This movie sequel takes place after the TV show. There was a recap movie called Rondo Rondo Rondo but I didn't see that. I'll be completely upfront here and admit that I didn't like the TV show very much, giving it a 3/10. However, having recently enjoyed Kageki Shoujo, which took a more grounded approach to the world of theater, I was willing to give the Revue Starlight franchise another chance. I was hoping that the movie would address my grievances with the TV show, and convert me into a fan.
The reason I disliked the TV show was because of two main factors. First, it had presented a fascinating plotline halfway into it. One of the girls, Nana, had repeatedly won her duels, then kept turning back time to re-experience the moment. This set up Nana to be the primary antagonist, and for the show to take a dark, complex turn. But then the main girl, Karen, inexplicably defeated her in one episode and continued the poor main storyline.
The second factor, and more importantly, was the entire premise of the show itself, where girls faced off in rapier swordfights, all set up by a mysterious giraffe. They kept talking about "glimmers" and wanting to be the "star" of the play. And the show didn't make me care at all. The fights held no weight to them, because it was playfighting and not some life-or-death matter. You could argue that I'm being too dismissive of the show's fantasy elements, that there are elements the viewer should just accept. In magical girl shows, we don't need a full explanation of why magical girls are able to transform; we just accept it. However, even in magical girl shows, there's some semblance of universe believability, such as a key moment where the girl acquires her powers, or a cathartic scene that causes her to unlock additional powers from within. But in Revue Starlight, the stages were all mysteriously created for the girls in a world that supposedly resembled modern-day Japan. And the whole Starlight system was never fully explained. But at the very least, there was the story for Karen to be the main star, however contrived it was.
The movie, on the other hand, took the pretentious and abstract elements of the TV show, and turned it up to eleven. Kinema Citrus correctly knew that virtually every viewer who sees this movie were already fans of the TV show and accepted its shortcomings. Instead of improving on the TV shows weaknesses, it dismissed them. It went for the grandest, most pretentious spectacle without a care in the world for the haters. It reveled in its absurdity and lack of stakes by proudly showing explicit, graphic footage of exploding tomatoes, then passing it off as fake blood from fake rapier stab wounds.
There is virtually no explanation of present-day events in the movie. There are numerous flashbacks, but the movie fails to connect them to the present storyline, other than that Karen and Hikari were best friends when they were kids. But you already knew that in the TV show. I felt nothing as the stages became more elaborate, with the use of vivid imagery that appeared because the writers thought it would look cool, such as trucks, trains, and neon lights. Abstract literary devices and symbolism only works when the viewer is able to make a connection, but the movie made no attempt to explain this. Rather, it wants fans to come up with their own theorycrafting to explain everything. As fans attempt to channel their inner life experiences and thoughts, they may see some of themselves in the girls. And perhaps that's why Revue Starlight has such fervent fans, because to criticize the franchise would be to criticize their inner selves.
As for the production value, it is incredible. This movie is certainly an audiovisual treat, and Kinema Citrus is at the top of their game. But what good is it if the story is such incomprehensible garbage? I couldn't tell you what really happened in the movie. I couldn't tell you why the giraffe transformed into fruit salad, or why the final revue ended in an unnamed desert. Even as the numerous revues ended, I couldn't understand what had happened between the dueling pairs. Revue as an artform had its golden years in the 1920s, but lost popularity as the audience found it too patronizing compared to regular theater. In a way, the Revue Starlight movie is a summary reflection of that. It is so grand and spectacular. But yet, it is so pretentious, arrogant, and abstract, leading to emptiness for those who don't understand it. The movie laughs at them and throws tomato blood at their faces, while the fans will latch on to it as some form of higher entertainment.
