd say that probably the pace of the film is not perfect and the suddenness in which it goes back and forth in and out of the time portal can be pretty rough sometimes.
And it might even be a little hard to follow for little kids.
You can also argue that this time portal thing is just one big gimmick. It's not like it's really a time travel story. All that's really done with it, is having the kid passively observe these time periods without really doing much to effect them.
But personally that last thing is something I really liked since I'm tired of following convoluted time travel stories. Besides this story is clearly centered on this kid and the time portal is just a vehicle that takes him through experiences that will shape him as a person. It's there to put his problems in to perspective, to teach him that the world doesn't revolve around him and that these are first world problems he can overcome (or in other words just to make him become less of a brat) and we get a payoff for exactly that in the end.
Visually this film is fantastic of course, but doesn't reinvent the wheel. Hosoda's style is very kinetic or movement based, he doesn't bother trying to have singular stunning images and instead he prefers to have as much movement as possible. Which is probably for the better in his case since nearly all of his films look the same with extremely similar character designs and even visual effects to the point you can barely tell some of them apart if you put them side by side and this one is no different. One thing that's remarkable about this one is that about half the film takes place in one location and still manages to be visually interesting in those sections in spite of that.
The soundtrack is also fantastic, not surprisingly. Although I can't say I remember many specific tracks, i can definitely vouch for their timing being perfect for getting tears running. Plus it does have just enough quiet moments to balance things out.
The voice acting might be a little exaggerated sometimes and the main character clearly has a woman voice that sounds a little old for him, but you get used to it after a while.
All in all Mirai no Mirai will probably be the least favorite among Hosoda's fanbase for not quite meeting their expectations or having less of a story or conflict. Personally I liked it more for those same reasons.
It's a lot closer to some other films like Miyazaki's My Neighbor Totoro or Kiki's Delivery Service - Simple slice of life films about little kids with some supernatural elements and are mostly conflict free.
If that sounds like your thing then you probably won't be disappointed.
It’s 2am and I have a busy day that starts early tomorrow, so - what better time than to type out a couple lines worth of notes and impulsively decide to fill it out to full review length? You’re looking at a priority mastermind.
The art is amazing, as standard for Chizu. Anyone who grew up, like me, watching Hosoda’s other works (the first Digimon Movie, The Girl Who Leapt Through Time, Summer Wars, etc) will recognise the style in a heartbeat, and appreciate the airiness and consistently clean execution with a lot of character.
Voice actors could have used some .. tweaking, or changing altogether.
Having a child of just 2-4 as the main character would call for an extremely young-sounding voice and this one at times sounded way too grown up or cohesive. Mature? I would have loved more personality, a little less polish around the edges, but that’s just personal preference - I can totally imagine how finding someone that young to reliably read lines or want to partake at all would be a struggle. It’s not a dealbreaker at all.
My cons all kind of .. merge, I guess, into this soup of general confusion about the film’s target audience. I don’t know who is supposed to be able to relate to the main character. If you write an annoying character competently, he’s still going to be annoying. Anyone close to around his age is too young to watch this film and anyone old enough to have children his age will most likely suffer a PTSD-esque flashbacks from the amount of crying and spoiled brattiness his character exhibits. They wrote this young kid really well, and that’s the problem. It’s unappealing in that sense - especially for someone who doesn’t find children (or their behaviour) cute, at all.This instead feels like the type of film that parents would go and laugh at and be able to relate to the positions of the exasperated parents, but judging how stressful and, at times, jarring the grown-up characters’ reactions are, it’s really hard to imagine any parental figure watching this film and willingly putting themselves back into those situations in their leisure. Just feels masochistic.
As a sidenote, though I appreciate that the father’s inattentiveness and the mother’s somewhat flippant / aggressive nature is later addressed (somewhat), I feel like the former didn’t get much in the way of development at all, and the latter came off as overly snappy in their petty arguments with little justification. I understand that just having given birth is a stressful time, and of course I’d rather prefer an accurate portrayal of home life than a sterilised, cookie-cutter perfect family that is often the case in other shows - but this happened more than once and it made the mother character feel unlikeable to me, personally. The main character had the same problem, but he had the excuse of being a toddler.
