Category: Anime Reviews

Back in August, I made a rather large list of all kinds of worthwhile movies and OVAs, as a way to systematically catch up them, just like I did before with 13-episode series. I became an anime-fan relatively late, so I missed out on a lot of good stuff and this was the prefect chance to get my hands on a number of true anime classics. And with Millennium Actress, I finally finished this list. I’ll try to come up with some kind of compilation-post with my highlights tomorrow or the day after that.

In any case, Millennium Actress by Satoshi Kon was the perfect movie to save for last. Not only is it an excellent movie, but it also pays homage to all kinds of historical movie-genres. While I can’t say that it’s been the definite best movie ever, it does have the most imaginative storyline that I’ve ever seen in one. It even leaves the various Ghibli-productions miles behind it!

You can also recognize elements of other productions of Satoshi Kon. Suddenly, the RPG-episode of Paranoia Agent makes perfect sense and I can understand a bit where Paprika went wrong with its constant repeats of the same shots: Satoshi there tried to relive one particular scene of this movie, but he went much too far in that. Also, like all of his movies, the main characters stand miles apart from the sort of cast you usually see in anime, and their average age is probably the highest of any anime I’ve seen.

And this yet again shows that older characters can be just as fun to watch as the teenage ones. All members of the main cast are absolutely lovable, both the males and the females. I just couldn’t help but root for them throughout the entire movie. What also absolutely shines is the story. This is much more than just a simple love story, and Satoshi Kon goes way beyond the usual clichés and formulas. Unfortunately, the movie is not perfect. One thing I really missed in the second half was the hilarious sense of humour of the first half. It’s of course inevitable to become more serious as the movie progresses, but Tokyo Godfathers demonstrated that the jokes in the second half can really work in the movie’s advantage if they’re delivered well.

Looking back, it’s a shame that Satoshi’s record got spoiled with Paprika. That movie just feels outright mediocre when compared to all his stellar works, and it’s much, much worse than all of his other directing-jobs. Seriously, Perfect Blue, Tokyo Godfathers, Millennium Actress and Paranoia Agent all are excellent recommendations. All four are unique, all four have an excellent and realistic modern art-style, and all of them have an absolutely stellar soundtrack, with the background music from Millennium Actress probably being the best of them all.

Tsuiokuhen, or Trust and Betrayal, is the prequel (although it was produced later) to the series Rurouni Kenshin. Don’t worry; you don’t need to have seen the series to enjoy this four-episode OVA. I haven’t seen it myself, nor am I planning to (my to-watch-list is already large enough without the addition of a ninety-episode series), but I was perfectly able to follow what was going on without feeling left out, unlike the two Patlabor-movies. The original series may be too large of a commitment, but this four-episode OVA is a must-watch.

Seriously, I’ve never seen anyone who didn’t like this after watching it. The story itself may have been done before, but the storytelling and characters more than make up for it. This is one anime that perfectly knows how to use its time with a great balance of building up and intense scenes. Sure, there are some very nice fights, but the two main characters really steal the show. The side-characters are also well-defined, and have their own clear roles to play and at the end, the storylines are all very neatly wrapped up.

Still, in terms of sword-fighting this series delivers as well. There may be fewer fights than you would expect, but right now I can’t remember having seen any other anime with more detail in its choreography than what I’ve seen in this OVA, even considering the epics of Shigurui and Seirei no Moribito. In addition to that, the background music is also stellar. The only thing I can name that gets close to a bad point is the fact that the main character may have been a bit too young to be such a masterful and unbeatable swordsman.

Still, after watching it, I totally understand why Tsuiokuhen is so popular and well-loved. If you’re into period-anime, this just has to sit on your watch-list, and this is another top-notch OVA. The people from Studio Deen have proven once again that even though they screw up at times, they can churn out a classic just as easily.

Perfect Blue: take a random episode of Paranoia Agent, remove all traces of humour whatsoever and extend the result into a ninety-minute movie. I originally thought that this series would be more like Tokyo Godfathers, but instead we get a story about paranoia, schizophrenia and hallucinations. And While I liked Tokyo Godfathers better, Perfect Blue is a very capable movie as well.

