Review: Spider-Man – Into the Spider-Verse

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So Spider-Man has always been Peter Parker, right? No? Okay, here we go.

Comic book universes are full of convoluted histories and some characters who have been around forever have been killed off, resurrected, rebooted and remade — it can drive casual fans mad. Marvel and DC have embraced the idea of multiverses for decades. Multiverses allow for different slants on the same characters. There is a universe where Gwen Stacy is bitten by the radioactive spider instead of Peter Parker. There is a universe where Miles Morales becomes a second Spider-Man. There is also a universe where Peter is an anthropomorphised spider who gets bitten by a radioactive pig, thus is born Peter Porker, Spider-Ham.

Spider-Man: Into the Spider-Verse takes these realities and combines them together into a wildly entertaining ride that only animation can accomplish. The main reality that we deal with is the world of Miles Morales a world in which not only is Peter Parker, still Spider-Man, but is beloved by the city. Miles is trying to cop with his new powers after being bitten by a radioactive spider. He comes across the original Spider-Man, Peter Parker who is fighting bad guys who are bout to turn on a particle accelerator owned by Wilson Fisk, the Kingpin. The accelerator will tear time/space open and allow alternate realities to cross over. The reason Kingpin wants to do this is o bring back his dead wife and son. (The backstory of Kingpin’s wife is fairly convoluted but in this universe she and her son died from a car accident after finding out he was the Kingpin of crime in NY.)

Spider-Man ends up dying trying to save he city and Miles takes it upon himself to take on the mantle of Spider-Man. But the particle accelerator managed to work enough to bring across from the multiverse several different Spideys. Miles first meets Peter B. Parker, a Spider-Man from another reality where his life has failed him. He agrees to tutor Miles on being a superhero so that they can fix the crossed up universe. Along the way they will also encounter a noir Spidey, Spider-Gwen, Peni Parker who controls a Spidey-bot, and the aforementioned Spider-Ham. Together they must fix the rift in the realities or the multiverse will go kablooey.

The sub-plot to this is that Miles still must learn to control his new powers and reconcile his less than perfect relationship with his father, who not only is a police officer but dislikes Spider-Man and thinks of him as a vigilante. Yeah, his life is a little complicated.

The film quite a visual feast for the eyes and is in some ways revolutionary. Sure it is still CG, but there are instances of hand-drawn animation to it. There is a conscious effort to make scenes look like comic book panels, complete with thought balloons. Some of these stylistic choices were a little jarring at first for me as there were some scenes that looked out of focus in the foreground. I thought for a bit we were accidentally seeing the 3D version without glasses. I have been so conditioned for sharp and plastic skin looking CG animated films, it threw me off.

Spider-Man: Into the Spider-Verse does not only a good job at being an animated film but also succeeds at being a good superhero film. It is, of course, not The Incredibles. It doesn’t try to be either. And with the success of this, it can hopefully pave the way for more animated adventures of Marvel characters on the big screen as opposed to the current trend of direct to video releases. DC, has been churning out quality animated (but direct to video) films for years. And to this day I still believe Batman: Mask of the Phantasm is one of the best Batman films ever, live action or animated. I’m still hopeful for adaptations of Squirrel Girl or the Kamala Khan Ms. Marvel. The good news though, is that a Spider-Gwen movie is in development with crossovers from Spider-Woman and Silk. So we have more Spider-Verse movies to look forward to.

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Review: Aquaman is Glorious Trash

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Let’s be frank, Aquaman is not a very good move. DC/Warner’s latest attempt at making a good comic book movie starts out a little by the numbers. There is backstory on his parents and how he is half surface dweller, half Atlantean. His mother is a Princess of Atlantis found by a lighthouse keeper after a storm. They fall in love, have a kid and name him Arthur. She is taken back to Atlantis. He’s raised by his dad alone. One day he finds out he can talk to fish in a scene that reminds me of Harry Potter at the Zoo.

Flash forward post Justice League, and Arthur Curry, known as The Aquaman among seafarers is off doing his thing. He saves a Russian sub from pirates. Yeah, it will make sense later why pirates would attack a Russian sub. Not a lot, but it will.

