They are by far the best anime! We counts down the best anime to come out all the time, including the likes of Seoul-yeok, Timing (Movie), Na Bbeun Sang Sa, and more!
English: Seoul Station
MAL Score: 5.76
Several groups of people try to survive a zombie pandemic that unleashes itself in downtown Seoul.
The story from beginning to before reaching the end, would be even in a 7 of how decent it is, but the end ruins everything. An immensely confusing Plot Twist.
Girl: He’s not my dad!
“Just a homeless guy…… I would’ve helped him if he’s injured”
*HES BLEEDING PROFUSELY FROM HIS NECK
In conclusion, a decent story going to painful, but ignoring the “dad” and the prostitute daughter, decent.
Little to tell the truth, art is very bad, since the studio lacks the resources to make a simple drawing, it resorted to CGI and implemented in everything it could. The animator forgot to encourage people by closing doors. Simply a masterpiece of trash anime.
The sound I don’t know what to say about it, with each blow that passed, it made me laugh more.
They looked like blows to a cardboard more than to a zombie, but hey …
All, absolutely all the characters are confusingly weird.
Hye-Sun: The girl in the movie, at first they told us that the boyfriend prostituted her through internet blogs, until she realized that he got angry and they fight, ending the relationship.
Hye-Sun: can I live?
Logic: you’ll live when you CLOSE THIS DAMN DOOR !!!
Ki-woong: He doesn’t do anything, he’s scary, he used his girlfriend to get money for rent, and then he meets the “dad” and they go all over the city looking for the supposed daughter, to finally die in his last heroic act.
The Boss: The f ** king boss, literally posing as Hye-Sun’s dad only to get his money back, in the middle of a zombie apocalypse, which is impressive.
The tramp: The old man who spends the whole story with our protagonist (Hye-Sun). I was a little sorry that he died
The movie develops very badly, the animation is … CGI BOSS. I don’t know if it had the sound, the characters evolved … I think, And despite everything I enjoyed the movie, so I think the punctuation is very good.
seen via english subtitles
Zombies, shot at life among humans never works out. This is no exception.
-plot in terms of the intro. There are many routes this could have played out: the news bulletin of an out break, a chemical gas, magic. Their take was more realistic in terms of a passersby(an unaware person) and was not too played out. For example don’t you hate movies that start out generally the same without much change:batman and robin, spiderman, deadpool all fighting for justice.
-ending was definitely not what i thought for sure. Kudos to the writers on that. Yet, i feel mixed on to how it was portrayed.
-characters: No matter whom it was say an officer they didn’t break character.
-message: though it was short and midway through their message was a connectable piece of data that shouldn’t be ignored.
art: Character portray was original and clear but in terms of blending in with the environment they did not mix well. Almost as if someone showed there characters via a projection on an everyday street. Hard for the viewer to sink in if he/she can not fully connect to the story.
At least that’s what I thought of it.
Homelessness was tied to all the prominent characters from what I saw as I scrubbed the video to the beginning, going back before finishing the last act, pausing at the each character’s first appearance onscreen. Their surroundings tell all and are primary motivation for specific characters decisions; where they are at first, and what one could infer from the scenery at that moment pretty much paints the picture of the character.
It should be noted that this isn’t some crappy z-flick movie best left in a trash bin. The plot is quite good, it definitely plays off at the end, leaving one to think about what was and what ended as the movie drew to a close.
Just like the rest of the z-flicks, it’s not a happy story – but it’s one that puts out its key punches in way unique from most of the rest.
It’s a pretty well polished film, great music and ambience, with a distinct animation style, great rendering if not a bit over the top character gesturing. With that, the film smoothly strong-arms the characters’ emotional state onscreen most of the time.
Just one quick thing to point out about the criticization of the graphic animation. It was well done imo, the style probably wasn’t in many people’s tastes. I could only count of two short and quick scenes where I was there were a few more lines of details instead of, say in one, where the floor was just a flat green one color.
More importantly, in addition to the animation expressing the character’s emotional state, it does extremely well detailing the bodies of the animated cast. The physical appearance of a character’s body should be kept in mind as the film moves on and when extra detail is shown of or when the camera centers in on a part of the character. I thought it was very emphatical keying into the those cues. The background and scenery art’s relationship to the film’s theme of home also became very well emphasized as one of our mains reacted with the surroundings at the last act. Again, here the film gives an image to allow the viewer to contemplate the events that had past in the film to the current moment on scene.
To summarize my take on the art a bit, I saw the graphical representations to be quite detailed and refined for most of the time in the film. I thought at times the visuals, and the little details especially, should be definitely taken into account in order to sink into the atmosphere of the movie. The blurring, animation and style of locomotion could be offputting at times, akin to Knights of Sidonia’s style but any negative aspects in the film’s art is offset by the important details put in scene.
On how the film kicked off and died slowly then lingered after:
I thought it was unique a intro and background-reveal to one of the main characters, although I was a bit annoyed with the first act’s prime character’s method of speech, a different character from former first described.
Finally, I thought the ending was just lovely for me. It hit the right notes for me.
And on a musical perspective, it hit the best note with its song at the very end. I was out of breath and forgot to take one in. Stunning.
– – – This isn’t the average zombie movie. And if one like this type of horror, it’s well worth a watch and it may leave some nice surprises that gives more than one what was initially looking for – – –
25: Timing (Movie)
MAL Score: 6.16
Based on a webtoon of the same name.
This film unravels the mystery behind a series of suicides at a high school in Seoul. Park Ja-gi, a teacher at this school whose mother is a shaman, keeps rejecting mysticism, but he can foresee a catastrophe in his dreams. Witnessing in his dream many people standing aside to jump off from the top of the school building, the school teacher tries tostop the mass suicide. There are some people around the school who also have special gifts. Kim Yeong-tak is a student who can stop time. Kang Min-hyeok can rewind time 10 seconds back but suffers from a guilty conscience about failing to save his own wife and child. Lastly, Jang Se-yun can foresee 10 minutes ahead of time. These people gather their abilities to prevent catastrophe at the school.
24: Na Bbeun Sang Sa
MAL Score: 6.16
Bad Boss is a femtai (hentai for women) from South Korean Studio Seo-yeong more, which was filmed by Baek Jong Suk in 2018. The plot takes place in Seoul and tells the story of the vicious life of Son-Kyu, who hides his dark past during the day, and at night turns into a ladies ‘ man. Soon the hero will meet an innocent girl, Kim Min and fall in love with her. However, his dark side will take over and the Son will come up with an insidious plan of revenge to his old friend, who is also in love with Kim Min.
Saw the synopsis and was intrigued.
Anyway upon watching it, the characters have a bit of depth and it was different from the typical hentai/poleuno.
In my opinion this movie is good in many aspects.
As for the characters you will love or hate some of them but it has that content that you don’t see in many Hentai genre animes.
Would recommend this if you want the not so typical hentai/poleuno
Also this is a Korean webtoon,so it doesn’t have an english subtitle.
But overall it was a good movie.
I think the main appeal of this movie would be that it’s hentai with an attractive male lead. And although he’s an absolute asshole, he doesn’t rape anyone and can even be romantic at times (even if it’s for the sake of manipulation). He’s “tortured” and promiscuous, and he seduces women who seem pretty happy to have a fling with him. The bar is really on the floor when it comes to female-oriented sex media, or as Bad Boss calls itself, “femtai”.
The movie is also rather plot-heavy – nearly 2 hours long. The sex scenes are quite minor in comparison to just how much plot is crammed in, actually. It’s just that every part of the plot can be seen from a mile away, to the point I was wishing they’d just drop the pretense and get in bed already.
The first thing I noticed about this movie was the soundtrack. It was so bad I think whoever put it together must have had a laugh. The movie opens on a club scene and the music sounded like royalty free audio for a flash game or something. It doesn’t get any better for the rest of the film. Sometimes characters are crying and the music is just conveying a completely different mood, it’s bizarre.
The quality of the art is so-so. The character designs are fine but the art goes off-model a lot. Faces look pretty janky at times. Having the main guy be pretty and not an ugly bastard or NPC-level bland dude is a HUGE bonus. Because, say it with me… “The bar is on the floor.”
Despite being a hentai, this movie doesn’t show any genitals at all. You’ll see the chest area and some bare bottoms. You’ll see fondling and thrusting. The shots do not go below the belt at the front. I’ll be honest, I wanted to see his dick, ok? God dammit.
The K-drama character cliches are exactly what’s written on the package:
1. Son-Kyu / Kwon Seung-gyu (male protagonist)
Boss with dark past who does mean shit but is ultimately redeemable. You know he’s redeemable because he’s so pretty.
2. Kim Min (male antagonist)
Rival guy who gets fucked over but then whose reactions go overboard so the audience know who the true villain is, thus making the mean boss look good in comparison. The MAL synopsis calls the “innocent girl” Kim Min. It’s wrong.
