Why is this psychological terror/murder mystery/serial killer story a cartoon?
All in Japanese
Satoshi Kon’s MILLENNIUM ACTRESS
One of the most mature, evocative, creative, and melodramatic movies I’ve seen all year is an animated film, directed by the same director (Satoshi Kon) as the realistic yet disappointing (to me) potboiler Perfect Blue and of the excellent Tokyo Godfathers.
Satoshi Kon’s "TOKYO GODFATHERS"
Satoshi Kon’s TOKYO GODFATHERS, like his MILLENIUM ACTRESS, proves again animation’s spectacular dramatic and artistic potential. From an unlikely story Satoshi weaves a dramatic and humorous tale that soars above cliché and treacly melodrama.
Hayao Miyazaki's SPIRITED AWAY
Back when I first heard the story of Spirited Away I thought that this would never go over big in the U.S. (young girl gets lost in an abandoned amusement park populated by vacationing spirits and seeks a way to turn her parents back into humans from pigs?) I thought it would make an excellent candidate as a simultaneous theatrical/DVD release, given its probable small target audience.
Hayao Miyazaki's PRINCESS MONONOKE
This is an epic adventure interspersed with elements of Japanese folklore, magic, feral teenagers, giant wolves, strong and aggressive women, warfare, politics, terrific music, and enough related plot lines to kill a horse.
Hayao Miyazaki's “PORCO ROSSO”
This is an astonishing, moving, and intelligent animated film about a post WWI Mediterranean air pirate who is half man and half pig.
Mamoru Oshii's AVALON
# VERY cool
# incredible visual style
# methodically plotted
# beautifully acted
Higuchinsky's UZUMAKI
Things in this town are so weird that we cannot take it seriously, yet they are familiar enough to generate a sense of foreboding.
Godzilla, Mothra and King Ghidorah: Giant Monsters All Out Attack
This 2001 movie is wonderfully entertaining. Classic Japanese monster movie elements have been updated to a quality level unknown to Toho and Inoshiro Honda’s early output such as The Mysterians. The basic story is simple: 50 years after his initial rampage, Godzilla returns to stomp Japan, but this time he is opposed by a trio of mythical monsters who awaken from their eons-old slumber just in time.
Yasujiro Ozu's FLOATING WEEDS
This 1959 film follows a down on its luck troupe of actors as they visit a small Japanese seaside village in the late 1950’s to perform popular plays on a small community stage.
Yasujiro Ozu's TOKYO STORY
This 1953 classic by Yasujiro Ozu (Floating Weeds) is a masterpiece of elegant, artistic, and human filmmaking.
Yasujiro Ozu's EARLY SUMMER
In this Japanese film from 1951, 28-year-old Noriko (played by Setsuko Hara, who also appeared in Ozu’s Tokyo Story) lives with her three-generation family. She helps support them with the wages she earns in her downtown Tokyo clerical office job. Her family decides that she is getting along in years and needs to get married. The wheels of an arranged marriage start turning. This leads to complications.
Lain
I originally published this review in 2002. I thought about it again aftre seeing The Last Exile, a more recent Japanese animated science fiction TV series.
Yasujiro Ozu's GOOD MORNING
It’s the late 1950’s in a new cookie-cutter Tokyo suburb. Two young brothers are eager to get a television. A young couple nearby has one which they let the kids watch (they love sumo wrestling) but the kids’ parents are concerned that the young couple’s laid-back attitude will rub off on the kids.
Katsuhiro Ôtomo's “STEAMBOY”
At the end of Steamboy the credits roll over a series of detailed pictures that project the main characters of the movie into the future. We see Ray Steam’s inventions unfold even further, and they include flight and airplanes. And we see Scarlett defiantly staring into the camera as well as she shares Ray’s future.
Hayao Miyazaki's “HOWL'S MOVING CASTLE”
What did I like least about this film? The answer: the ending. It is too pat, too rushed, too abrupt. What do I like most? Just about everything else. In fact, I found myself smiling at what I was seeing on the screen more often than in any movie I’ve seen since The Incredibles — and that is saying a lot.
Appleseed
This anime epic now available on DVD successfully presents a convoluted story and a creative approach to the integration of 2D characters (shaded to look 3D) and 3D graphics.
Ishirō Honda's “THE MYSTERIANS”
In 1957, Toho Studios released Akira Kurosawa’s epic The Hidden Fortress, a film that George Lucas has stated strongly influenced his creation of the Star Wars saga. I wasn’t paying attention. That was also the year that Toho released Inoshiro Honda’s sci-fi epic The Mysterians.
Hayao Miyazaki's “NAUSICAÄ OF THE VALLEY OF THE WINDS”
What is it about Miyazaki and Studio Ghibli that are so consistently impressive? Seeing 1984’s Nausicaä of the Valley of the Winds for the first time reminded me of some of the answers to this question.