After knocking back a few pints with his dad at a bar, he meets Mera, another princes from “Under the Sea, ” And yes, she has Ariel’s Red Hair from Little Mermaid. She basically says, “Hey your brother is a jerk and wants to wage war on the surface. You are actually the older one and have a claim to the throne, even if you are half human.”

 

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She neglects to mention that she is also engaged to him. But he must also fight his brother in ritual combat to claim the throne. Yeah, we’ve seen this in Black Panther, but this is underwater! Plus it uses a lot more CG. And they have an octopus playing drums. (The musically inclined octopus is in the comics by the way.) This is where I laughed out loud in the theater and figured out DC decided this is just going to be a silly trashy comic book movie. Never before in the modern DC movie era have the filmmakers embraced the silliness of a comic book movie as this has.

It’s a good thing too, because if this movie tried to take itself seriously it would be truly horrible. As it is, it’s full of cringe worthy dialog, flat generic characters, a convoluted story, and an obligatory fetch-it quest for a magical McGuffin. At the center of it is Jason Mamoa, who first got his big break in Stargate: Atlantis. With his “bro, I’m just here to have fun” performance, the film is a ride that takes us from one action scene to another. Amber Heard wavers from trying to be overly serious to eventually embracing the silliness of everything. She has a dress made from jellyfish, really. But she also gets to impale some bad guys with Italian wine.

Other actors seem wasted, however. Yahya Abdul-Mateen II makes a great Black Manta, unfortunately he’s a villain that is under utilized, and comes across as more of a set up for a return in a possible sequel. Patrick Wilson as King Orm, Aquaman’s younger Aryan brother is about as bland as they come. And Willem Dafoe, the biggest waste, is there as just a plot device as a mentor and to Arthur and a mole in Orm’s trust. It was fun to see Dolph Lundgren as King Nereus. He does come across as an old leader.

James Wan, as director, certainly uses a colorful pallet in creating the undersea world of not only Atlantis but other Kingdoms as well. And his action scenes are like Star Wars battle underwater. Well, it’s more like Star Wars battles than the last couple of Star Wars movies anyway. They is certainly a lot going on and I don’t even want to guess what the body count is during some of these fights.

There is a lot of Aquaman lore crammed into a two-and-a-half hour movie apparently. It certainly felt like it, but I’m no Aquaman expert. Perhaps they weren’t expecting a sequel. Despite how overly convoluted the movie is, it is full of action scenes that never become repetitive. And the underlying quest that Arthur has to undertake feels like a video game quest, going from one point of the globe to another and recovering clues.

So, no Aquaman is not a good movie. It’s a mess of popcorn trash. But it seems to know that it’s a silly movie and because of that, it is fun. It’s a visual feast of absolute junk food.

Review: Mamoru Hosoda’s Mirai

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The average movie and genre fan may be familiar with Hayao Miyazaki and the films of Studio Ghibli, which is a good thing. But Hayao Miyazaki will be retiring (again) after one final film and the fate of Studio Ghibli is uncertain. But for the last few years as other anime creators are stepping up with quality anime that tell compelling stories for diverse ages using the medium of animation. The recent phenomenal success of Makoto Shinkai’s Your Name shows that there is massive talent out there that can break into the consciousness of Western movie audiences. I’ve already lauded heaps of praise for Mari Okada’s debut film Maquia, and although it still has yet to receive a North American disc release, A Silent Voice is one of the finest and most moving anime, let alone films, to come along in years. But it was totally snubbed by the Academy for Best Animated Feature that year. So f*ck you, Oscars and your Ferdinand and Boss Baby! More on that later.

One director who has been consistent in quality storytelling and quality animation has been Mamoro Hosoda. From his debut, The Girl Who Leapt Through Time he has shown not only a knack for creating believable characters but situations that blend the fantastic into mundane lives. Family bonds were explored as major themes during Summer Wars and the tear-jerking Wolf Children.