3. Chae Young-jo (female protagonist)
The young woman the boss and the rival fight over. She is just very innocent and loving and sweet and doesn’t have any agency of her own. She’s essentially a plot device for the two men to duke over. If this weren’t hentai and she was a kitten they were fighting over, the story would amount to the same thing. There are TWO instances of her stepping into traffic without looking and getting saved. Then there’s TWO OTHER instances of her IN the car and nearly getting into an accident. What is this, Final Destination?
She also goes through the typical “nerd makeover” as the movie goes on. She starts off with glasses and frumpy hair, then changes up her appearance to be sexier for Son-Kyu, then eventually gets a completely new haircut, contact lenses, and wardrobe. That’s the extent of “character growth” for our main girl.
4. Baek Hye-mi (female antagonist)
An older woman from the boss’s past who comes back to haunt him. She raped him back when he was young and vulnerable, and has evidence on hand to shame him for it. She threatens to ruin everything he’s been building up. She’s in the femdom scene, has male sex slaves, and is depicted as obsessively insane.
See? The ABCs of bland K-drama. This movie just adds a veneer of sex on top.
Son-Kyu the handsome successful charismatic playboy whose trauma turned him into an asshole? Kim Min the rival who seems nice at first then quickly becomes a disgusting piece of shit? Chae Young-Jo the helpless young lady just being yanked around? Baek Hye-mi the older woman who is, of course, a horrible evil bitch? Quintessential K-drama.
I don’t know if there will be subs for this movie anytime soon, if ever, so here’s a plot introduction to get you on track if you’re curious about this movie and don’t speak Korean (because the MAL synopsis is… strangely worded)
Son-Kyu is a manager at a large advertising company called NEONA. He has a secret traumatic past. When he was strapped for cash in his university days, he worked as a host. Look up “host bar” if you’re not familiar with this concept. He was raped by an older woman, Baek Hye-mi, and this gave him PTSD. He deals with his trauma in the present by sleeping around and using women carelessly, but has frequent nightmares of what he had to endure at Baek Hye-mi’s hands. This comes in the form of brief PTSD flashbacks to BDSM scenes where he’s tied up in front of onlookers. These short scenes are not representative of the sex that actually happens in the movie, which is all very vanilla. Now, vanilla might be right up your alley, but I felt like I got a heaping serving of false advertising.
Within the first few minutes of the movie we see Son-Kyu with a ball gag and blindfolded on a table without much context and I thought, “oh shit???? real shit????” But no. Because of those little flashbacks I expected A LOT MORE from Son-Kyu’s shenanigans. I think he sleeps with 4 different women this entire movie, all in VERY vanilla scenes. The only “fun” stuff is the PTSD BDSM flashbacks where he’s being toyed with. I wish there could be HEALTHY depictions of BDSM and men who CHOOSE to take on a submissive role during sex. Again, the bar is on the floor.
Kim Min is a guy from Son-Kyu’s university days that fucked Son-Kyu over morally, financially, you name it. Kim Min starts working under Son-Kyu at NEONA, and Son-Kyu sees his chance for revenge – playing nice until he can spring his trap. His plan? Steal Kim Min’s girl, Chae Young-jo, who also works under him.
The following goes beyond premise and into SPOILER TERRITORY:
Since Son-Kyu’s such a lady’s man, Chae Young-jo falls head over heels for him in no time. Whereas Son-Kyu is just using her as a pawn to get back at Kim Min, Chae Young-jo genuinely cares for him, making gifts for him that he carelessly throws away. Talking lovingly to him on the phone, not knowing that he’s literally getting head from another woman as they speak.
So yeah, Son-Kyu is a fucking asshole, but this is a K-drama, and he is the male lead, and by the power of toxic romance cliches, he will be redeemed god dammit.
Son-Kyu rubs his sexual dominance of Chae Young-jo in Kim Min’s face at every chance. He also ruins Kim Min’s career up by assigning him tasks that he already knows Kim Min will fail at, and then berating him for his failures mercilessly. Kim-Min loses his composure, sexually assaulting Chae Young-jo in an attempt to “reclaim” her, only for Son-Kyu to show up and rescue her, therefore further establishing Son-Kyu as the good guy. Kim Min then assaults Son-Kyu openly in the office, getting himself fired. Son-Kyu performs his coup de grâce by personally delivering Kim Min’s belongings to his house. Kim Min completely loses it and tries to stab Son-Kyu, only for Son-Kyu to trip him and kick him while he’s down.
As he spends time with Chae Young-jo, Son Kyu begins to develop actual feelings beyond just using her. Her endless selfless acts of love finally… gasp…. change him! Can I get an “AH SHIT HERE WE GO AGAIN” for the horrible unhealthy romance tropes?!?!?! Wow!!! He’s about to take on a new path of in life and not be a toxic bastard, but we’re only half way through the drama, babyyyyy
Kim Min is now on his own path of revenge. He digs up dirt on Son Kyu’s past, and finds Baek Hye-mi. Baek Hye-mi is still obsessed with Son Kyu after all these years. She’s willing to get her hands dirty to have him under her thumb again. Kim Min helps her kidnap and drug Son Kyu. She has an entourage of body guards and a sex slave who are all loyal to her, and they corner Son Kyu with no escape. In his desperation, Son Kyu pulls a “YOU’LL NEVER HAVE ME!!!” and stabs himself. Baek Hye-mi panics, then is drugged by her sex slave who was jealous of Son Kyu this whole time. Son Kyu makes his escape, all the while bleeding out from his self-inflicted wound.
Meanwhile, Kim Min has kidnapped Chae Young-jo. He has completely gone over the edge, and wants to prove his love for her by raping her. Son Kyu shows up just in the nick of time to delay him, and the two men fight. Son Kyu is too weak from blood loss, and Chae Young-jo convinces Kim Min to spare him by pretending to offer herself willingly, only to hit Kim Min in the head with a lamp while his guard is down. This is arguably the only “active role” she takes during this whole story. Congratulations.
With Kim Min incapacitated, Chae Young-jo rushes to Son Kyu’s side. Obviously, Kim Min isn’t completely down. He rushes at the couple again. Son Kyu sacrifices himself by pushing Kim Min out the window and the two fall to their supposed deaths.
Sometime later, we see Chae Young-jo visiting a grave. This is revealed to be a total red herring because it turns out it’s just her parents’ grave. She goes to a cafe, where unbeknownst to her, Son Kyu is working. Through flashbacks we see how he got there. He couldn’t face her after all that happened and escaped from his hospital bed to build up a new life. Chae Young-jo doesn’t see him and leaves the cafe. Son Kyu runs after her. The two of them make eye contact across the street. The end.
This movie had so many near misses with traffic accidents I wondered if she was going to run out into the street and nearly get run over again.
My enjoyment of this bad movie is shockingly high because I watched it with a friend and we could not stop laughing. If I watched this wholeheartedly, I would have dropped it only a few minutes in. It is too bland to be a good hentai and too predictable to be a good drama.
The credits were rolling but I was still laughing because I remembered the climatic fight scene. Son Kyu is holding a chain necklace when he gets punched and there’s a slow motion scene where he’s falling back and the loose golden rings of the chain are slowly tumbling through the air. My friend said “Oh my god he’s Sonic” and then we both broke down laughing to the point of tears. We were so tired after this movie that our brains were melting. That scene was surreal.
Japanese: ルー=ガルー 忌避すべき狼
MAL Score: 6.28
In a future governed through the lens of a camera, where people eat synthetic food and pursue an online existence in lieu of physical contact, a group of children begin meeting up in the real world. The aloof Ayumi Kono, the genius hacker Mio Tsuzuki, and the socially awkward Hazuki Makino set out to find the fourth member of their group, Yuko Yabe, who has gone missing. With the help of Myao Rei, an unregistered citizen proficient in martial arts, they are able to find Yuko. However, when their situation takes a sudden turn for the worse, the group stumbles headlong into a dark mystery that challenges everything they know about their world.
First of all, I’m 99% sure Kono Ayumi (the blue-black haired character with short hair and yellow eyes) is a boy, not a girl–because he is always referred to as a guy in the movie. (But Wikipedia, My Anime List, and I think even the back of the DVD case say different, so don’t quote me on that–but I’m pretty positive that if they talk about him as a ‘him,’ then he’s a boy)
Secondly, everyone has given harsh reviews and scores about Loups=Garous. When I started watching the movie, I based it on the 6’s people would score it as. But I found that I really enjoyed the movie–the characters (apart from the main heroine, Makino Hazuki, who is extremely frustrating and very very useless) were very likable. If we say that Kono Ayumi is a boy, then he’s super attractive (in a reserved kind of way.) Tsuzuki Mio is a hacker genius and consistently hilarious. Rei Myao (her name sounds like ‘meow,’ how can you not like her?) is a tsundere-fighter. Yabe Yuko, one of the victims, is sort of a non-character. Nothing much to say there.
