Quick Thoughts on Koe no Katachi (Film)

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I decided to make this post quick because upon further consideration, there really isn’t much to say about it, despite how unlikely that seems with this film’s tremendous popularity.

To be blunt, this film is the perfect encapsulation of THE POWER OF EMOTIONS!!! The patience required to finally see this film subbed was one that I don’t normally experience with any specific anime film, but the super-high average rating for this piece on MAL had me very curious. To my non-surprise, it’s highly rated because it involves the most humanistic qualities of altruism I’ve seen outside of anime directed at children. It also deals with subject matter such as bullying, suicide, and putting on a brave front, so it’s probably dubbed “deep” and “relatable” along with its heavy reliance on viewer empathy. With myself isolated from the crowd, I found the film to be a good attempt at trying to tell the story of a boy’s redemption from his cruel past. And like most stories along this concept, its execution was horribly overdramatic and at times inconsistent.

One of my biggest qualms with this film without spoiling anything specific is how long it takes for things to actually begin to tear down for the inevitable, overdramatic climax. I was surprised to see that, after the time skip, the bully and the bullied were “comfortable” being around each other despite the past, and one even has some inborn fondness for the other. What kind of strange case of Stockholm Syndrome is this? It makes the middle portions of the film feel incredibly empty of any real content, seeing as its deliberately setting itself up for some dramatic explosion and that’s the only purpose it serves. This is doubled when a myriad of characters are introduced that serve their role and nothing more. One character serves to support, another to cause friction, and another to be an inside source of information for the male lead. Not many characters feel more than just keys to the major plot.

Even so, these grievances are the only things I found truly wrong with the film, as the rest are either tolerable absurdities or likable strengths. Nothing stands out, except perhaps design and animation, which was nice throughout. I found the relationship between the leads to be strong after the initial confusion with why they were so comfortable with one another before the inevitable climax pushes them apart. More than anything, I suppose, is that it evoked a lot of sympathy from me and pushed its frivolity of life onto my cold soul enough for me to enjoy it. One could say that on a storied structure, it teeters upon mediocrity, but makes up for it somewhat on the basis of pure entertainment. Kind of like, I don’t know, Kimi no Na wa.

The rating for this title and all others can be found on MyAnimeList.

Indiana Jones and the Archives of Inconsistency

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I’ve seen ’em all. Raiders of the Lost Ark, Temple of Doom, Last Crusade, and Kingdom of the Crystal Skull. The amount of fan adoration this franchise receives is unlike many in modern Hollywood, rivaling that of the Star Wars franchise or many of Disney’s animated classics. Because of this, many are subject to a very heavy bias when looking at this franchise through an objective lens. While I was made aware of various scenes from Jones’s adventures through parodies and references in other media, never have I actually sat down and watched the films until about a month ago, so there’s no nostalgic bias to be found here (for once). With the occasion of finishing the franchise (until 2020), I felt it’d be interesting to share a fresh perspective as to the weight of these (mostly) ’80s classics. And as the title implies, the theme here is inconsistency.

Referenced somewhat recently here, I did not care much for Temple of Doom. While user ratings for the film are fairly divided, with the more general perspective being positive, I found it to be a fairly insipid viewing. The inclusion of Short Round and Willie completely tampered any potential the film may have had if it didn’t focus so keenly on gross-out humor and silly popcorn theatrics. They ultimately had no place in the film, provided little chemistry with Jones himself, and had as much depth to their personality as characters from Sesame Street. This harshness towards these two characters specifically is due to their influence on the film’s tone, providing more of a comedic approach instead of a serious one. This would be excusable if the comedy was at all funny, but it’s not.

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Kingdom of the Crystal Skull gets a lot more backlash from fans for “ruining” the franchise. Critics gave it decent marks, but user score is typically fairly low, and it was even desecrated on an episode of South Park. Once again, this bunny with no nostalgic bias watched the film with an open mind, and while I think the film is bad, I thought Temple of Doom was worse overall. I thought Temple of Doom’s second act was better than Crystal Skull, but its first act was so horribly misguided that it nearly destroyed the whole experience for me. Crystal Skull has a sort of quality that almost hides behind the greatness of its prequels while trying to be so over-the-top that no one would ever accuse it of being so similar. It’s this absurdness that brings its quality down for many trying to take the film seriously, which it does a decent job at in the first half. Still, with enough references to fill a house, it can’t quite shake the foundations of a soft reboot, catering to newcomers while titillating fans of the franchise.