Overall, it was good to cross this off my list, and the core concept is a heartwarming chance to peer into the legacies and histories of a character’s extended family. I did cry a number of times - but that’s because I’m hyper-emotional when consuming media, and the subject of family remains a soft spot for me, it seems. I probably won’t watch it again or recommend it, but it was a good way to kill time. Watch it if you’re a Hosoda/Chizu fan, like kids, or if the subject of familial dynamics really gets you. Otherwise .. still give it a go. If the crying and selfishness gets to you, come join me in the realm of staying 100000 feet away from babies at all times. Forever.
Mirai no Mirai, a title that catches the ear, but apparently, the show is not as catchy as it sounds.
It's hard to believe but afar from the poorly done soundtrack and story, what ruined everything is the character's behavior--or how they were made or portrayed.
Kun-chan, a four-year-old older brother who doesn't know how to be a good brother, has a totally crappy attitude. Well, I thought that was fine as the story moved forward, but I guess everything just didn't fit at all--even until it ended.
A kid having a bad attitude is normal, but Kun-chan's attitude doesn't just go at all. His attitude, the way
he thinks, the way he talks, and even his voice doesn't fit a four-year-old at all. He sounded so old, and his actions are not young-like either.
Not that everything was wrong, but it is a mediocre show. Maybe it was fine with the comedy and the drama, and the lesson to be picked from the show; the characters just ruined everything.
Yes, I'm giving it a 5/10 because I think the other parts of the show can still save the bad parts. I guess a 50/50 isn't bad at all.
Little Kun is excited that he will be having a new baby sister soon but when he discovers his parents doting on the baby he becomes jealous. One day while playing in the garden, something magical happens. Kun discovers their family dog Yukko taking human form and his sister Mirai travelling back from the future. Ever since then, Kun finds himself taking trips back to the past and meeting his older family members. With every trip little Kun grows up just that little bit more.
Mamoru Hisoda's movies had always had great art and this time we seem to see more use of 3D. Unfortunately the
voice acting feels really out-of-place, especially with young Kun's voice sounding like an older woman even though it's common for females to play the voice of young males. I find this ruined the movie quite a bit because of how often Kun ends up crying and shouting all the time. The rest of the characters aren't any better also lack enthusiasm that you'd usually hear from Anime and sound flat most of the time.
TokiKake is one of my most favourite movies but the other Hisoda movies weren't so good so wasn't sure how good this would be. There's the odd bit of humour and it feels like a family movie showing how important it is to have family members supporting each other with a touch of magic - very much a "you are not alone" kind of familiar Japanese theme. It has its good moments.
It's pretty clear everyone knows this movie was made by the same director who made The Girl Who Leapt Through Time, so this show has some pretty big expectations. While both of these movies are a sweet slice of life, coming of age, I wouldn't put them together. This movie was good. The Girl Who Leapt Through Time was an instant hit.
This movie wasn't quite how I expected it to be when I first heard and read of it. It was a strong start but grew tiresome in the middle, and then it was over. With a collage of stories that inform us of who
the main family is, I realized after finishing the movie that I couldn't remember everything clearly. The movie isn't too long, in fact, it's about the average length of a movie, but it felt long. I didn't finish this movie feeling like I learned something, but rather it reminded me of childhood. I guess you could say there are lessons to be learned here, but nothing too unique, apart from how they tell the story.
My favorite part of this movie would have to be the characters. Certain characters I found annoying, while others were inspiring or the ideal person that, in your head, you want to be. While I understand the characters were all written as they were for plot reasons, I can't say (for the annoying ones I mentioned) that it was still acceptable. The characters who were written to teach a lesson were instantly living a more interesting story. They made me want to see that story, not this. I didn't not like this story, but it just wasn't entertaining. I almost stopped midway, and I've binge-watched many slices of life before.