The art is different from most animes, but the facial structure and the eyes are still wonderful to look at.
A great quality about Loups=Garous’s plot is that it’s understandable (not like The Place Promised in Our Early Days, which got great reviews but I couldn’t understand–violins, numbers, airplanes…WHAT IS GOING ON?!) The audience can easily follow along with the ideas and clues given out as the story progresses, but they still have to do a little legwork and put the pieces together. The story progresses quickly and has some interesting factors–like a dance routine and a twisted screen-based society.
Maybe this kind of movie isn’t for everyone, but I hope that my review has convinced you to try it out with a more positive outlook!
First I hope that you guys can forgive my English since it’s not my native language.
As I read the synopsis I was thrilled, it felt like an awesome idea. But as soon as the anime started it started differently as the synopsis said it would. Well I kept watching and got a bit annoyed by the main characters. Hazuki is really insecure and not even funny, sexy or cute. I had no resemblance to her in any way. The other characters were boring, not even interesting. Myao is that typical anime girl who fights and kicks ass but we know nothing about her while Mio is the typical screaming attention girl who has probably a interesting history but we don’t know anything about that. And then we have the silent scary female witch really looks like a guy Ayumi. Ayumi is boring not even interesting, you won’t get any dept from her. You don’t know why she lives alone and who she is. Witch really annoys me. Overall the main characters are weird and form a boring group as they try to find who the murderer is.
During the story we see a system that observes the everyday life of people, the first thing about this concept what bugs me is. Why do the people need this? There has been some kind of virus but there is actually no information about this virus. In the entire movie there isn’t once mentioned why this system is what it is. Witch leaves a big gap in the plot of the anime.
What annoyed me even more was how little we see of the world they live in. We see the same street like 4 times and they always meet at the same place also I’m really confused about the everyday life of those people. Let me just say that it doesn’t give you the satisfaction it leaves you with questions about this phenomenon.
The story itself started of interesting, there has been a couple of murders and there is a little twist at the beginning. But during the story it gets really obvious who the culprit is. It even get’s so obvious that you start looking in the least obvious way. The whole reason why the murders are happening is vague and well even sick but not in the twisted way we like blood and gore no but in a really sick and not even awesome way.
What annoyed me the most was the character Mio, how can a girl at the age of I don’t know 12? Hack a entire system. She is a computer nerd who lives in a different district (why they have poor and wealthy districts is unclear and how this city they live in works isn’t explained)
and is able to hack into police records and street views etc. We get to see so many people and so many events but yet almost non of it is explained. The main story line builds up pretty nice the first half hour. But after that it is just boring. And it even gets more boring, the ending is so lame and stupid that your glad it only took 1.5hours to get there.
Doesn’t this anime have any good features? Of course it does, the music is nice not special but I liked the rock and the songs they played. Story is boring although it starts interesting. The art is nicely done, I have seen better art, but the art job sure wasn’t bad. Enjoyment? although the beginning was nice it later on began to become a real bore.
Well I can’t really recommend anyone this anime. There isn’t enough blood and gore, or a really scary thriller storyline to enjoy. It isn’t sexy or funny. It’s just another anime movie. I give the anime a 6, since they got my attention the first half hour and the art and music were nice. The characters were boring but that isn’t the biggest let down, the storyline is such a let down that it ruins the entire anime. What could of been a awesome anime with a great concept, turned into something predicable and lame at the same time.
This anime is a big bore but if you have nothing better to do and you don’t have any hopes up for this anime, it can be decent to watch.
The story revolves around 3 young girls and a teenager caught in a world where monitor’s have replaced real contact (not entirely). Hazuki (One of the young girls) has a Communication dissorder. Another young girls calls herself loups=garous,another is a pretty good hacker and the teenager is a fighting machine.
And this is where the anime movie goes wrong
You can’t just put ideas together without a coherent story.
The emotions are there,the action too, the characters (undeveloped), the setting , but it just doesn’t add up to a whole.
Very dissapointing. The loups=garous itself is an easy way of wrapping it up but the beast has no content.
Good to pass the time but barely one layer of interesting stuff
Why does production I.G. lend it’s name to this?
22: Arve Rezzle: Kikaijikake no Yousei-tachi
Japanese: アルヴ レズル -機械仕掛けの妖精たち-
MAL Score: 6.28
One day, when Remu Mikage is on a video call with his sister, Shiki, who has traveled to the futuristic Okinotori-island Mega Float City for school, she confesses that both the audio and visuals of her are completely artificial. In order to be more efficient in her studies, Shiki has used neural-linked nanomachines to upload her consciousness onto a computer and is storing her physical body in a “body pool.” While shocked, Remu is supportive of his sister’s decision, until the disaster known as the “Early Rapture” happens.
The Early Rapture causes everyone who has uploaded their consciousnesses to either fall into a coma or perish. Remu visits his sister’s empty apartment one last time, but is shocked when Shiki arrives at the door. With no memory of her family or past, and being pursued by a violent group of researchers, Shiki and her brother are forced to flee using her newfound power of nanomachine manipulation.
The previous Young Animator Training Projects have had a very family friendly sort of tone with well told stories and universal themes. Arve Rezzle then comes along and says “fuck that, let’s do some light novel bullshit about a teenager who wants to bang his sister!” and we get this mess.
OK there’s a little more to it than that. It’s a sci-fi story based around this social network which you upload your mind to, except one day suddenly everyone’s minds get temporarily separated from their bodies and they lose all their memories. The idea here is that you don’t know whether the body you’ve returned to is actually yours, which is a fascinating concept. Unfortunately in Arve Rezzle it is just that. A concept. I gather this was supposed to originally be a much longer TV series or OVA. Instead we get this hacked together story that barely has any characterisation, hasn’t got enough time to explain its technobabble, introduces villains whose motives are seemingly non-existent, and ends by solving absolutely nothing about the central focus of the story.
Then there’s it’s very light novel approach to characterisation, in that the male character has no personality beyond wanting to bone his sister, and the female character’s first appearance is totally naked. The camera has some serious male gaze going on, looking up her skirt and around her tits, to the point you can practically hear the heavy mouth-breather behind the camera muttering “yes imouto-chan, just lift that *huurrrrrrr* skirt a little bit *hhuuurrrrrrr* higher please”. The animation is also kinda bad, which is surprising considering the incredibly high quality all the other YATP had. It’s just all round a poorly thought out, poorly put together package that has no right existing in this form.
I’ll give this anime credit where it deserves it. The initial story concept is decent. Also the art, and voice acting were alright. Besides that it was terrible. The characters are boring. The most fleshed out characters only defined personality trait is that he wants to sleep with his sister. The stories premise raises way to many questions for a one episode release, and answers none of them. Even if this were a complete series I would have dropped it here because the characters didn’t hold my interest, and the plot was a complete mystery.
This story is based around two siblings, Remu and Shiki Mikage. They have a close/distant relationship, because Shiki is apart of a project/game/experiment at her academy OMFC, where you place yourself into a device called a “Body Pool” and you do not have to eat, drink, sleep, or go potty. She says she can study all she wants.
But, there have been a lot of problems with these devices (Also something else called NSC or something like that They don’t really explain it), as something called the “Early Rapture” occurs, where 53,635 (Apx) people suffered severe brain damage using the machine, and at least 200,000 people have died from it.
Anymore would be spoilers, and I have already given away a good portion of this production.
This is obviously a story where not enough information is given for it to end right here, it is set up so that either a light novel (it apparently is already a light novel), manga, or anime adaptation can be made.
The animation, despite it being a little on the average side, is quite unique with its comic book look, and some imagery can be quite pretty. But the futuristic setting it generic, and I must say, if you don’t like the color blue, you’ll hate this show. Everything is blue.
The voice acting by the prevalent popular cast is what you would expect, very good. If anything the script is what holds back their talent.
The music is good throughout, nothing special, or too generic. The ending theme is good, quite catchy, and sung very well by the ever so popular Eri Kitamura.
There are quite a few fight scenes in this short, and I personally would have liked it more if it was more about the Body Pools, and how the corporations would have to deal with this. Like an episode of Ghost in the Shell: SAC.
Arve Rezzle: Kikaijikake no Yoseitachi does have fan service, which is kind of unexpected. Some of it was unavoidable (being naked in a body pool), but they could have left a lot of it out (Like Shiki changing her clothes), or chosen much more suitable camera angles (Lots of under shots, and oppai shots.)
The characters are not very relatable. Remu and Shiki have kind of an Incestuous relationship (or at least want to have one), and it is very obvious from the get go that Remu has a sister complex. They’re okay characters for the time allotted. But it can get cheesy at times, especially when the scenes are “Dramatic”.
There are two big problems with this series.