Mamoro Hosoda’s latest film, Mirai (not to be confused with the new Toyota hydrogen fuel car), starts of simply as a four-year old boy, Kun, has so far enjoyed his life as a single child, meets his new baby sister. She is named Mirai, which means (in a little bit of foreshadowing) “future.” What follows is what seems like the standard trope of the brother being jealous of the new little sister that has intruded on a world where he had always been the center of attention. Hosoda injects his unique brand of fantasy into the narrative.

It seems every time that he lashes out or throws a tantrum, and happens to go out into the house’s yard, a world opens up to him where time and space, and the laws of reality bend to create a surreal experience for Kun. Each of these experience seem to be lesson to him much like the visitations Scrooge experiences from the ghosts. And Kun is going to need a lot of lessons along the way.

Some of these appearances are incredibly surreal such as the anthropomorphism of the family dog, who complains he was the prince of the house and everyone’s favorite, until Kun came along. Sound familiar? Well that does give a little perspective to Kun.

He does also get to meet a future version of his sister. She admonishes him by telling him to be nicer to her when she is a baby. But also serves as the main guide for Kun. Along the way we also get introduced to his great-grandfather who serves as an inspiration for the most simplest of tasks of childhood development, the removal of training wheels.

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But at the heart of all the fancy and the whimsy is a family dynamic that is truly built on love for one another. There is light banter, reminiscences, and casual conversations that ring authentic and is like a window into a real family. Except for the time and space bending.

The dynamic between Kun’s mother and father is charming and comes across as genuine. But since this is mostly a film from Kun’s point of view, Hosoda has made sure that the character is not overly annoying as so often little children can be in anime. Yes, Kun throws tantrums, acts out and cries. But it comes across as natural and not mawkish. And although Hosoda is an only child, he is a father of two.

I think what I experience with my family, such as the joys and troubles in our everyday life, is something other families in other parts of the world would experience as well. Three years ago, we welcomed a new baby [girl], and my three-year-old son just couldn’t accept the fact that he was now an older brother. He threw tantrums because he didn’t want to share his parents’ love. When I saw that, I thought I saw the raw and bare soul of a human being. Humans can’t survive without love. Life is all about longing to be loved, wandering around to find love, and accepting others to gain love. That’s what I learned from my three-year-old son.

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What we are left with in the end is a film that is personal, charming, and funny. But it is not Studio Ghibli, and Hosoda is not Hiyao Miyazaki. Where Miyazaki goes for grand pieces of animation and themes, Hosoda really excels at bringing out humanity and personality out of his characters. Despite all the fantastical settings, the focus is on family. Their styles are different but they are similar in that they know how to tell a good story using animation. There may never be a director like Hiyao Miyazaki, but there is no director like Mamoru Hosoda either. And that is what makes him so unique in that he is so accomplished, so talented that his movies garner attention on their own.

Mamoru Hosoda has been invited to join the Academy of Motion Pictures, Arts, and Sciences. So perhaps he can have some sort of influence on the joke of the category that is Best Animated feature. For now, though, Mirai is in limited distribution and just received a Golden Globe nomination for Best Animated Feature.

Highly Recommended.

Review: Ralph Breaks the Internet

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I was born in 1964, so video games like Pac-Man and Frogger were not retro games for me – they were new and big deals. Now, I wasn’t one of those kids who spend endless hours and weekends in the arcade, but I did enjoy what time I had between school and my teenage jobs. So when Wreck it Ralph came along it was a delightful slice of nostalgia mixing real game characters from golden age of arcades it was a fun ride through memory lane. Ralph, not a real game character of our world, was an interesting bad guy who was basically tired of being the bad guy. And the after hours world of the arcade is evocative of the toys in Toy Story that come to life when the humans are not around. With Ralph Breaks the Internet, we move from arcade game nostalgia to the massive sprawl of the internet.

Six years have passed since Ralph and Vanelope from the game Sugar Rush became friends and things seemed to be going great between them in the arcade. Mr. Litwak, the arcade’s owner installs WiFi, which is declared off-limits to the game characters. The internet is a dangerous place, afterall. So when a kid accidentally breaks Sugar Rush’s steering wheel, the only place to get it is on eBay, but unfortunately the price is a little too high for Mr. Litwak to spend on a vintage game so he plans to unplug the game. This would leave hundreds of game characters without a home, including Vanelope.