In my mind, two of the films in a four-film franchise are bad. Two out of four; that’s half the franchise. Not only that, but they’re the second and fourth films, respectively, causing a wave-like effect of turbulent highs and lethargic lows. One is good, one is bad, one is good, one is bad. Without the perspective of a diehard fan that grew up on the films proclaiming Crystal Skull to be the black sheep of the franchise, one can say that the series has always been flawed to some degree, and its consistency is seriously questionable, both in terms of overall quality and the pace of such within each individual film.

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What made the Indiana Jones films so enjoyable was the constant focus of thrilling action, the wonders of adventure and mystery, and the human drama that came with the characters along the way. This is fairly common knowledge to many, but pulling this off effectively is no easy feat. Raiders of the Lost Ark and Last Crusade have a good number of things in common, including the factors mentioned above. With lots of semi-realistic action, lovable character interaction, and a nose for gritty attitude, they both accomplished a mixed tone of light and dark that boded well for characters to behave as well as they did, with a lot of focus on memorable scenes and noticeable, subtle development. Not to mention, the bond between characters in both pictures, specifically Jones and Marion, as well as Jones and his father, almost single-handedly carry the torch for emotional appeal, seeing as both pairs have some friction between them. There’s a potent humanistic element that makes the adventures feel real and all the more grand for it.

Any more on Temple of Doom would be ad nauseam. Crystal Skull harbors a little character enthusiasm, though struggles to find any balance with the realistic qualms of Jones’s antics. Surviving a nuke by sitting in a fridge. Killer ants with a penchant for human flesh. Aliens. It goes above and beyond to entertain, however, it becomes more of a chore to take any of it to heart when it feels so jadedly superficial. The Indiana Jones movies were always somewhat silly, but Crystal Skull takes it to such levels of ridiculousness that Kali-Ma! seems like a morning stroll in the park. Everything about each scene feels so forced, so maniacally enthusiastic about being able to appeal to everyone that it loses some of its identity. In this sense, I can understand how the latest entry “ruined” the franchise to many. For me, the franchise couldn’t be ruined because it was never a stable library of greatness in the first place.

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Wrapping up, there is an indistinguishable charm that the Indiana Jones franchise manages to capture half the time. Even in the worst of times, there’s enough of a semblance of good merriment to hold over any person not so sternly idolizing of the whole product. I suppose the point of this post made into simplest of explanations is that the franchise isn’t perfect prior to a certain point. It’s important to look at things as single products, then add the outside context later on. How much this context influences one’s opinion is dependent on the individual, but one shouldn’t disregard one or the other entirely. Kingdom of the Crystal Skull isn’t great, but neither was Temple of Doom, and some didn’t even care for Last Crusade. Whatever shoots the sword-slinger is for anyone to decide. Just don’t be so picky.

Tekkon Kinkreet Review

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Something to admit outright concerning Tekkon Kinkreet is that its approach to storytelling is incredibly straightforward and uninspired. Its manner of trying to encourage the viewer to pay close attention to detail flashes signs of other films that came before it, especially within the last fifteen years or so. To some extent, it almost feels American, which becomes more apparent when one knows that the director behind this film is, in fact, American. While some are more than willing to excuse this, others won’t have the ability to fully empathize with the outcome because of it.

What makes it a little more than meets the eye is its (usually) stunning animation. Many times throughout the first few scenes within the setting of Treasure Town I was enthralled by how fluid, how realistic everything dazzled on-screen. It felt like a true and blue film, with the perks of having full control over the project’s structure. Stylistic choices are fairly divisive as they are, with characters appearing more human and fairly rigid in their anatomy, a far-cry from the typical anime style of large eyes and pretty women. It’s a gritty, yet magical attempt at creating a world both like and unlike our own, with a touch of fantasy to a cruelly realistic environment that shines brightly in its darkness.