One is not that there are too many questions left unanswered (That’s a given with just 20 minutes to tell a story), but that the questions are too hard to answer if they extend the story without plot holes, or some really clever writing. You will know if/when you(‘ve) see(n) it. I tried to think of ways where they could solve their “Issues” without it being a major problem, but they already have plot holes from the beginning of this series.
And two is that even if they did extend this Arve Rezzle: Kikaijikake no Yoseitachi , I would not see it. The story just felt a little too cheesy to me. I understand that it’s hard to make shows up to the standards of GITS: SAC, but they could have taken out the cheesy romance, and replaced it with a more intellectual narrative.
I give this a 5 mainly for the fact that it did not succeed in having me want more. I do not care how this world that they created turns out.
There are too many answers that need to be answered that I can only believe will leave plot holes. As many know, Xebecs is not known for summing up stories without plot holes.
It is an interesting watch that only gets boring when they focus too much on fighting the enemy for confessing their “Feelings”, and cheesy feelings at that.
Keep pursuing your dreams! ~ Wynn
21: Junk Head
Japanese: JUNK HEAD
MAL Score: 6.62
In the distant future, humanity is hurtling down a path of ruin. Global environmental destruction caused by chemical contamination, radioactive fallout, and UV rays coming through the patchy ozone layer has lead to deterioration of the human genome.
(Source: Official Website)
The story is fairly simple, involving the extremely perilous adventures of a future “human” who volunteers for a dangerous mission into the unknown, His travels deep underneath the Earth’s surface reveal a phantasmagoric, meticulously detailed underworld with its own social structure, belief system, and far more deadly threats than anyone could desire. Life is cheap in this underground labyrinth and the film doesn’t shy away from the many interesting ways in which living creatures can meet their end. Adding to this sense of utter alienation from anything resembling our own reality, the characters all speak in various invented languages made of harsh, guttural sounds. You are relentlessly assaulted with the fact that this world, even though it’s still called Earth, might as well be as alien as any planet from science fiction.
Thankfully, Junk Head offers much more than a hellscape of misery and terror. Takahide Hori has a wonderfully playful sense of humor, sometimes dark, often quite silly, and frequently rather subtle. He also clearly cares about the many oddly shaped misfits who star in the film. They’re all given personalities, motivations, and often some real dignity. They’re just trying to do their best in an environment that’s pretty much out to kill them at every turn. The film is never sentimental, but it invests the struggles and actions of the characters with genuine weight and significance. This movie is not just mere spectacle for its own sake.
While Junk Heap is by no means the kind of film most people on this site would expect, I hope it gains a new audience of fans from the MAL community. The film is audacious in the scope of its execution and offers the kind of pleasures that popular entertainment rarely does. Hopefully Junk Heap will encourage some anime fans to delve into other forms of animation storytelling more deeply (I would especially recommend Jan Svankmajer). And if nothing else, maybe you’ll have some intriguingly unique dreams in days to come.
MAL Score: 6.71
Who is good and who is evil? What is the boundary between them? An animated thriller about the tension between a good-hearted person speaking falsely and an evil-natured person speaking truthfully, and of those that surround them.
Similar to Sangho Yeon’s last movie, Dwaejiui Wang, Saibi depicts a darker part of the society, such as religious cults, swindlers, alcohol abuse, and domestic violence. Throughout the movie, the viewers are left to ponder about what is right and what is wrong, and may be very frustrated by how there is not a single character that truly acts on “justice”. I will leave to to the viewers to decide what director Yeon was trying to communicate in this movie, but I think he did an excellent job.
The art and sound isn’t outstanding, but it does not inhibit the overall presentation of the movie. Most of the animation is 3D, which some of us may not like, and there wasn’t really a soundtrack that stood out. As far as I can recall, the soundtrack was quite minimalistic of it existed at all, but this actually helps in depicting the cold reality of this movie; there is no soundtrack in real life lol.
The character in combination with the plot was simply great. At least that’s my opinion. If I explain why, it will be a spoiler, so I won’t talk about it in two much detail. There are two main protagonists of this story. One is an alcoholic father who abuses his daughter and his wife whenever he comes home. Another is a priest who leads a rundown church in the village which is about to be filled up with water due to a dam project. There are multiple conflicts that involves those two protagonists, and they all come together and reach an unexpected conclusion.
I ran out of energy so ill just end my review here. If you’re fine with dark heavy story, I recommend it.
The story takes place in a poor village in South Korean. In this village is a small Christian church which a lot of the villagers visit, to pray and hope for a better afterlife. You as the audience focus the conflict between the main protagonist and this church. The main protagonist is for me the most unlikeable character of all. He is an aggressive alcoholic who beats up his daughter and his wife as often as he can while insulting everyone who he is speaking to. The movie sadly doesn’t go into any detail why he ends up being such an asshole, it gives you hardly any background information to any of the characters overall.
Saibi is a very depressing movie. It won’t give any happy moments or a fulfilling feeling. The characters that you root for won’t get their happy ending.
I am not the biggest fan of letting my cheers for the likeable characters getting crushed but this movie creates such a big impact because it is just like a very sad story about the real life and I guess that’s the movies biggest advantage… its proximity to reality. Of course there are some scenes where you ask yourselfe “what?”, or “how?”, but basically the movie resembles a shitty life in some poor south Korean village, as close as you can imagine it. (as a person not living there and only hearing stories)
The reason I gave this movie a 7 was because I didn’t enjoy this movie that much. It has a very slow start and the first half was for me rather boring. I first really started to like this movie after the ending, when I looked back at it and put aside all my subjective feelings about what I wanted to see and how the movie should have been.
The artstyle is probably the point why I thought this movie was boring. In such a depressing reality near movie it is very important to have an atmosphere to engage the audience to the story. The Soundtrack was fine and accomplished that, but the visuals just kept pushing you away from the atmosphere with its shitty cgi looks. I have to say that I have seen worse cgi in anime, but I just can repeat myself by saying that cgi in anime looks just terrible nearly every time.
So overall Saibi is a very depressive movie and definitely not for people who like happy endings. It has a sad atmosphere to it which sadly cannot grip you that much because of its terrible visuals. But despite all its flaws Saibi will definitely be a movie you won’t forget so quickly after finishing it.
The movie is certainly animated, yet all the way through it is difficult to tell if that animation is 2D or 3D. Even upon completing it, I can’t tell for certain if it’s all one way or not. What gave me the impression that the animation was 3D was the very stable proportions the characters carried, along with many nearly robotic movements they had throughout the film. Even with that taken into account, there were many times where the characters felt as if they were literally animated in 2D, just with very good attention to proportions. I’m not one who would complain much about cgi in animated material if it’s done well, and I felt that the cgi was done very well in this movie. However, the animation style in general felt strange with periodic jolts for movement along with some lacking facial expressions and animations. Beyond the characters, the background art is unquestionably hand-drawn throughout the entire film and there is a lot of detail to be seen in those backgrounds.
The music in “The Fake” is barely there to note. There’s the spare music track every twenty-or-so minutes, but none of them are done well enough to recall. The sound effects are decent, but there are periods where it feels as if the entire atmosphere isn’t being presented adequately. Overall, the music does the bare essentials of what I feel it needed to do and didn’t make any attempts to go much beyond that, but that isn’t to say it even intended to. The director may have felt this was the way he should go about with the style of this movie.
Speaking onto that style, the movie is very dialogue heavy, and the animation style being there at all times lends is a somewhat menacing atmosphere. The characters all move visually in slightly off ways, possibly not intentional, but that does add to the dark side of the story. The dialogue is filled with curse words and the main character is one of the heaviest cursers I’ve witnessed in any form of film. He will find a way to insert a curse word into every other sentence, and not only he is the one who talks in this manner. While the main character is surely the worst in that regard, a few other characters will curse plenty along with him.
Bad words isn’t the only thing an innocent viewer might worry about. There are plenty of beatings in “The Fake”, most between interactions involving the main character. Even that doesn’t conclude what people might consider offensive. “The Fake” has a strong opinion on the place of religion in people’s lives, while also including the degradation of the mentally challenged and side topics of near-pedophilia. However, the religious aspect is without a doubt what takes the front seat out of these. The story revolves around a group of depressed and anxious people who are all signing up for a hidden Church a ways out of town. Without digging deeper into the place of the Church in the story, the people are the focal point of examination here. These people face hardships and turn to religion to justify their hardships. The story looks onto these people with a negative perspective, being the main character. He himself isn’t either an intellectual or an upstanding citizen, but he sees these people migrating in this fashion and reacts towards it in a way that is controversial yet understandable.