So of course Ralph and Vanelope end up going into the WiFi signal and enter the internet in search of eBay and a $200 steering wheel. With no understanding of how eBay works, or even money or credit cards, that $200 steering wheel ends up being over $20,000. What follows is elaborate schemes of trying to make that money before Sugar Rush is put to pasture.

The great appeal to Wreck it Ralph was, of course, the nostalgic appeal to it. With him now in the more contemporary world of the internet, some of that appeal is lost. Of course it is still fun to spot cameos of familiar logos like Google and Amazon. Tweets fly around as their bird icon. Geocities and Myspace are in a sort of Sargasso Sea of dead sites.

The best cameos, since this is a Disney movie, is reserved for when Ralph and Vanelope find themselves at a website called Oh My Disney, which is apparently a real thing. No spoilers since it is in all the trailers and ads, she meets the Disney Princesses. All of them. And almost all voiced by their original voice actress with a very amusing turn from Kelly McDonald reprising her Merida voice from Brave, speaking in such a heavy Scottish accent that no one understands her. Or maybe she’s actually speaking Scottish ¯\_(ツ)_/¯. “She’s from the other studio,” one of them tells Vanelope.

While the main plot is about raising the funds to pay for their eBay purchase, the secondary plot involves Vanelope becoming enamored with the word of Slaughter Race, based off of Twisted Metal. The racing in it is a near polar opposite of the cute Sugar Rush game with a definite grim and dark atmosphere.

There are a some not very subtle messages underlying the movie. Chief of it fcuses on Ralph and his inability to let Vanelope follow her dream and leave her mundane world. Yes, a Disney Princes tires of her mundane world and finds joy somewhere that is totally different from the world she is used to. There is actually a gag about this trope too. The other message is about one of the internet’s darker sides.

One of Ralph’s schemes involve making videos on a social platform called BuzzTube (YouTube exists, so this is apparently a competing platform). Somehow he is able to make money by accumulating likes. ¯\_(ツ)_/¯ I don’t know how monetizing on social media works but this  guess this makes sense. At one point, Ralph enters a secret room and sees comments. Number #1 rule of the internet, “Don’t read the comments” says the BuzzTube algorithm Yesss, as played by Taraj P. Hanson. Of course they are filled with trolling and spiteful comments about Ralph, which disheartens him.

We can look back at the references of the first film with fondness to decades old games that are still in the subconscious of our collective memory. One thing about he internet is that things change quickly and what we may think of as something that will be around will be subject to the trash heap of history, such as MySpace. In fact, the Disney crossover was supposed to take place in the Disney Infinities game, then the game and support for it was abruptly cancelled.

Yet, despite some shortcomings, Ralph Breaks the Internet still charms and entertains Adults will enjoy it as well as the kids. And to me, that is what makes a good family film.

Recommended.

Review: Fantastic Beasts The Crimes of Grindelwald

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I am not the most hardcore fan of J.K. Rowling’s Harry Potter books or the movies. I still find them incredibly entertaining and imaginative. And perhaps it’s my age where I’ve seen fandom devolve from healthy debates to full on battles within fandom that keeps me from going overboard with my fandom. I’ve been through it with Star Wars, Star Trek, and Doctor Who. But I’m at an age where as much as I love these properties and their world I don’t want to center my life around it. They are fun and can be enjoyed for what they are or even dived more deeply for some sort of hidden meaning that is or is not apparent.

Fantastic Beasts: The Crimes of Grindelwald is going to piss some people off. Some of it will just be fans who just want to recycle the experience and whimsy of the Potter Books or marvel at the fantastic beasts from the previous film. I didn’t want any of that. Your mileage may vary. This is definitely a dark film which means it’s right in my wheelhouse.