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There’s something wonderfully human about this film that fascinates one’s curiosity, with a lot of attention going into human ordeals. Despite the tepid display of sci-fi and extraordinary elements, the real spectacle is one that underlies it all to contain the basic necessities of the human condition. Images of fire, aliens, flying children, and vivid daydreams persist, only to be struck down in importance by the idea that all life should find happiness in their own way, whether through positive or negative activities. If only Tekkon Kinkreet had the focus to make the film more than just another one-dimensional story.

Indeed, there is a lot to like in terms of storytelling through animation and character introspection. What makes this frustrating is that that’s all there really is to the film. Characters’ situations can be empathetic, but not so much that one is crying from their pain, cheering for their accomplishments, and riveted with their onscreen presence. They all, in some degree of affirmation, suit a single role they’re meant to play; the old nostalgic, the changing man, the light, the dark, the sin of everything before. All of these things add up into a single message of good intentions in addition to a number of one-hit symbolic jabs. Its value doesn’t quite hit the spot of emotional tranquility it tries to pursue with each passing line, lines which hold the key to understanding the images that accompany them.

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Fortunately, it has everything one could possibly need to follow comfortably: a decent major cast, intriguing visuals, and a lovely story. Containing heart may be all that’s necessary for this film, as the structure and flow come off as somewhat artificial. Not to mention, the imagery and its presentation within the darkest scenes make up somewhat for the semi-dull ordinary sequence of events. Fascinating how the symbolic make-up presents itself with the chaotic whimsy of the film’s dark-ish tone. Even with this, it only eats up a good fifteen minutes of runtime, so while the ending is intriguing, it takes quite a bit of time to build up to it.

One other condition of Tekkon Kinkreet is its inconsistency, both in terms of story and animation. Some scenes have wonderful, immensely fluid animation, while others are shaky at best. At points it almost seemed as though I was watching another ordinary scene from a 2006 romcom, without the destruction of skipped frames. Not to mention, some of the symbolic presentation is either not fully explained or explained to thoroughly. The contrast between Kuro and Shiro (Black and White) together is fairly straightforward, but apart, things that are hinted at with a single line or so become full-blown conflicts of major importance. And when not that, the images of what people are supposed to represent are flashed onto the screen as if to taunt the viewer—”Think! Think, so that you may better appreciate our efforts!” A shakiness illuminates the light of factored quality in one of two ways: fitting two into one, or cutting the two into three and placing the remains among the already loaded one. In layman’s terms, biting off more than one can chew.

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It’s more than a decent film, though I’d hesitate to call it a good one. I was swooned by its messages of good-heartedness and the complacency of its chaotic circus show. My only regret is that I could not try to interpret what may have been left behind by a less-than-proper level of enthusiasm. When I was done, it was done, and the fabric of all that was shown whisked into the chamber of forgotten ideas placed within my moistened brain. Perhaps that may be the most insulting adjective to be held by something so dearly crafted. Tekkon Kinkreet has enthusiasm, but nothing truly worth remembering outside a few key details.

Final Score: 6.5/10

The rating for this title and all others can be found on MyAnimeList.

The Circle Review

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One never really knows what they’ll get when they watch a film for the first time. There are reviews, trailers, interviews, and more that may influence one’s expectations going into one, but until the movie begins to play and the attention has been provoked, the quality of a given picture is shrouded in complete mystery. Thankfully, The Circle preaches that knowing is good, but knowing everything is better, and knowing everything about The Circle is a very good thing. Think of the lives that could be saved when the truth about The Circle comes into view, so that everyone with that knowledge can use it to guide people in the right direction. Really, this review is in the reader’s best interest, so read very, very carefully.

Typically, when one reviews film, they use a mental Pro-Con list of sorts to factor in the strengths and weaknesses of a particular subject. They then get a feeling of what overtakes the other, and mix it all in with their overall feelings and level of interest as the credits roll. While it sounds pretty straightforward, many different elements apply to the process of coming to a conclusion on a film’s worth, depending on the person. With all the filler context in place, the point to this spiel becomes relevant: what are the strengths to The Circle?

Absolutely nothing.