The movie is very focused on dialogue and character interactions, with but a risky visual design and a sparse soundtrack backing things up on the budget side of things. The directing is done well for the most part, yet those of the western audiences may notice some peculiar directing of dramatic scenes which I would compare to Nicolas Refn’s work in the live-action movie “Only God Forgives”. Directing isn’t essentially a key element required in a dialogue-heavy movie as I see directing as an equal factor in just about every visual medium, so what is mainly left to weigh beyond that is the writing and the concreteness and imagination of the story itself, along with hopefully some depth. The character interactions in “The Fake” were adequate, although many of the characters tended to act in ways that could define them with a quirk. The main character, for example, is forcefully rude for much of the movie, and it never really feels justified or reasonable to the extent he goes with it. The police in the story also tend to act laid-back and weak, almost throwing out a catch-phrase whenever they scratch their heads as they fail to enforce authority. This could just be their personalities, but all of these personalities feel a bit off, and not in an artistic way. While the story does have depth in meanings and interpretations, the overall plot itself isn’t incredibly imaginative or complex.
Saibi (“The Fake”) is a dark tale by the perspective it takes on topics that are controversial, the brutality it presents, and through the way the movie is set in motion and directed. It is unclear of what the director’s intentions were in the visuals and the sounds and if there was limitations in place, but this finished product of the movie creates a desolate and menacing atmosphere in the way it presents itself alone. The director directs the drama that ensues in almost jump-scarey ways by creating these robotic visualizations of its characters, carrying limited facial expression, and randomly exerting them with passionate and furious intent when the time is needed for it. The style is unique for both live-action and animated films. If you can tolerate something that acts in ways you wouldn’t normally condone, while also accepting a style that not many visual entertainment carry alongside it, then I would recommend “The Fake” for the experience and for some interesting perspective. To watch this and enjoy it, at least to some extent, you will be expected to be more accepting and willing for variety – that variety in “The Fake” being seen visually and in its storytelling.
19: Dwaeji-ui Wang
MAL Score: 6.74
After his business goes bankrupt, 30-something Kyung-Min (Oh Jung-Se) kills his wife impulsively. Hiding his anger, he seeks out his former middle school classmate Jong-Suk (Yang Ik-June). Jong-Suk now works as a ghostwriter for an autobiography, but he dreams of writing his own novel. For the first time in 15 years, they meet. Kyung-Min and Jong-Suk both hide their own current situations and begin to talk about their middle school days.
At their middle school, they were classified by their wealth and grades. Kyung-Min and Jong-Suk were at the bottom. They were called pigs. They were bullied by a ruling class called dogs. When they were called pigs, they got angry but couldn’t do anything against the dogs. Then a king of pigs appears—Chul (Kim Hye-Na). Kyung-Min and Jong-Suk became to rely on Chul-Yi.
Now, leading Jong-Suk to their middle school grounds, Kyung-Min discloses the shocking truth to Jong-Suk of what happened 15 years ago.
(Source: Asian Media Wiki)
“The King of Pigs” is a South Korean CGI feature with highly inconsistent production values, but in all honesty, that’s not something that I actually hold against it. It doesn’t seek to be a glossy anime-style production, so it mostly avoids the inherent pitfalls to the approach suffered from works like the recent “Berserk” films. If anything, the aesthetic is more along the lines of animated art house successes such as “Waltz with Bashir,” or even the rotoscoped Linklater films (albeit with far less technical care and certainly weaker scripts to build upon). I tried hard to justify “Pigs'” content for the duration of the film, as there are occasional flourishes which did appeal to me, but at a certain point, it just becomes an exhausting and monotonous drag.
The film opens with a static shot of a freshly strangled woman, her murderous husband serving as one half of its thematic focus. The other lead is then introduced as an unsuccessful ghostwriter, venting his frustrations through the seemingly routine emotional and physical abuse of his girlfriend. Things only go downhill from there, too. After the former calls upon his similarly abject childhood friend for the first time since their first year of middle school, they recall the traumatizing events that we’re led to believe shaped the course of their lives. There’s no real message to any of the film aside from the fact that people are awful by nature and that’s that. The bullying the young men experience is increasingly cruel and difficult to watch, and like everything else in the film, is as such for the sake of being cruel and difficult to watch.
I think that the most irreconcilable turn the film makes is its apparent and absolute exoneration of the evils both men would later perpetuate on the grounds of their soiled childhoods. In this regard, the film veers from being merely un-enjoyable and celebratory in its grimness into territory which is nothing short of morally irresponsible. Violence begets violence, thus effectively removing any responsibility from the destructive men themselves. In school, the boys rally around a third figure, one who lashes back at their tormentors in ways which grow increasingly gruesome as the running time wears on. In case you haven’t yet caught on, that really is the entire modus operandi at play here. I understand that such things are widely open to interpretation, but I would argue that the film’s treatment of this backlash is one which not only condones but celebrates the notion of harsh retributive violence.
As I stated, I wanted for a long time (far longer than it deserved) to like this movie, to find something which would justify all of my stated misgivings. Unfortunately, it didn’t want to give me much to work with on that quest. There is simply nothing about the story that feels particularly necessary. I think it’s important to reinforce just how much this movie revels in its own ugliness. It stops trying to do much of anything else pretty early on.
Admittedly, there are a few well-devised plot twists and turns, jumping back and forth chronologically as it does between the aforementioned childhood recollections and scenes of the two men drinking and then wandering the same locations as adults. It’s not an incompetent film, merely a wildly misguided one whose lofty and undeserved self-assurance permeates most every frame. The closing moment alone instantly became one of the most heavy-handed and indulgent bull**** turns I’ve ever seen a movie take, and let it be known that I have a remarkably high tolerance for heavy-handed and indulgent bull**** movies. Is it art? Yeah, sure, whatever, I don’t care, but I certainly don’t think it’s particularly good or worthwhile art. I regret giving it the benefit of a doubt for even a minute, as well as allowing it to occupy my evening. It’s pretty rare that I see something and feel compelled to so immediately broadcast my distaste for it, but it’s also pretty rare that I see films as all-around horrid as “The King of Pigs.”
touched the “it’s violent, so it’s deep” genre.
But first of all I have to say, that I don’t see this movie as a bulliying film,
but for what it wants to be at the end of the day:
A Film that wants to be vile, in the edgiest way possible,
by saying things, a hundred other movies said before,
in higher Quality.
So, for anyone who wants to see “Dwaejiui Wang”, I recommend
to watch “The 120 Days of Sodom” and the 134 other movies
doing that stuff better, in which this movie gloriously failed.
18: Ibara no Ou
English: King of Thorn
MAL Score: 6.97
“Medusa,” a deadly virus becomes a worldwide epidemic. In order to escape from this deadly virus, a handful of people are chosen to be put into a cold sleep, laying in a capsule hoping for the future cure. Kasumi, a teenage girl is one of the 160 chosen for this procedure, and is guided to a Cold Sleep Capsule Center (CSCC) inside an ancient castle. Understanding that it is hardly possible, Kasumi goes to sleep still anticipating for a reunion with her twin sister Shizuku, who also is infected with the virus. As Kasumi and the others awake, they notice that the CSCC is not as they remembered. Just like the story of “Sleeping Beauty,” the castle is covered with thorn, and the awaken are attacked by unknown creatures and monsters! How long were they asleep? Where did the monsters come from? What has happened to the world?
Abandoned in the midst of an enigma, the escapade of the seven survivors begins…
The source material is six volumes long; a fine length to adapt into a film, and for the most part the pacing is handled with care. King of Thorn sees a colourful cast of cryogenically frozen characters awaken to a future ravaged by monsters. The introduction is well executed; it grabs your attention and gets you wondering. As the film progresses, it becomes rather typical of the survival horror genre, but the film exhibits a certain freshness as it isn’t a genre often tackled in anime. Despite certain predictable elements, it’s an enjoyable venture away from the norm. The film can’t keep up the momentum, however, and the plot drops in quality nearing it’s final act; it becomes more tedious than exciting as the story treads mind-boggling territory. Ultimately, the plot evens out as fairly average despite a promising opening.
The animation and art is reasonably well done, but certain aspects let it down. The backgrounds and characters are drawn in a traditional anime style, but the monsters are computer generated and don’t blend particularly well with the surroundings. The detail is certainly there, the monsters themselves look the part, but attempting to blend two different art styles is often going to yield fruitless results. It’s something you get used to as the film progresses, but ultimately it’s something that could have been handled better. The more traditionally animated elements are wonderful, however. The visuals are crisp and clear, the Scottish scenery looks beautiful and the action is well drawn and choreographed.
The sound and music is probably one of the stand-out aspects of King of Thorn. The music is used appropriately and is generally impressive, as are the sounds of the monsters; sound editing is an especially crucial aspect in a survival horror, and is utilised well in King of Thorn. The music – or lack thereof at times – builds great tension and helps create an eerie, isolated atmosphere. The more upbeat tracks used during the action segments add a sufficient amount of drama and excitement.
The characters – given the runtime – are fairly well developed, minus a few who are there to up the kill count; such is the nature of a survival horror. The leading lady, Kasumi, does at times come across as a little irritating and certain character motivations and actions are a little puzzling. The characters are an adequate aspect of the film, but they fail to defy convention and never leave their moulds. At times they feel unfortunately underutilised.