Satoshi Kon knows how to build up his story, and this is even apparent in his first major movie. It starts with a simple case where an ex-idol is being stalked by an obsessed fan, and the series turns more and more into a psychological horror-series afterwards. Like expected, the biggest purpose of this movie is to dive into the mind of its main character, and it succeeds pretty well at this. Mima is a terrific character, and even though she may freak out, she’s far away from an emo teenager in the middle of puberty.

This movie does have its problems, though. It feels like a few of the side-characters weren’t used to their full potential. While I can understand why Satoshi Kon decided not to show much of the background of the major bad guys, it would have been interesting to see more of the reasons behind their actions, and their backgrounds. The ending also felt a tad too abrupt, and an extra minute would have done wonders on it. A little more involvement with the police would also have been desired. Quite a few people get killed, but you hardly ever see the cops.

Overall, I agree with the general opinion for this movie: Perfect Blue is great, but it’s not Satoshi Kon’s best work. Still, if it’s paranoia you want, then you should definitely give it a chance. With a terrific soundtrack and a gritty, realistic setting, away from the usual idol-stereotypes you see in anime, this movie won’t leave you disappointed.

So, after this, there’s just one movie and one OVA left that I want to check out. I think it’s pretty obvious which ones I saved for last, but I’m not going to say which they are just yet. 😉

Yes, you’ve read the rating right. I hardly ever give a movie a rating above 90/100, because of the limited time they have to work with, and this is the highest rating I’ve ever handed out to a movie. I knew that this was going to be a good movie because of the stories I’ve heard about the original novel, but I never expected that it would be THIS good. The Dog of Flanders has left me in an emotional wreck, and I honestly say that it’s been the best movie I’ve ever seen.

The people from Nippon Animation are true gods when it comes to adaptations. They always remain faithful and they always get the best out of their source material. If the source-material is such a tear-jerker as this one, the results really turn out amazing. This movie is heart-wrenching, from start to finish. It never shows any moments of weakness, and when one grievingly sad scene ends, you can be sure that it’ll be followed by an even sadder scene next.

The story makes perfect use of the amazing characters. No character feels incomplete, they all have their own subtle backgrounds, they all well-developed characters with their own well-defined roles. Even the small side-characters have a personality, and they work so incredibly well with the main characters. The only thing that isn’t absolutely stellar about this movie are the visuals. After all, it has been animated by Nippon Animation, and it dates back from 1997, so the art style does look simple.

But that should be no reason to not check out this movie. Over the past few months, I’ve watched a lot of different movies, and I kept nitpicking on how they always came out flawed somehow, and how each movie, despite its good points, didn’t quite make it to become truly memorable. This is why I often prefer TV-series. But a Dog of Flanders is different. It’s a true masterpiece, and it’s a real shame that so little people seem to have watched it. Both AniDB, Anime News Network and MyAnimeList have just thirty people who voted for it. If you’re looking for a sad story, then The Dog of Flanders should be the first on your list to check out.

Piano no Mori can easily be considered as the brother-movie of Miyori no Mori. Both got originally released around the same time, both are slice-of-life movies, both place a lot of emphasis on a forest, and both have a kid of about 11 years old as their main character. In Miyori no Mori, the forest was filled with spirits, in Piano no Mori, the forest has a piano in it.

Both movies have their own strengths and weaknesses. The main characters for Piano no Mori just don’t match up to Miyori, but in exchange Piano no Mori doesn’t have any cardboard-box villain that plagued Miyori. And even though the main characters aren’t as likable as Miyori, this doesn’t mean that they’re bad. This movie portrays quite an interesting rivalry between two polar opposites. Along with the side-characters, they turn into quite an interesting smörgåsbord of a cast.

The major problem with Piano no Mori is the direction. It really felt to me like the creators were going down a checklist of some sorts, to get the necessary developments set up right for the finale. Whenever the creators had to choose between a flowing story and this checklist, they went with the checklist. What’s strange about this is that the director for this movie is top-notch: he’s been behind the critically acclaimed series of Monster and Master Keaton, and his work on the first half of A Spirit of The Sun was terrific as well. While I haven’t seen the first two, I just can’t say that Piano no Mori has been his best work.