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It’s amazing how completely wrong every aspect of this film is, whether characters, story, pacing, and most notably, logic. The effort a full team of writers must’ve taken to make this film as sound as possible, while adding in the necessities of a fulfilling cinematic experience makes the conclusion all the more bizarre. The leaps this film takes to make everything so succinct is astounding, despite never making any time to realize its full potential. If the film is in any way like the novel it was based on, then it wouldn’t surprise me if the source was written by a teenager who has never left their house in their life.

Logic, especially, is one thing that The Circle actively ignores. Points of conflict and the easy coasting of one scene to the next, despite the severity of the things being claimed on-screen, have the impression that the author simply wanted everything to be taken at face value. Much like a fantasy flick, where explosions only scratch characters and travesties are met with 100% goodwill, events are placed into the world and accepted because no one is there to question it. People are completely accepting of the things that are slowly taking over the earth, because the general populace is a swarm of braindead zombies willing to listen to Tom Hanks. Except for the one, single, sole person with a brain and is aware that people lie.

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Through every minute, the fallacies begin to pile to the point that, by the end, one can’t help but question the entire structure of the society itself. The Circle is inherently flawed, from its very foundation of “The Circle” concept company to the ways it manages to bypass common courtesy laws to get to the point of power the likes of Google or Facebook. Even outside of these cases, which is difficult to shield from due to sheer quantity, the execution of these things are easy, inconsequential, and rushed. An enormous lack of feedback from the viewer takes place when things simply happen without any reason to believe things are actually happening. How sullen things become when halfway through, even the most benign of viewers become keen on how trivial the importance of the characters are in the grand scheme. Constructed from the most imaginative of minds, then coated with paint flung without a single care, The Circle has the literary capabilities of a drunken lunatic.

Undoubtedly, the story is worse overall than its characters and their actors’ abilities to bring them to life. Still, it is a one-two punch that could knock out Conor McGregor without effort. Emma Watson is perhaps the most bland female lead I’ve seen in quite some time, and what’s even worse, her character eventually loses her initial intelligence to the brainwashing of The Circle’s stupid “influence.” Not only bland and unoffending, her character becomes outright unlikable due to her hasty lack of common sense and outright heel turn at times most grandeur. This only worsens when considering her character’s screentime overlaps everyone else’s by a good twenty-five percent. Hanks, Boyega, Oswalt, and any others with some semblance of importance are treated as reserve players, popping up when the film feels it’s time for them to make an “impact.” Such transparency only further drags the film down into the depths of its own ambition. Never does it live up to the expectations it places upon itself, and its characters feel so jadedly simplistic and underutilized that Watson may as well have been the only actor to be given credit on the film’s cover art. Not because she was any better, but because her character’s importance rises so far above everyone else’s that the film can’t bear to show a single scene without her.

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In terms of performances, it allows me to grieve for what little this film has to offer. No qualms should be attributed to individual performances, as as little as some are shown, they do a serviceable enough job to hold one over. Watson, despite her character’s limited array of personalities, plays the unassuming simpleton very well. Hanks is also quite the likable host, and his character, at times, doesn’t seem to embody the seed of Satan as the film adores foreshadowing. With as little experience as John Boyega has, his performance is somewhat typical, though I would note he is likely the weakest link of the bunch. Perhaps due to his very limited screentime, his charisma is little more than a whisper, leaving it easy for one to forget he even appeared in the film at all. The most natural actor of the bunch was Beck, hands-down, as his performance was just like what one would see anywhere.

At this point, it may be redundant to include that the little implementation of technological doo-dads pertaining to the opinions of the general public was fairly interesting. It gave the film a somewhat futuristic pop that its setting tries so hard to allude to in many cases. While the manner of profanity was turned down far more than it should’ve to replicate true society, it was a nice quirk to include some oft-floating text bubbles that presented life in a rather cynical light, providing comfort and self-preservation only in appropriate situations. Too little, too late, unfortunately.

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I suppose it would be considerate to say that The Circle tries. However, the implementation of horridly exaggerated events and the zombification of every possible human being (except one) leaves only a taste of the atrocious recipe for disaster that this film represents. Borderline insulting with how easy the entire ordeal feels, cutting up the general population to their own whim for the sake of power. All because everyone seems to believe that Tom Hanks, and his signature smile and silky voice, is enough to have even the most cynical of hares groove to his tune. Not this hare.