The first film, Fantastic Beasts and Where to Find Them, saw a new protagonist in Rowling’s world come to the screen. Newt Scamander, played haltingly by Eddie Redmayne, comes to 1927 New York with his magic suitcase full of magical creatures (It’s bigger on the inside).  Soon enough magical shenanigans and property destruction ensues. Beneath that though is fact that Gellert Grindelwald, a dark wizard who believes wizards are meant to rule over humans. He is caught in the end.

Fantastic Beasts: The Crimes of Grindelwald picks up a few months after his arrest and the film opens with an elaborate escape as Grindelwald is being transferred by Thestral carriage to the wizarding prison of Nurmengard.

Meanwhile, back in London, Newt Scamander has his travelling privileges revoked because he basically broke New York but also because he refuses to become an Auror like his brother Theseus. The Ministry believes that not only is Credence, the young Obscurial from the previous chapter is alive but is in Paris and wherever he is so will Grindelwald be, because — plot.

After Newt refuses the Ministry’s offer to become a dark wizard hunter, along comes Albus Dumbledore (played by Jude Law) who also tries to convince Newt to go to Paris because Credence is in search of his real family and he may be related to someone they both know. It is also revealed that Dumbledore was behind the machinations of Newt ending up in New York in the first place. Newt again refuses.

Newt does go to Paris, though. He brings along Jacob Kowalski who had obviously recovered his memory from the obliviating rain from the previous film. Jacob and Newt are looking for Queenie who left in a huff because Jacob thinks even though England has no wizarding anti-miscegenation laws, their marriage would be harmful for her. So Queenie leaves to join her sister, who not only is an Auror but is also looking for Credence. So plot devices compel Newt forward and to once again become reluctantly involved in the worldly problems of wizards.

What will follow is basically a laying down of the foundations for the next three films since it is projected to be a 5 film series. Now there is plenty of hijinks involving following Credence around as he follows clue to his real life before being adopted in America. Along the way, someone is also hunting him. The dude is the living McGuffin of this movie.

We are also introduced to a very human Nagini, who is described as a Maledictus. A witch with a blood curse that not only turns them into a beast but will eventually permanently make them so. Somewhere along the way, Grindelwald acquires a handful of disposable and frankly unremarkable minions.  Honestly, I think they are there just for Johnny Depp to have someone to talk to.

For a five movie series, there is a lot of information and plot details that are revealed especially in the third act where there is a long scene where hidden histories of some of the characters are revealed eventually revealing who Credence is (is allegedly is). A lot of it does no add up though because of established lore, so there is going to a lot o debate online about that.

I am not going to spoil that for this review but I may get into it in a deep dive in a later post. But the motivations of Grindelwald becomes more clear and we get more background on why Dumbledore can not go against Grindelwald directly.

Crimes of Grindelwald is far from being a perfect film but it is not a bad film. I truly enjoyed it but there are lots of questions I have as far as established history is concerned. Either Rowling made a mistake in the writing and her timeline or she is retconning he lore. And she has been known to retcon before. Nevertheless it is her world and we are along for the ride.

The movie really could have been three hours long mainly because the last act seemed to throw so much information at the end. The final act is solid once you get past the first act of establishment and meandering plot-points.

The visual effects are as can be expected from the series, well done with some nice scenes of the wizarding world. Now concerning the world, the various Ministries of France, England and the United States do not look like the Dickensian world that we have seen in the Harry Potter.Ministers and Aurors wear modern (1927 modern) suits and not robes. The Parisian alternate world, instead of looking like London’s Diagon Alley, it looks like 1927 Paris.

The cast does well with the material they are given. Frankly the love triangle (quadrangle?) does not really work and it seems to show in their performance. Dan Fogler as Jacob and Allison Sudol as Queenie are an incredibly charming couple and the one we instinctively root for. I hope it works out though as there is some Empire Strikes Back level of stuff that goes on by the end of the film.

I’ve heard the Harry Potter franchise described as this generation’s Star Wars. On that note, I’ve seen all the Wizarding World movies and have enjoyed them all, some more than others. Some Star Wars films I outright hated. And with Crimes of Grindelwald we get an appealing movie that moves the narrative forward rather clumsily at some points. It still remains fun and entertaining. But be aware that it is dark.