Nevertheless, Piano no Mori is a very capable movie, which provided the satisfying ending that I missed with Miyori no Mori. Both movies (or tv-specials in Miyori no Mori’s case) are greatly recommended if you’re looking for a relaxed slice-of-life movie, just don’t expect to be blown away. The tournament at the end of the movie was nicely done, although it would have been better to see more different contestants (some who actually weren’t some kind of reincarnation of Beethoven). Still, this movie did what it set out to do, and that’s enough to make up for two hours that won’t disappoint.

What a charming little OVA. Alien Nine gives the term “Alien Invasion” a whole new dimension. Here, aliens can come in lots of different sizes and shapes, and most of them have no real intention to take over the Earth at all. Instead, they cause small amounts of trouble here and there, especially around schools apparently. Because of that, random students get allocated for each school to be the local alien fighters. Alien Nine is about the three alien fighters for one particular grade school.

The beauty of this anime is that it’s a character-study, and it knows it. Every single scene is dedicated to flesh out the three main characters, and develop them through the short airtime of four episodes. There’s a lot of angst, but the creators never delve into pointless melodrama, and they know exactly when to time the big climaxes for this OVA. There’s no cheesy love-story that gets in the way of what’s really important either, and all in all, the creators made the optimum use of the short time that they had to work with.

The thing about the characters is that they would have failed horribly if they weren’t developed as well as this series did. There’s a cry-baby, a strong girl and a perfect girl. They’re all pretty clichéd when you first see them, but the storytelling is so refreshing that you hardly even notice this while watching. Do note that the cry-baby can get on people’s nerves at times, so that may be potentially off-putting. Her interaction with the other main characters is excellent, though. 😉

Unfortunately, and I’m afraid to say it, but Alien Nine does suffer from the “TOO SHORT!!”-syndrome, which I’ve seen on many other movies and OVAs. Some anime try to solve this by omitting important character-backgrounds, others don’t bother to explain their storylines properly, though Alien Nine manages to avoid this. Instead, it just stops. I assume that it’s based on a manga, and only the first X chapters of this manga made it into the OVA. It’s a darn shame, because I feel that yet again this series deserves so much more episodes.

Thankfully, this flaw never got in the way of the characters, and they make sure to keep this OVA interesting till the end. The creators know how to build up properly, and try their best with such a limited amount of time. You’d be surprised at how intense the drama can get at times, considering that we’re just dealing with ordinary grade-schoolers.

Mamoru Oshii may have his problems, but I like how the guy has continued to produce adult-movies through the decades, away from all the teenagers that we see in 90% of all other anime. His movies are always very well-written; heck, the guy has an absolutely terrific sense of dialogue, rivalled by only a handful of people. It’s a shame that none of his movies so far came out perfectly flawless, though. He often gets too enthusiastic with his dialogue, which makes many of his works memorable, but missing that edge to truly become a great movie. Thankfully, after watching Jin Roh, I’m glad to say that this doesn’t count for all of his movies.

It’s here where Oshii throws away all his pretentiousness, and he deliberately keeps the pacing slow for the entire run, and for once he doesn’t mean to confuse his viewer with tons of dialogue. Instead, we get the character-study of a member of a special division of the police. Expect lots of realism here, this isn’t a story where a heroic warrior will save the world from terrorists. The plot is much deeper than that, despite what you might think. This movie was especially refreshing after watching A Tree of Palme. Nothing feels forced. Nothing feels out of place.

The real star of this movie is the main character, though. He’s so far away from your standard hero, and the depth of his character is immense, especially considering the limited length that this movie has to work with. This makes it a pity when the movie switches to the side-characters. They’re by no means bad, but they’re just not as interesting as the main one. This is just a minor flaw, though.

I’m really glad to see that Oshii did manage to produce one movie that doesn’t have any major problems, and the result is absolutely terrific. I can’t say this enough times, but a movie has a limited amount of time to work with. If it wants to be something memorable, it needs to know how to build up properly. Mamoru Oshii does know this, but he often gets ahead of himself. Thankfully, this isn’t the case for Jin Roh. Jin Roh is a definite recommendation if you’re looking for a slow and serious movie.

A Tree of Palme is from the same director as Fantastic Children, so yes, I was eager to watch this movie. Don’t be fooled by the childish character-designs, because just like Fantastic Children, A Tree of Palme is a dark and twisted story. Unfortunately, I’m missing the same brilliance.