Final Score: 1/10

The rating for all other films can be found at Letterboxd.

Perfect Blue Review

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If one is stepping foot into the world of anime for the first time, a name that may come up often amongst connoisseurs of anime films specifically is Satoshi Kon. While Kon doesn’t have a large collection of films under his belt, what he was able to produce before his untimely death of cancer in 2010 speaks volumes to people within the anime community and industry. Known for his distinct style of disorienting storytelling, his films are typically consumed with pleasure by fans of psychological or methodical thrillers.

Watching anime for a number of years, I’ve never experienced one of Kon’s films, nor have I been one to dabble in anime films in general. With my recent trek into the March of the Movies, I felt a desire to finally give Kon’s work a shot, knowing a fellow anime consumer is practically in love with his entire library. I was aware beforehand of the kind of reputation Kon had, though I wasn’t entirely sure what to expect when I finally decided on his directorial debut: Perfect Blue.

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Among the first distinctions of Perfect Blue that struck deeply was how un-anime-like it felt in general. Characters were animated realistically, complete with noses, proportional eyes, and lips. Its setting allowed for an immediate hook for those looking for something more mature, with adult characters trying to find work within the entertainment industry. While the concept of “pop idols” are entirely of an anime (or Japanese) stigma, there’s very little that the film requires other than the bare minimum, allowing for short, controlled reactions and behavior from the cast. With hardly a thing jutting out to manipulate high-energy humor or drama, it requires the audience to pay careful attention to every movement, as it vows not to be taken lightly.

Due to this feeling of somberness, one can almost be bored by the first thirty minutes or so of Perfect Blue. One aspect of the film that can be simplified is its very gradual speed, choosing to let every possible introduction take place. Who the characters are, what they do. How the situation came to what it did. Where the characters’ priorities lie. Why all of this is important. It’s somewhat of a chore to try and take in every prerequisite that is shown before “the good part” begins. By that time, however, many may likely forget they were ever bored in the first place.

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Once things begin to unwind, the real fun of Perfect Blue reveals itself. What’s even more admirable is the amount of foreshadowing leading up to that point—things that don’t even seem like foreshadowing. The symbolic nature of the build-up gives meaning to the characters involved and genuine disturbances within their positions. Mima, an aspiring actress after a semi-successful circuit of being a pop idol, must face constant self-scrutiny for the decisions she makes to further her career as an actress. For someone transitioning from something as sweet as a “pop idol” to a far more vile environment as acting, her gradual mental breakdown, while not heavily noted at the start, is an assuring detail to her character and morality. She, herself, along with those around her, act as the catalyst of these barrages of self-doubt and regret, eventually spiraling into a place where she (nor the audience) can truly comprehend what is real.

This climactic breakdown is the pinnacle of psychological thrillers, something that would make fans of anime such as Neon Genesis Evangelion take notice. Even if one were to be indifferent to the characters or their struggles, the last twenty minutes of the film is a triumphant spectacle of Kon’s brand of directing. Allowing each little trinket of knowledge became something of an indisputable necessity, all leading up to an eruption of unwinding realities and scenes. A very strong ending almost single-handedly makes Perfect Blue recommendable, if not for the well-prepared journey to that point.

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Though realistic in its presentation, animation isn’t quite the same spectacle as the story. Some shaky movement here and there isn’t entirely distracting, just the fact that it could’ve been altered more, particularly within the last twenty minutes, to further cement the feeling of dementia. There also exists a sort of graininess about Perfect Blue that makes it far less than a perfect blue. A sign of the times, one could say, though one could also say that it’s simply an indicator of the film’s realistic setting and tone. Despite the sudden vibrancy of the fantastical imagery of Mima’s idol half, there’s a sort of “dull” manner to the animation that could turn off viewers.