Recommended with the caveat that if you are just a casual fan, you may have to catch up and if you are a rabid fan, you may be nitpicking this for days.

Review: Maquia When the Promised Flower Blooms

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I’m a sucker for anime that leaves me an emotional wreck. And as far as that is concerned, Maquia: When the Promised Flower Blooms left me wanting to curl up in a ball. I briefly mentioned in my coverage of Crunchyroll Expo that this film will make you want to call your mother. My mother passed away three years ago. So it drove home even deeper how important she was in my life, though sometimes growing up, I did not realize or appreciate it. It took me a while to process Maquia and it was a good thing I saw it in an English dub as through much of my experience watching it had my eyes filled with tears.

Screenwriter and first time director Mari Okada, manages to do something that is beyond impressive for a debut directing effort. Channeling influences from her own relationship with her mother, Okada has crafted a film that is layered in nuance and allegory. It does occasionally fall into some melodramatic traps of coincidence and convenience in order to drive the story to where she wants it at times.

The director made her reputation as a writer for anime such as Anohana and Anthem of the Heart.  It is very out of the ordinary for writers to become anime directors, they usually work their way up from animators. In fact, Ms. Okada did not have plans to direct. It was president of P.A. Works Kenji Horikawa who wanted a project from her that was “100 percent Okada.” The result, despite a few flaws, is a piece of work that is both personal and beautiful.

Maquia belongs to a race of beings who are not only long-lived but stop showing signs of age at what would appear to others as teenagers. The world appears to be standard fantasy world that is in transition from medieval to industrialization. When her people are attacked by another kingdom seeking their secret of longevity, she becomes separated from everyone as the population scatters and wanders the countryside alone. She finds a newborn baby boy clutched in the arms of his dead mother who had apparently been killed in a raid. Despite having no idea how to raise a child, she chooses to adopt the child as her own and name him Ariel.

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She is taken in by a peasant family that helps her cover up the fact that she is a member of the immortal Iorf clan. Things start to become difficult as it is obvious to everyone in her village that her son is growing older while she seems eternally fifteen. She eventually has to leave but while traveling finds hardship in finding work to support herself and Ariel. No one, it seems, wants to hire a single mother.

The middle of the film takes place while Ariel is in his teen years. No longer able to pass as mother and son, they now must pretend to be sister and brother. As the kingdom they live in prepares for war with neighboring kingdoms, Ariel like teenagers do, struggles for his own independence away from Maquia. Their relationship becomes strained here and throughout his rebelliousness, Maquia still declares that she is his mother no matter what and will always care for him. Ariel knows this deep inside and joins the guard to protect her as she has always protected him.

Parallel to Maquia’s story is the tragedy of Leilia another Iorf who was captured and meant to be a brood mare for the kingdom’s prince. It is hoped that she would give the royal family immortal children but this is not the case as he daughter is perfectly mortal and she is no longer able to bare any more children. She is cast aside and is a kept from even seeing her mortal daughter.

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The core theme and focus of the drama that unfolds is motherhood, and the sacrifices they often make and the secret heartbreak they endure alone. As Lelia must endure the pain of separation from her child, Maquia must endure over the struggles of raising a child that she knows she will outlive. “I won’t cry. Moms don’t cry.” is an oft repeated line to show the maternal strength to endure.

This is a plot heavy animated film that takes place in a world that is very well realized. It never takes long unnecessary expository moments to tell us what this world is though. We know enough about the kingdoms, and the history as is needed. The reasons why the kingdoms are warring against each other are easy to figure out by just the dialog. If you are aware of high fantasy settings like Lord of the Rings or Game of Thrones then the world is not that hard to accept. Despite the familiar fantasy setting, the visuals are still a feast for the eyes. Simply, it’s a beautiful film to look at.

The musical score by veteran composer Kenji Kawai, best known for the classic score to the original Ghost in the Shell movie, adds a score that is full of lush strings and woodwinds. It serves  the film well and if you listen to the score on its own, it is quite relaxing.