Up until the final act, King of Thorn is an enjoyable watch, with a couple of picky elements here and there. The survival horror aspect is a welcomed change from most anime productions, but the ending is very hit-or-miss. There is merit in there – certain redeeming factors – but overall King of Thorn comes across as an enjoyable, albeit satisfactory film.
The first part of the film feels good, the characters are unique and feel likeable and the way everything unfolds again feel just right. But as the film progresses and the true nature of the story comes out one feels starts to think differently about the film and by the end you’ll feel like you were robbed. My main issue with the film was the story and the art. As I stated the film starts out fine but becomes tedious because of the speed of the film and focus on unnecessary people and there will be moments where you don’t know where the film is going because of the pacing. In terms of the art the characters look good and the painted background look nicely detailed and suits the locations; however there is one fatal mistake that becomes blatantly obvious in certain parts of the film and that lies in the animation. At certain points the film tends to jump into the area of 3D animation with character models that look like they are cel-shaded and the movement looks terrible. The times when it switches are easily noticeable and just look bad.
The music isn’t too memorable nor is it a soundtrack worthy of brilliance, it’s decent enough as it adjusts to each situation and works on a whole. The characters in the films start of okay but then feel like they just be killed off because their credibility falls over time. The little boy provides humour in some places and while Kasumi feel like a likeable lass because of her shyness and care for her sister Shizuku, but through her memories and the way she acts I found her just to be a worrywart and lost interest after quite some time. In terms of how you’ll enjoy the film is entirely down to your preferences really, fans of complex sci-fi films and maybe disappointed with end result purely because the film doesn’t fully give you the experience that you felt that would. The feeling of loneliness, claustrophobia, isolation and danger is done well for the most part eventually it just feels tedious then exciting and thought provoking.
Overall the film is something that can be watched but just doesn’t feel like it gives out what it planned to. It had all the right ideas and feels good for the first part but progresses questionably and leaves you feeling robbed at the end like you were expecting more.
The art was decent, good enough action scenes, but the main character, honestly I sometimes question why almost half the anime world is made of main characters like this one. (weak, self righteous, adds nothing immediately to crew but somehow manages to survive past more capable characters) I also was more interested in HOW humanity would have cured the disease or WHO plotted it to be a bio terrorism weapon, not like oh let me show one character who seems to be in charge of this whole scheme, have that person monologue and then choose not to continue with life… to sum it up, if you have no idea what this is about, like me, do not expect anything because the beginning makes the story seem worth it and exciting, but it just trails into something where the end product didn’t justify the time it took to watch it. The ending made me feel like the creators got tired or sick of their own story and found mediocre ways to finish it that didn’t even suffice……
i gave high scores for the art, the sound, and some characters, but story and plot development and character development is most important to me, and this story lacked that… its strongest element is the suspense that later proves less than satisfying, and the action/art. With so much good anime out, this falls short of its stack.
Like buying a Popsicle or ice cream bar and after finishing it, you kinda are more angry with eating a below average food while wishing you spent the calories and money on something else…..
maybe the manga is much better as everyone else is saying, but after watching this, I don’t want to spend time reading the manga even if it is better than the anime, because how much can it possibly deviate from the manga? Not enough for me to waste time to watch it -_- . Sorry King of Thorns! cool title and could have had potential.
17: Mahou Shoujo Madoka★Magica: Concept Movie
English: Puella Magi Madoka Magica Concept Movie
Japanese: 魔法少女まどか★マギカ コンセプトムービー
MAL Score: 7.13
A short four-minute concept film that served as a surprise unveil at Studio SHAFT’s 40th anniversary event in Winter 2015, Madogatari. The concept movie is the core of a new Madoka Magica project, and serves as its trailer. The second short was later screened in Osaka, with the difference being a replacement of several imageboard segments.
If you’re going in here to figure out what the plot of the next Madoka movie and/or TV series will be, you probably won’t have much luck. But it definitely does its job at making you excited for whatever the hell the next entry will be.
Apparently I can’t write a short review for a pretty short video, so I have to figure out how to fill the space with some non-spoiler speculation:
-Mami Tomoe has been a not-that-influential character within the previous entires in the series. Compared to the other four magical girls, she’s the least important one. However, her somewhat-brief moment of spotlight in The Rebellion was absolutely fantastic and one of the better scenes in recent anime history. The concept movie seems to me like it’s hinting that Mami will have a much bigger role to play, possibly literally.
-I’m assuming that a great deal of this won’t bear any resemblance to the final product, but the ballet dancing Madoka was great imagery and I really hope they stick with that theme at least in part. Though not sure if they should go full-on Swan Lake Loose Adaptation like the series did with Faust and The Rebellion did with Paradise Lost.
So, yeah. It’s a cool video, and you should watch it if you want a tantalizing glimpse of what Madoka 4 may or may not actually be like.
This is a short review for a short anime. There isn’t much else to be said. I think it is supposed to be based after Rebellion. Also seeing Madoka in that dress is kind of refreshing. I honestly didn’t understand what was going on but it could easily be sumed up as, a giant statue falls from the sky and Sayaka is a witch…
How much are these people expecting me to write about a 4 minute film!?
In just around four minutes, the concept movie is able to get its themes and points across clearly. It calls back to what happened in Rebellion as well as contain a lot of symbolism and hype. It’s definitely a good opener to SHAFT’s future projects during that time.
The animation and artwork are just as great, perhaps more focused since it only needs to be four minutes. The voice performances are fantastic and the OST still hits.
If you have the chance, you should see this concept film yourself. It’s only four minutes and it’ll be worth it.
16: Kara no Kyoukai 6: Boukyaku Rokuon
English: the Garden of sinners Chapter 6: Oblivion Recording
Japanese: 劇場版 空の境界 the Garden of sinners 第六章『忘却録音』
MAL Score: 7.50
With strange events occurring at Reien Girls’ Academy during winter break, Azaka Kokutou, a student and apprentice mage, is sent by her master to investigate. It turns out that another mage has been stealing the students’ memories using fairies that, despite her magical talent, are invisible to Azaka. So Shiki Ryougi, an acquaintance with special eyes who can see what Azaka cannot, is also sent to the academy to help with the crisis.
However, the two have trouble getting along, mainly due to the fact that Azaka views Shiki as her romantic rival. But when the fairy situation quickly spirals out of control and more layers of the mystery are revealed, Azaka must learn to work with Shiki in order to save her classmates.
The sixth movie in the Kara no Kyoukai series is, once again, a departure from what one has come to expect. Unfortunately Boukyaku Rokuon (or Oblivion Recording), is a somewhat lacklustre effort compared to the rest of the franchise, and is only carried through by some great visuals and excellent sound.
The story takes place in January 1999 and focuses on Kokuto Azaka, Mikiya’s younger sister who was “adopted” by their uncle. She is enrolled at Reien, a school for girls, and is also apprenticed to Aozaki Touko in order to become a Magus.
The movie begins in a fairly ambivalent manner, with Azaka remembering a scene from her childhood. Her current task is to investigate investigate a string of events at Reien which seem to involve “fairies”, and to aid her investigation Touko sends Ryougi Shiki to work undercover at the school (posing as a student), something which Azaka is not too pleased about.
Now the plot itself is pretty straightforward, however this is also the biggest problem with this movie. Story-wise this is by far the weakest episode in the series, and even though simplicity may not be a bad thing in a show, in this case it comes at a price. The plot is extremely feeble when it comes to the characters and their development, and whilst the concept may be a good one, the movie is never given a chance to realise it’s potential.
One of the reasons for this is that a great deal of effort has gone into fleshing out the two main characters (Kokuto and Shiki), who, along with Touko, form the backbone of the franchise. Azaka’s inclusion however, seems more of an afterthought, and there is little in this movie to fully justify her presence in the series. Granted she adds a different dimension to the relationship between Kokuto and Shiki, but the impact is almost negligible, and viewers may find themselves wondering how she fits in to the grand scheme of things.
The art and animation are of a very high standard, but there is once again a drop in the overall quality of some scenes (the young version of Azaka being cross-eyed at times is an example of this). The action sequences are extremely well choreographed and executed, whilst the character animation is often fluidly smooth. Unfortunately though, there are again times when the movements do not match the actions, and while these occasions are not too common in the movie, they are noticeable because of the quality of the rest of the animation.
Sound is, once again, excellent. The music is extremely well suited to the movie, with the more cheerful scenes feeling cheerful, and so on and so forth. The pieces are varied, with some being more reminiscent of Maria-sama Ga Miteru, while others are very much what one would expect of the Kara no Kyoukai franchise. The effects are very well crafted and choreographed, and while there is some slight cacophony to be heard at times, this should not really impede on one’s enjoyment of the movie.
The acting is pretty much what one would expect from the franchise, with each of the characters being portrayed very well overall. One does have to wonder what Sakamoto Maaya (Shiki) was trying to achieve this time though, as there are occasions where she sounds like she has blocked sinuses.