Another issue arises in that while the plot is intriguing and eventually becomes captivating, characters are not as wonderful. They do what they must for their role within its structure, leaving them to fester within the realism of their situation—distilling their core personalities. One could describe Mima outside of the mental fragility and one wouldn’t be entirely sure if it’s Mima. Characters simply react to what’s in front of them, picking and choosing their moments of propensity. That isn’t to say the characters are dull, rather none of them really stand out in a positive way based on who they are or what they cherish. Some become interesting based on what they eventually mean to the plot, though not of their own accord. Not everyone will take issue with this, but those who do will leave the experience without any strong emotional attachment.

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At the end of the day, one’s pleasure surrounding Perfect Blue may very well come from whether or not they prefer its dominant genre. Execution is key here, with everything coming into focus just so they can direct to a horrifying conclusion. Kon’s mastery of this is on full display in his first project as director, though one could likely expect more out of his mind than what was shown here. Perhaps it should be noted that the film is an appetizer to the mind of Satoshi Kon, something that can be appreciated as time goes on.

Final Score: 7.5/10

The rating for this title and all others can be found on MyAnimeList.

Day Thirty-One: Kara no Kyoukai 8 + 9 (MotM 2017)

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The March of the Movies will end with a purr, as my motivation to continue forth with essentially the same thing day after day has worn me out completely. My thoughts on these two films will be short (one much shorter than the other).

KnK 8: Shuushou

Everything I despised about the long, overcomplicated explanations in a few of the films prior is essentially all that’s here. Some warm moments interlaced doesn’t save it from being literally Shiki’s face with mouth movements for minutes straight talking some psychological nonsense about what is and what isn’t the make-up of a human being. I grew bored within minutes and still they went on for some twenty-five hours, or so it seemed. It didn’t serve much point to anything overall, so I more just felt I wasted a half hour sitting through it. Production values, once again, are what save it from being completely skippable. Also helped with serving some sort of closure, that is until the next movie beat it even in that category.

Final Score: 3/10

KnK 9: Mirai Fukuin

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Emotionally-charged with good balance of character interaction/charm and psychoanalytical jargon? Say it ain’t so! The films prior either did one (way more often) or the other (basically never). It serves almost like a reboot of the series, but with the foundations and development of the characters already established, one can simply enjoy the characters for who they are and how they interact with new characters. Said new characters are pretty standard, but do enough to make the movie a tad more easy-going.

One huge contrast with this film is the general lack of tragic, hostile topics and developments. They still exist to some extent, but not nearly the level of darkness that would, say, open with a rape scene, or end with cannibalism. I, as someone who tolerated the darkness to the point where I almost found it overly edgy, welcome this with open arms. Finally, some variety to the film that helps it stand out, though admittedly makes it a sort of black sheep. It doesn’t have that same “feeling” to it as the others, prioritizing more with the characters than the story, along with harboring the closure that many fans are likely clamoring to see. It’s split up into two parts: one part that shows the events roughly two years after Movie 7, which takes up most of the runtime, and a second part that transports the characters far into the future and is essentially there for closure. People who have clicked the “Spoiler” tab on MAL’s synopsis for the film know what I mean by this.

Initially, I had forgotten that the film was split into two parts, which was why the end of the first part surprised me when it ended earlier than the total runtime. I was wondering what they could possibly show for another half hour, but then I remembered the half hour I wasted to get to that point. Turns out, it’s rather sweet, and almost nothing like anything the series would’ve published under its name. These two parts vary in importance and feature a large difference in cast members, but both serve to compliment one another to some capacity, whether through recurring characters or, as I’ve said again and again, closure.

In a way, this film is basically filler, something to wrap up the series in a way that a majority of people would appreciate. I feel they go overboard ever so slightly, but I’m also picky and overly cynical. The piece is an enjoyable one based on its key differences from what the film series established for its identity beforehand. It’s rather standard in terms of plot, its execution, and character quirks, but it does more with it, instead of letting things fester in nothingness for half the film before getting things done. However, this film has probably the easiest main antagonist Shiki has ever faced. Not a lot of tension, only good vibes and pseudo-drama.

I guess what I’m trying to say is that it’s good because it finally changed itself and did everything else adequately enough to hold itself up. And the end was cute.

Final Score: 6.5/10

The rating for this title and all others can be found on MyAnimeList.

For more, check out the March of the Movies Archive!

Thank you all for sticking with me this month. I’m going to take a well deserved rest for a little bit, then I’ll be back as if I never left. Until then!