At times, this felt like it shouldn't be a movie and just several different episodes. The movie already seems to be made that way. There were also many art quality drops in the later parts of the movie, which seemed to bother people. I personally don't mind such things, it usually gives me something to kinda poke fun at, but I mention it for people who do mind. I feel like if this was instead several episodes, the art wouldn't have dropped, the story could be fleshed out, and it wouldn't have me fading in and out through certain scenes.
Overall, I still enjoyed the movie. Characters in anime have almost always been enough for me to enjoy something, and a few terrible ones can't drown out the really amazing ones. The sound was great, no real complaints. There were several backgrounds and some certain attention to detail that really made an impression on me. If I had to say, those few moments and those few characters are the real saving grace of this movie. My score speaks for itself from here on, and thank you for reading my review.
The movie I was expecting to see was something that combined the best parts of "The Girl Who Leapt Through Time" with the best parts of "Wolf Children", two of my favorite films from Mamoru Hosoda. I wanted to see a heartwarming journey of recognizing the importance of family through time travel shenanigans. I was a little disappointed when this was only partially realized.
The story had a lot of promise for an extremely heartwarming story of young Kun coming to appreciate his younger sister, Mirai, and his family, even though he initially hates Mirai for taking his
family's attention from him. I fully expected the story to be focused on Kun being thrusted into a fantastical world with the future version of Mirai. I imagined that through this journey of trying to get back to his family, Kun would gain more understanding and sympathy for his younger sister.
Instead of doing that, the movie repeated a certain pattern: Kun throws a temper tantrum (which makes sense since he's just a kid), have him be thrusted into the past alone to meet one of his relatives, and quickly come back to the present after he's learned something from them. I found this formula to be actually quite interesting since it went against what I had initially believed the movie to be, but I quickly realized that the movie gave up on having deep emotional connections with any of the relatives since each relative took up each other's screen time, forbidding any real development with any of them.
If there is one good nugget of the story I can appreciate is that Kun does show change as he goes through these time traveling vignettes with his relatives, and the at the end when he has a moment with baby Mirai, it almost felt like the ride paid off. Almost.
Overall, I appreciated the story for its back and forth time traveling, but I strongly believe that the film would have immensely benefited from more focus on Kun and Mirai. Mirai shows up about three times in the entire film, which is more than any of the other relatives, and I still couldn't feel a strong bond between the two, even at the very end. The story was decent, but it just lacked oomph to really pull off a satisfying ride.
The art, of course, was great. There were so many sequences that were beautifully animated and really brought fantastical worlds to life. They even had sections where they animated characters in CGI (very much like they did Houseki no Kuni) for some scenes. I saw some great scenes that reminded me of the time jumping sequences in "The Girl Who Leapt Through Time" and fun familial scenes from "Wolf Children". The art, in essence, was what I wanted the story to be.
Voice acting for both dub and sub were both pretty spot on. I was particularly surprised by how good the dub sounded, though some scenes in the dub I found somewhat uncomfortable because of the way the lines were delivered (I won't get into these scenes, but I was extremely uncomfortable). If I were to recommend sub/dub, I would recommend the sub - I found it to be far more impactful.
The soundtrack was full of heart and I often found myself immersed into the scene purely because the of the songs.
Kun was the only one who had any character development, with nearly everyone else in the main cast being static and unchanging. I actually liked this, since I loved the initial team dynamic of Kun, future Mirai, and their dog Yukko at the start of the movie, and I looked forward to seeing them be forced through different time travel adventures and hardships together. But this team almost immediately dissolves and Kun simply faces his adventures alone in quick and unsatisfying time hopping bursts. I soon became somewhat unimpressed with Kun's development, even when he did show incremental changes in his character. In short, I really wanted to care, but it was just extremely hard to.
On the other hand, the supporting characters, such as the mother and father, had their own developments that I saw through very subtle scenes. I found these legitimately fantastic and heartwarming. I would even daresay that their struggles were more interesting than any of the main characters' struggles. If anything, the supporting casts' struggles and development were in danger of overshadowing most of the main characters' struggles in terms of catching my interest and emotional investment.
Despite my comments above, I did appreciate the movie. I can't deny there were moments that the culmination of the music, art, and some emotional moments got to me. I blinked away a few tears. But I think this movie could've had me bawling. I wish it did.