From the start of the movie it’s clear that this outing will be all about Azaka, and whilst this isn’t necessarily a bad thing, it could have been done far better if the story was tighter, more interesting, and a little darker (which is what one would have expected from the series). There is an effort to give Azaka a degree of depth which comes off as laughable at times, mainly because her “love” for her older brother is given as the reason for her adoption, her choice of school, etc. Her apprenticeship as a Magus is purely based on the fact that she considers Shiki a rival for her brother’s affections, and while I have no problems with personal reasons being the basis for such actions, it just seems a little too neat an excuse in Boukyaku Rokuon. Having an unhealthy interest in one’s siblings may cause some aberrent behaviour in people, but there is an expectation that the viewer will simply accept Azaka’s actions and reasons without questioning them – not a good move on the part of the writers.
The other characters don’t really get much screen time so there isn’t any really much one can say about them. That said, there are some pretty obvious hints given about Shiki which feel more like preludes of things to come than any real attempt at development.
Given the flaws in the story and its characters, I was surprised to find that I actually enjoyed Boukyaku Rokuon as a whole. The movie represents a big departure for the franchise, and has a far more lighthearted feel to it at times than any of the previous outings. The action is well done, and there is enough going on to keep the viewer interested till the end. It’s unfortunate then that the main feeling one gets from this episode is that it is nothing more than a prelude to the final movie, a factor which upsets the balance of the narrative and can leave the viewer frustrated that many obvious questions remain unasked or unanswered by the end of the movie.
Boukyaku Rokuon isn’t the best installment in the series by far, but it’s not a bad effort on the whole. While there are a number of improvements that could have been made (in particular the rather haphazard plot), there is still an entertaining addition to the franchise here, and one that has a different feel to it than the other movies.
One can only hope that the final chapter will represent a return to form for the franchise.
I’ll start with the good news…
The art and sound direction in Boukyaku Rokuon (Oblivion Recording) are both very nice. If you’ve seen some of the earlier installments, you’ll know how impressive they are. If you have not, well, they are refined and a step above most anime MOVIES (which is a step above anime shows).
Unfortunately, the plot does not shine quite as nicely as the effects. This one focuses primarily on the relationship between Shiki and Azaka (a side character in the series) and they attend an all-girls school to investigate the disappearance of a student. I’ll take two positions in describing the plot depending on whether you have seen the series or not.
If you have, you’ll be accustomed to and expecting a dark story that includes a lot of violence and… harsh themes. If you like the series because of that, you won’t really find the same kind of enjoyment. The plot seems “girlier” and a few characters feel out of place in the Kara no Kyoukai world. That said, this movie is quite important in fleshing out some of the older characters as it delves into more of their histories and lifestyles so you might want to watch this just for that knowledge. However, the movie’s plot isn’t essential to the rest of the series, as it seems to be almost a filler. The way it expands on the magical world of Kara no Kyoukai can lead to a better understanding of the series (mainly in technical aspects, like how people attain magical powers and whatnot) but some of it seems rather inconsistent and random. Thus, I think it IS worth watching to know a little more about the characters, but be prepared…
If you have not seen the series and are just thinking about this movie in particular, I can understand how you may be drawn in. If you like things of the occult detective genre that centers around female characters, this movie would be a pretty good experience for you. However, just know that you might get confused by a lot of stuff that goes on, especially between other characters from the series that don’t do much in this movie. The pacing of the story is fairly well done and will keep you interested, but the overall plot is decent at best.
Conclusion: You’ll probably like this more if the dark nature of the series is not something you are interested in. Don’t get me wrong, as this movie isn’t completely… uplifting. Some mysterious elements were really good, but it could have been done better.
And before you suspect me about the “low” grade I gave this movie, a 5 means mediocre on MAL standards. Is it worth watching? Yes. Will it make it to the top of your list? Most likely not.
The Art was excellent and kinda fresh to look,the environment was good and the movement time action was kinda dull but still good neither that bad…
The sound and the BGM still in an average,,,nothing special,same as usual
Overall for me,i think this movies got nothing special that been added it only a story about Azaka and Shiki to show their talent to investigate some cases..its more like a filler episode for me cause they’s no thing that an importance that related to the previous or next movies,accept the last part after the credit….
15: Higashi no Eden Movie I: The King of Eden
English: Eden of The East the Movie I: The King of Eden
Japanese: 東のエデン 劇場版I The King of Eden
MAL Score: 7.58
After preventing Japan’s destruction, Akira Takizawa made one final request to become the “King of Japan,” before he erased his memories once again and disappeared. Leaving Saki Morimi with his cellphone, the only clue she has in regards to Akira’s whereabouts is the message, “I’ll be waiting where our journey started.”
Six months later, rumors have spread about Akira, and Saki’s search leads her to New York City. However, Saki is not the only person who goes to investigate—with several billion yen burning a hole in their pockets and a challenge to “save Japan,” the remaining Sele??o are not far behind. Some are willing to help Akira achieve his goals, but a few are making dangerous moves in order to eliminate him and achieve their own picture of a better Japan. With rising stakes and new revelations, the game is still on.
I begin by stating I loved the original Eden of the East. The story was fresh and the main characters were loveable. The art style was modern and realistic and the show didn’t take itself too seriously, even with a political plot.
This isn’t always the case with the movie.
—Story— score: 5
As always with a movie, time is a limit, a story can’t always be carved out with the depth afforded by a season. The King of Eden is a direct continuation of the original Eden of the East. That means it doesn’t try to stand alone as a movie. It requires a lot of prior knowledge – if you haven’t watched Eden of the East, stop reading now!
This need for prior knowledge is the first problem: with such a diverse cast from the first season, the movie tries to give everyone some screen time for the sake of it. Characters flit in and out for no apparent reason, all the time detracting from the dynamic between the central couple. In this respect there is very little development, if fact, I would argue that the entire movie is a zero sum game, as Takizawa has lost his memory and most rebuild a relationship again – in preparation for the movie’s sequel.
The second problem is that the story feels stretched. The plot, the bits which have any meaning to the story, is quite simple, and it feels like it was one episode fleshed out in order to make money as a feature film. The movie has moments of long stills and pauses after speech. Long monologues are what’s to be expected here. Don’t make excuses for the movie as other reviewers did by saying things like “it’s not afraid to be slow in order to develop the characters”. It is clearly being slow for the sake of stretching this meandering conclusion over 3 hours.
The characters are forced to give long monologues as exposition to the plot. One particular discussion of the inheritance tax system really destroys any pacing or credibility that the film has as a non-money grabbing venture.
The third problem is partly covered above. There are unnecessary plot points popping up for no reason, much of which goes unresolved, such as a random object wielded at a playground. In addition, the story introduce another Seleção that apparently provides comic relief, but fails. The person also doesn’t add any value to the plot. After watching the movie I feel empty inside as nothing of importance actually happens.
–Art– score: 8
Not much to mention here. It is still the high standard set by the television show, with the addition of more obvious cgi that looks out of place. You can decide for yourself whether it’s a sticking point that it hasn’t changed from the TV series, but this is a movie base on a TV show, I liked it then and I like it now.
–Sound– score: 5
The movie has an OP just like a regular episode, but the new opening lacks the same impact and catchiness as Oasis’ Falling Down.
ED was standard.
I really enjoyed some of the background music, but why a 5? Well, the sound is great, when it’s there. The music was totally and notably absent for much of the first hour of the running time. No music that would make those long awkward pauses, unnecessary cutscenes and wrist-slittingly long monologues more bearable. When it is there, for the climax, the suspenseful music is so dominating it was like watching Wagner. Bombastic music coupled with the poor dialogue about nothing in particular made certain scenes more unintentionally hilarious than gripping.
–Character– score: 7
The cast is the same as the one we all got to know and apprecaite in the prequel. However, while it takes on the guise of an extended episode, The King of Eden is still a movie. A movie that falls into the classic trap, where other characters are paper cutouts apart from the leads. Having scenes of other characters “interacting” by talking at each other or repeating behaviour traits from the first season in a vain bid at humour does not constitute character development. What makes up for are the main characters, while there is also very little development, Takazawa and Saki are both loveable and believable, and their (re-)budding relationship is the only redeeming feature of the movie. However, their screen time is encroached on by pointless dialogue from other characters. If you were to watch this for the characters you will not be disappointed by inconsistency but rather the shallowness.
— Enjoyment — score:5
I’ve watched this twice, once by myself and again with my friends. I can tell you my friends laughed 3 times in this film. The biggest laugh came from the unintentional Engrish. It’s not a bad film, it’s just that after you finished you wished that you had spent your time better.