Day Thirty: Kara no Kyoukai 7: Satsujin Kousatsu (Kou) (MotM 2017)

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(Disclaimer: All images were found via Google.)

It’s only appropriate that the latest film in the franchise that I genuinely enjoy comes as a direct follow-up to another film I genuinely enjoyed. Not insinuating these films aren’t direct sequels to one another (though some aren’t), but Part 7 is a sort of continuation of Part 2, hence the “(Zen)” and “(Kou)” within the names. Part 7 is also technically the last film in the series, with the two upcoming films serving as side stories, though still within the realm of importance. One can tell with the sense of finality to the film’s ending scenes that it’s all come full circle. If only it included everyone.

As if it’s expected by this point, production value is a major positive for Part 7. Animation is spectacularly glossed over each scene and the character’s expressions. Choice of instrumentation in the background does very well for the most emotionally charged situations, all accumulating with Shiki’s fight within herself, something that’s been hinted at for many films. It did to some extent with the last movie, but seeing as I was more immersed with the story this time around, the final fight, while not amusingly gory or loaded with an epic appeal, amassed a flurry of emotions within me. Among the first times within the film series where I acknowledged the beauty of a specific scene or situation.

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Something of a debate between fans of the series is the difference in quality between this film and Part 5. The latter has the advantage of sheer spectacle and psychological creativity and intrigue. Characters are more plot pieces than individuals and the bizarre framing of perspectives makes for a very intriguing two hours. Part 7, on the contrary, appeals more to the humanity of its characters and the morality of the situation. It treats the characters as though they manipulate the plot, making their issues and conflict feel more personal and within their control. It also makes the characters feel more alive within their environment, something that Part 5 hardly did. It revealed necessary and interesting info about them, but it never allowed them to simply exude their charisma.

It is this switch in priorities that make the divide between these two parts intriguing, with one focusing on a more apathetic, psychological front, while the other appeals to the emotions and the well-being of the characters. The reasoning involved makes the difference in quality quite appropriate: viewers are likely to find Part 5 more entertaining and technically sound, and Part 7 more affectionately humane. One is likely to find Part 5 the better film, but Part 7 the more likable film. For me, it’s no different. I acknowledge that Part 5 is probably a better film, but I enjoyed Part 7 far more, especially during the second half. What becomes the central issue is how much of Part 7’s more forced arbitrariness one can tolerate.

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Realism isn’t exactly one of the series’s major focuses, but here one could make the case that it’s trying really hard to be both subtle and direct. Bloodshed is also one of the series’s more prevalent identifiers—the amount one survives this time around is a little worrying. Stenches of plot armor fill the scenes to a high degree. Some characters don’t seem to be of any importance, despite their roles in prior films. And for the last time, the male lead’s uppity attitude is still fairly annoying. There’s not a gray fiber within him, it is only good and bad, moral and amoral. God forbid one kills out of self defense. Even so, with that stipulation in place, the final scenes offer an intriguing take on what the characters truly stand for, and how they cope with it moving forward.

Emotionally gratifying as it may be, this is not of its entire body. The second half is splendid in its build-up and highlighting of the characters’ dimensions, along with some signature uncomfortable moods. Prior to it, the film is just build-up of the same degree as films past. People talk, listen, gather information, do some things here and there in a slow, but gradual pace to a tormenting end. A plague to most of the films in some capacity, slow starts are something that make the films a little tiring to marathon day after day.

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Is it the best? Or the second-best? It could be one or the other, depending on one’s preferences and priorities of technical splendor vs. emotional value. I enjoyed Part 7 a lot more than Part 5 when all was said and done, but again, Part 5 had a lot more going for it to make it a longer-lasting experience. I really appreciate that by series’s end (kind of), the characters are the ones receiving the brunt of the importance, rather than trying to fulfill more of the depressing story it adores to overexaggerate. Still, it would’ve been helpful to have the narrative serve far more closure to those outside of the two leads and within the universe that seems still so very unstable. Also, if I may be frank, the ending is just a wee too “Happily ever after” for something like this.

Final Score: 7.5/10

The rating for this title and all others can be found on MyAnimeList.

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