I want to start by saying that the top review by Karhu is incredibly unfair as I can only assume he has NO first-hand experience raising small children--especially not a newborn and toddler simultaneously.
Throughout the story Kun is very evidently NOT being neglected, he's only being a very spoiled and needy child out of jealousy of not being the center of attention, and whenever his parents have to stop paying attention to him for extremely valid reasons, such as WORK (the dad is not scrolling memes, he's working), cooking, taking care of the infant's needs, or just being beat tired and attempting to get a
modicum of rest, kun throws a tantrum like many a spoiled toddler will do.
He throws tantrums over EVERYTHING, things as inconsequential as not being able to wear the color pants he wants.
The parents are incredibly patient throughout, not even subjecting the kid to punishment even when he hits the baby (this goes further to explain why he's such a brat than anything).
Mostly I just wanted to rebut the top review because of how unfair it is. The parents are perfectly average parents, neither terrible, nor wonderful, kun is just spoiled, and throughout the movie learns to appreciate his family and not be so ridiculously selfish.
It's a cute movie. I have a younger sister and the movie is really relatable when you are an older sibling. Although I think Wolf children is still better it is still pretty good. I like how the dog has a human personification LMAO. The only part about this movie I didn't like is how obnoxious the main character can be. I know he is 4 but it still makes me cringe. The art is as great or even better then Wolf children. There are thing that happen that I am still confused about but overall it's pretty understandable. It is definitely a movie that
you should see at least once if you are already in to anime.
Mirai of the future was something I had been planning to watch for months now, and after finally getting to watch it, I must say that I am slightly underwhelmed.
The plot strives to be heartfelt — an intense, magical method of realization for a young stubborn toddler now that he isn't getting full attention in the household. Time travel is nothing new in Hosoda's films (and somewhat overused at this point) and is utilized as a huge plot point on the film for Kun to make emotional development for himself without help from his rather lax parents. The way the story was going,
I was hoping for something more thrilling and adventurous would occur, but suddenly let down when this only happened towards the nearing end of the film (that provided no clear buildup, really). In any way, the progression of the film was a bit messy, but not overall horrible as it did bring some interesting messages to the table that not only young children can take, but also the older audience that Mirai's audience may be mostly comprised of — it is to not underestimate or misunderstand people's choices, as there may be more reason to it than what meets the eye.
The art and the animation was what made me truly fall in love with the film. It's beautiful watercolor-like scenery that kept its own version of realism; the character's fluid, expressive movements; and how each frame is designed to exactly fit the mood of our character (let it be messy, bright, conflicted, etc). I love Hosoda's films for how fluid and the diverse the animation becomes, and this, wholly on the art alone, made me appreciate it.
The soundtrack was genuinely catchy, and fit the mood of the story through that little touch of magical innocence Kun and Mirai have. It added onto the enjoyment of the story.
Now this is where it gets a bit tricky for me. Our main character is in the eyes of a stubborn toddler going through moods of jealousy and frequent tantrums; a phase many of us, at least those who have younger siblings, have probably gone through at his age (unless you saved the universe in your past life and reincarnated an angel). To see that point in your life in your present perspective may be nostalgic as much as it is annoying to watch. Kun spent most of the entire film complaining and having tantrums— again, a common factor in toddlers, but this is exactly the trait he has that becomes less frequent and therefore develops as a young boy throughout the progression of the movie. This is the point of view that perfectly pictures the message the story paints, and it is done so rigidly yet through what I can assume is careful precision.
Other characters, such as the parents, had their own struggles to overcome— but for some reason, did nothing to even help Kun mature himself. I mean, instead of going through the fields of time travel and constant re-evaluation, his parents could have just educated him or reprimanded him as most normal parents do. But I guess if it were that way, this movie wouldn't exactly exist.
Overall, the characters in general were rather bland, but the characteristics that mainly represented their cause in Kun's journey were perfectly defined.