Don’t get me wrong, A Tree of Palme is a good movie. The first half is absolutely stunning and imaginative. Seeing the nervous wrecks of the two main characters was a delight, and both of them are fleshed out really well. Palme’s desires become gut-wrenching at one point. But yeah, I wish I could say the same about the second half…

In the end, this just turned into one of these movies which are just too short for their own stories, and this becomes all too apparent in the second half. The biggest problem is that the character-development feels really awkward. Okay, I know that Palme is a puppet and there were actually some reasons given for his strange behaviour, but even that was really pushing my suspense of disbelief, and I haven’t started talking about the other characters yet. One time, a character scared to death, and a moment later she’s happy and acts like nothing ever happened. The plot also has its issues, and huge holes start to appear as the movie goes on that are never cleared up. It feels like entire scenes have been lost on the cutting-room floor.

It’s a shame, A Tree of Palme definitely had the potential, as shown by the first half. But the creators really needed to put some of the subtlety of Arete Hime in this movie. It’s like I said in my Mahou Tsukai Tai-review: a movie has a very limited amount of time to tell its story, but if it knows how to build up properly, it’ll turn into something memorable. A Tree of Palme just didn’t have what it takes to really stand out from all the other movies. It’s a good watch, but not a great one.

Romantic comedies and I haven’t had the best relationship. Sure, there have been a few gems among them (for example Yamato Nadeshiko Shichi Henge and Code-E), but there is just so much crap amongst the genre. For me, the gags are often lazy, the characters uninspired and they rely way too much on moe stereotypes. The few series that do put a bit of effort into their storytelling also have a large chance of not knowing how to balance the romance and the comedy properly (Magikano, anyone?)

The cream of the crop in the romantic-comedy-genre has to be Mahou Tsukai Tai for me. The television-series made the mistake in going on and on about the major villain, but none of these problems return in the OVA. This is really what a romantic comedy should be. There is no minute wasted, every single character is meaningful and the story manages to fully utilize the format of six episodes. Basically, if you liked the television-series, you just have to check out the OVA.

The strength of Mahou Tsukai Tai is that it takes a cast of characters who would have been incredibly cliché on their own, and turns them into something memorable. Unlike series as Kanon and basically 90% of all other series, the characters don’t feel randomly thrown together. They all have their own strengths and weaknesses, and they use their strengths to make up for the weaknesses of the others. The cast just fits perfectly. Unlike the television-series, this is also one OVA that keeps an excellent balance between comedy and drama. The final episode manages to close off the OVA very nicely due to the build-up of the first five ones.

I’ve seen a lot of movies and OVAs now that don’t know how to build up properly, but those who do understand this have turned into really memorable watches, and this is exactly what makes the difference between a memorable OVA and just a forgettable one. The time that movies and OVAs have to work with is considerably smaller than compared with television-series, but if it’s used well, then the results are awesome.

Oh, the irony. The wonderful irony. The Wings of Honneamise is Gainax first major production. While I haven’t seen all of their works, I have seen quite a few, and I must say that Wings of Honneamise is Gainax’s only production without any reliance on moe-stereotypes, there’s hardly any useless or stupid fanservice, and it also has a pretty good chance to be one of their most down-to-earth work. I’m not certain whether one thing comes from the other, but for me, it also was among the best that the studio has ever shown me. Oh, the irony.

Basically, The Wings of Honneamse is about space-travel. Sending the first man into orbit, to be exact. The main character feels real and likable and not overly GAR for his own good. He’s pretty stupid at times as well, but make no mistake: the script is very clever at times. There’s lots of symbolism, and this is one movie that makes you think without trying to shove its message down your throat.

While it isn’t a comedy, there’s plenty enough to laugh at, and especially for major part of its airtime, this movie knows exactly when to be funny and when to be serious. The side-characters also do a wonderful job in supporting the main character. For a movie, there’s also a relatively large amount of character-development. Regarding the bad points, well, the creators seemed a bit too keen on making the climax as perfect as possible, and didn’t quite get it right. The result feels a bit weird, but by no means bad.

One thing that should be noted is that you do not want to go into this movie, expecting standard Gainax. This is absolutely nothing like their other works. The pacing is slow, the characters are nearly all adults and none feels out of place. There’s no outrageous animation and everything feels much more life-like. It’s a shame that Gainax went into such a different direction after making The Wings of Honneamise, as this movie is a pretty damn good one!