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It’s not expected that a first time director make a perfect film, and Mari Okada does make a few choices that are overly melodramatic and seem to stretch how much I’m willing to accept the plot device of coincidences — even in an anime. Ariel, at times seems more annoying than is necessary. Some of the Leilia subplot remains unresolved in the end as well.

Unless your relationship with your mother is something out of something like Mommie Dearest, you will want to call your mother afterward. Despite it’s epic and large scale setting, it is at its core an intimate story designed to tug at your heart and stir your well of emotions. I have no problems recommending this with the Highest of Recommendations. Just bring the tissue.

The US theatrical release is distributed by Eleven Arts Studio, which ran a limited subtitled release earlier in year. They are now doing a limited release of the English dub. Information on showings and tickets can be found here. It begins to roll out on September 21st. No word yet on a home release.

As of this writing, Maquia: When the Promised Flower Blooms also has a 100% rating on Rotten Tomatoes.  That, to me, is rare for a non Studio Ghibli anime.

Perfect Blue: A Review and Look Back

 

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Note: This review will contain adult language and subject matter.

Nineteen-ninety seven was a banner year for anime, not only on television but in theaters as well. It brought us the instant classic Princess Mononoke which for many would be the gateway for many Westerners to Studio Ghibli. Then there was a trifecta of mindfuck anime films, Evengelion: Death and Rebirth, End of Evangelion, and Perfect Blue.

Coincidentally all three of these films are out of print in the North American Market. Perfect Blue is available in an English friendly Blu-ray from the UK, however, but locked to Region B so unless you have a region free player, you are out of luck. Hopefully Perfect Blue’s status will change as GKids has the theatrical distribution rights for a new remaster of this anime classic. It is this remaster that has been making the rounds as either a Fathom event or in indie theaters.

Satoshi Kon made his directing debut with Perfect Blue. Despite its age, the film holds up as a suspenseful, disturbing, and surreal examination and critique of fame, especially how it is treated in Japan and specifically its idol culture.

Mima Kirigoe is the lead singer of a moderately successful idol group called Cham. Felling that there is no more for her in the idol scene, she decides to break away from the group and begin an acting career. Some of her fans aren’t particularly happy with this idea, especially a stalker who will later be identified as Me-Mania.

She starts off with a small part in a television psychological crime drama that as it unfolds eerily parallel things going on in her life. She also discovers a fan site on the Internet called Mima’s room. At first she finds it amusing but as she reads further it is evident that whoever is writing it is not only writing as her but knows too much of her personal and day-to-day life.

After the filming of a brutal and traumatizing rape scene, the world of reality and imagination begin to meld an unravel for her. Meanwhile, people around her have been suffering some brutal acts of retribution for perceived slights against Mima’s perfect wholesome idol persona. Is Mima losing her mind? And is it possible that Mima is doing these things herself and not remembering it? She is most certainly losing her grip on reality she sees her old idol personal at random. While surviving members of Cham are charting better after her leaving, she even sees herself in the sound booth while visiting them one day.

Along the course of the film, three journalists act as a kind of chorus commenting on the flighty nature of fans and what is in store for Mima.

Even after 20 years, the prescience of this film really holds up to scrutiny. The only things that seem to date it is the now nostalgic look at early Internet fans and technology. Back then URLs and learning to navigate to a homepage was all new. But in the end, it is not only commentary on Japanese fan culture but on obsessive fandom in general. It is an examination that is as relevant today as it was 20 years ago. In this era of social media and the toxicity of fandom, Perfect Blue holds up as not a warning but a reflection of the horrible effects that fame has not only on the celebrities but the overly obsessive who think they own that celebrity.

It is a shame that this film is out of print in home media. But when someone put forth a question on GKids’ Facebook page about a future home release, they responded with this teasing and hopeful line:

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Until then, catching a screening of this at your local theater is your current option. It has been noted that Darren Aronofsky is a huge fan of the film and at one time wanted to remake it. It seems he is definitely influenced by it. I highly recommend seeing it in the theater if you have never see this important work of anime cinema.