Although, of course, by the time I finished the film, I found myself emotionally touched and smiling — but through the aforementioned doubts and expectations I had about the general plot of the film, I wasn't completely satisfied nor was I about to immediately go "Holy hell, 10/10" for this film. I'm not going to deny that I was annoyed with Kun's tantrums, either.
Despite everything else, this was a good film. Although it definitely isn't for everyone, it represents a good familial antidote and all the rouses of time and appreciating what you have. I don't know if I would definitely recommend it to people, but it's a light watch that'll leave you with a full heart by the end of it.
Mirai no Mirai, Future of Mirai in English. To start off, you can immediately tell it's a Mamoru Hosoda done film. Which immediately gives off a "good news vibe." I'll try to avoid spoilers to heavily.
The movie is great.
The Story is definitely an experiment playing with classic ideas coming from such things as even Christmas Carol and the link. Moral lessons being essential to the plot. Wonderfully done in execution, for the most part, really cool plays in the character involved teaching. The trailer was a bit dishonest as far as execution, but unbelievably great story idea and playing on it from it. As far
as music goes, the movie opens with a pretty cute poppy song and ends with a notably disco-ish pop tune, which are both nice. The soundtrack plays its role and doesn't call much attention but was definitely noticeable occasionally in the more "surreal" moments of the movie.
And here comes the big negative of this movie for me personally:
The kid, Kun, on the other hand (the main focus of the film), watching him really tried my patience for most of this film. It almost feels like a necessary evil, As the brattish pestering nature of kid is almost completely needed for the story to be told and make sense, Which knowing helps teaspoon some sugar down with the sour. But it still doesn't help how absolutely annoying Kun is. Watching a child act like a brat for that long just gets frustrating. And upon thinking about it, if you've seen Wolf Children, you know that Mamoru Hosoda has totally been able to make child characters working through issues and being rebellious or having massive child issues without shoving how shitty a kid is acting down your throat.
The shoving down your throat metaphor is a bit exaggerative, but not by a crazy amount. On top of all that, to be fair to the movie, I am a person who doesn't really like dealing with children, to begin with normally, but I also didn't feel this way in Wolf Children (not to compare the movies directly, obviously.)
This will be my review on the movie 'Mirai no Mirai'. The movie has a runtime of an hour and around 30 minutes. It is produced by Studio Chizu who have been responsible for Wolf Children, Summer Wars, and The Girl who Leapt through Time. I just finished the movie a few minutes ago so everything is still fresh to write down. So, let's get down to this. Let's get this bread!
Story/Plot: The very young (maybe around 5 year old) Ken gets a little sister! And as it is always told and actually the case soon Ken feels neglected by his parents who only seem
tk have eyes for the little girl. Her name is Mirai. You see, she's the title of the movie. Not wanting to be contained with this Ken almost hits Mirai with a toy train. His mother quickly takes Mirai in her arms and Ken runs out, crying. It's then that he sees the tree in their outdoor garden glowing. And suddenly she stands before the young Ken, his sister Mirai from the future now a young girl.
What is this tree and what's the deal with this Mirai from the Future?
I will try to not spoil anything about the movie so I will just say that while this story doesn't seem very grand the movie gives room for Ken. He's the main point of the movie. Through this tree that I won't explain any further Ken learns. A lot. And that's for the story. I feel like the story more or less is more part of the characters so I will say more there.
Art: Beautiful. That sums it up. Same animation and artstyle like Chizu's previous movies this one just sparks colors and great fluid animation. It just looks very pretty. There isn't actually anything else that I have to or can say about the art in this movie.
Sound: Just great. SFX were there but this is not a battle anime. Most importantly, the BGM. God, so beautiful. Great songs, great piano plays. Also the end credit song is very nice and the music in this movie really emphasizes on the mood and emotions of the characters, most importantly Ken of course.
Characters: And here comes the most important part of this movie: The characters. Okay, where do I begin? I guess I finish of the other characters of this movie. First of, baby Mirai. She's still a baby so not much here. Future Mirai though is different, or rather she's finally her. In fact, I can sum up pretty much all characters in this movie, even the very detailed father and mother as humans. Yeah. They act like real humans would. And this is very important for this movie. To be normal. Ken's father and mother are both very human in what they do and how they do it. And why. And most importantly, Ken. This young and very annoying boy is what this movie is all about. About this very normal child that acts like one. Now you would say that of course he acts like child, he's a child after all. No no no, what I mean is that Ken acts and thinks exactly what a child at his age thinks and does. And that's the point of the show. Ken is the one character that grows the most in his personality. Obviously he should, he's the youngest one who can talk after all. He grows from each experience. This is what this movie is about. Ken facing through things a regular child his age would and then experiencing solutions to those things, those obstacles, those problems. This movie shows the struggles of a family, of bearing a child and loving with it, it shows what fathers might deal with when having children, what mothers have to go through. And what siblings have to go through. This movie shows all this and shows how Ken changes, how he begins to see things in a new light. There are a lot of facets and other deep and less deep angles in this movie, and talking about all those woidl be tiring. And spoiling. So I'm not gonna do that.
Overall Enjoyment and verdict: Did I enioy this movie? Oh yes. This movie is very important and it should be watched by all siblings and parents. A movie rich on lessons to be learned for multiple people. The things this movie can teach you are abundant. I am very glad to have watched this movie and I recommend it to anyone. The score here on Mal is laughable for this movie. I hope I could make you watch this amazing movie and I truly hope that more people do. Greatness approaches.
Your family is not something you can change, you are born with your mother, father, and possibly siblings, and are forced to interact with them for much of your life. Sometimes you may hate these people, but there comes a time when you must accept them for all their flaws because no one will ever replace them. Mamoru has a very distinct style when it comes to his stories and directing, and once again he has amazed me. Just a warning if you do not like Mamoru’s other works, you will probably not like this movie, and if you get annoyed easily to a point
of critique due to selfish bratty children you will not like this movie.
Story and Character: This is a very character driven story. The characters portrayed during this movie are very well fleshed out and realistic. Mamoru has some magic when it comes to his characters. They all have flaws, and as the story progresses often learn to overcome or accept these flaws. The story has two main focuses. The first focuses on Kun as he accepts his place in the family and grows to love his family and its history. The other side of the story is that of his parents, who learn to balance their lives as parents with their work lives and learn to accept that they are not perfect.
Kun’s side of the story is probably the more off-putting aspect, as he is very much an unlikable character. Realistically however, what four-year old character is likeable. I felt that his character, in all his selfishness, was amazingly portrayed. Mamoru really understands what it is like to portray a child of that age and portrays the chaos both in Kun’s mind and the chaos Kun’s four-year-old nature creates around him for his parents.
The portrayal of the parents is very heartfelt. They are not perfect parents yet are trying to be the best they can be. Balancing their work with their parenthood, they often question if they are doing a good job or if they are doing the right thing. Many times, they have no idea what they are doing, can sometimes be forgetful, but is clear that they want the best for their children.
The story itself was very creatively done. The story is structured with many times skips each where Kun is faced with some form of inner turmoil and overcomes this obstacle after characters from his future appear to aid him, or he is sent back to his family’s past and interacts with them. This allows the character to constantly feel like he is progressing and allows new characters and settings to constantly be introduced despite the character never technically leaving the house creating a fresh tone with every shift. The exact nature of these shifts is up to your own interpretation, whether it is just within Kun’s mind as he attempts to sort through various emotions, or if it is actually a supernatural occurrence.
Art and Animation: The art is much like that of other Mamoru movies. He has a very distinct style when it comes to character designs to a point where you know what you are watching one of his films immediately. The setting design was truly amazing. The design of the house was amazingly weird and allowed for many scenes to be directed in creative ways. The artwork for each transition as Kun goes into the past, or the setting around him changes was also breathtaking. The animation was quite nice and fluid.
Soundtrack: The soundtrack was good and really added to the feel of the story. It is not a soundtrack that I would listen to on my own time, but it wasn’t necessary for it to be. The ending and opening theme were extremely satisfying.
This may not be the best of Mamoru’s works, but if you are a fan of his other movies, you should definitely check this out.