As a fan of Eden of the East, the King of Eden is a requirement for concluding the story, however, it’s not necessarily enjoyable. Nonetheless, just because the movie isn’t great, you should not treat watching it as a chore. The artwork is intricate and incredibly realised, and some backgrounds are worth seeing. Unfortunately, the other parts are very bad and really bring down what could have been a shorter, tighter and more focussed sequel.
I’m just starting to write reviews so any feedback would be kindly appreciated! =D, agree of disagree, just write me a comment and I’ll be happy to discuss it (or any series I watched) with you.
The story essentially picks up from where the first season left off. Takizawa has gone missing and the Eden members are trying to locate him.
There are a few storylines intertwined as well as new Selecao revealed and old favourites returning. I found it was steadily paced, developing the characters further and setting up what I would expect to be an action packed finale.
One of the storylines involving a new selecao felt a little out of place, offering comic relief at times when the movie had been trying to build suspense and intrigue.
Other people have criticised the lack of action in the King of Eden. I don’t really have any problems with it though. The first season had action packed episodes as well as slower plot building episodes. The movie is perhaps more of the latter, however I’m eagerly looking forward to Paradise Lost!
The art is great. It’s crisp, vibrant and very detailed. Exactly what you’d expect from Production IG. Theres alot of cool details and found myself pausing from time to time to read the selecao cell phone logs and take in a lot of the subtle details (cult movie posters etc).
Once again the sound it great, the voice work is top notch and the soundtrack complements the story without being too overpowering. I still find it amusing when an American character speaks English and Japanese character responds in Japanese, yet the seem to understand each other perfectly.
As far as the opening and ending goes, the new LEAH opening is enjoyable enough but didnt have the same kind of resonance that Falling Down had. I was glad to see School Food Punishment performing the ending theme once again though.
An enjoyable expansion to the Eden of the East universe. It feels as though the movie is more of a setup for the third movie, lacking a little in action but a must watch for Eden of the East fans.
Now, the logical thing to do for the movies in this case would be to pick up where the series left off and then continue on from there, since with only 82 minutes to utilize, time is of the essence. Sadly, however, the producers decide to stall the plot’s movement with a seemingly unnecessary use of amnesia and a splitting of the main characters. There is also a time skip used in this case, which while short, is more than enough to waste valuable time in explaining what occurred in the few months between the series and the movie and also to get the main characters back together again. The intertwining of plotlines of several minor characters plus two main plotlines in separate locations was successfully utilized in the series, and is utilized well here as well. However, getting the 2 main plotlines to converge in the series and then splitting it again before the movie is extremely unnecessary since it hinders progress of the story. As a result, by the end of the movie, the two separate plotlines are still in the process of reconverging.
The characters’ personalities and chemistry was a high point in the series, but unfortunately was tapered and diluted here due to the split plotlines, amnesia, and time skip. That’s not to say they’re terrible, but the quality and impact that they had in the series is much less noticeable here in the movie. This is not as bad for the secondary characters, however, since they maintain more of their distinctiveness and helps soften the disappointment. The lack of time also doesn’t do much to introduce new characters, and as a result, there are several Selecao whose identities are still unknown and others who have died with only a hint of an explanation.
As a result, despite containing art that’s as good as the series, the first Eden of the East movie as a whole falls short of my expectations. The high standards of character chemistry and suspense that were set in the series weren’t met in the movie, and the utilization of time in combination with the slow plot led to constant longings for the story to progress faster and either build up to a climax, expand on its depth, or start on its conclusion. It does move forward and doesn’t come across as horrid, but there was so much more that could have been done in those 82 minutes, the equivalent of nearly 4 episodes of a series. The movie, at most, accomplished the plot development of at most 2 episodes. Here’s hoping that the second movie will be able to bring the series to a close.
14: Kara no Kyoukai Remix: Gate of Seventh Heaven
English: the Garden of sinners Remix -Gate of seventh heaven-
Japanese: 空の境界 Remix -Gate of seventh heaven-
MAL Score: 7.58
In August of 1995, Mikiya Kokutou meets a young kimono-clad woman named Shiki Ryougi. When he finds out that they go to the same school, he attempts to befriend her. Though her upbringing is unconventional and she herself is strange, Mikiya is not deterred, and Shiki gradually opens up to him. But Mikiya’s life will be changed forever by this simple meeting, and in ways that he never imagined, as he begins to see a deadly side to his new friend…
What is fanservice?
To many fans of anime and manga the term is used to denote content that in many other media would be considered “questionable”, and a number of studios have begun using ecchi or near pornographic tactics in an effort to bolster the sales of DVDs, BluRays and associated merchandise. Unfortunately the average viewer continues to fall for what is effectively nothing more than a marketing tool (sex sells after all), without ever thinking that they could have more than stripes and jiggling. The resulting marginal increase in sales is then taken as proof positive that “fanservice” in its current form is a viable method for marketing and selling anime, and thus there has been a gradual increase in the number of shows that feature panty shots, large breasts, lolis, moe, and the kind of nonsense that has more to in common with adolescent wet dreams than actual entertainment.
It seems that the industry bigwigs have forgotten that fanservice can be a simple message of appreciation from the studios, and that contrary to popular belief it doesn’t have to stroke the viewers … ego. Thankfully there are a few things out there that take a slightly more wholesome stance when it comes to servicing the fans, but sadly these are rapidly becoming a rarity in an age where the focus seems more on the the area below the viewer’s waist than the one above the neck.
Gate Of The Seventh Heaven may initially appear to be nothing more than another clip show, but in truth it’s a type of fanservice that doesn’t demean the studio, the creators, the viewers, and anyone else associated with the franchise.
Now fans of Kara no Kyoukai may already be familiar with the adventures of Ryougi Shiki, Kokutou Mikiya and Aozaki Touko as they go around solving all manner of supernatural shenanigans, usually in a fairly exciting manner. This special episode strings together a collection of choice moments from the first six installments in the series, and while the sequence of events is much abridged, the manner in which Gate Of The Seventh Heaven is constructed allows for a degree of accessibility that makes this a great introduction to the world that TYPE-MOON and Ufotable have created. The simplicity of proceedings and the straightforward approach to chronology also serves as something of an anodyne to those who had difficulty getting their head around the various jumps in time from one episode to the next, as well as addressing one of the biggest criticisms that people have had of the franchise thus far.
The movies were originally released in a non chronological order similar to that used by Suzumiya Haruhi no Yuutsu, and like that series the issue of continuity has been raised several times in the past. Now while Gate Of The Seventh Heaven only touches lightly on the main thrust of the plot for each episode, it allows the viewer to gain an overview of the various events and how they link to each other over the course of the series, and even hints at some things that might occur in the future. One could argue that every clip show does this to a degree, but the difference here is that unlike the shows that feature a time sequential plot line, the Kara no Kyoukai franchise actually needs a few straightforward explanatory notes to help viewers connect events between one movie and the next.
It may be surprising for many people to hear, but sometimes a clip show can be more than the sum of its parts.
The surprises don’t stop with new scenes and hints of things to come though. Ufotable have gone the extra mile for the fans, and towards the end of Gate Of The Seventh Heaven viewers can sit back and enjoy a rather well made AMV set to Kalafina’s Oblivious.
Which is a rather fitting segue to the topic of visuals.
Now given the nature of this episode pretty much everything I could say about the design has already been said in my other reviews, yet even with that the extra scenes in this installment are well realised and fit neatly into the whole. In truth, the one aspect of Gate Of The Seventh Heaven that stands out is the quality of the visual editing as, contrary to popular belief, making a clip show isn’t as easy as many people might think. The main issues to be confronted are the pacing of the storyline, the sense of perspective, and most difficult of all for a series like this, promoting the inherent continuity that may not have been obvious before, and it’s to the credit of Ufotable that they manage to achieve this to a large degree. Granted there are a few small issues here and there, but these can be forgiven in light of the effort that has gone into making what began as a clip show into something more.
As for the AMV, while it could be construed as nothing more than Ufotable “showing off”, it’s also rather refreshing as it’s a definite nod to AMV creators all over the world, and a novel way of showing how much the studio have enjoyed working on the franchise.
One of the hallmarks of Kara no Kyoukai has been the quality of the audio, from the voice acting and background music to the effects and choreography, and it’s nice to see that standards have been maintained to a large degree. While a great deal of the quality for this episode is directly handed down from the individual episodes, once again it’s the editing, timing and choreography that raises this from the realms of the clip show. That said, there are a few oddities to be found in the AMV, but as with the small flaws in the visuals, these are easy to overlook.
To be honest, there’s only one area where people may find criticism, and that’s with the characters themselves. The Kara no Kyoukai franchise has been continuously hounded by problems with characterisation and development, partly because of the out of sequence manner in which the series has been released, and partly because the run time of each movie places a limitation on growth.
The weird thing is that fans may actually criticise Gate Of The Seventh Heaven for making sense. The nature of this episode promotes the idea that the characters develop over time, mainly because of the manner in which the story is told. The fact that events follow a linear path allows viewers to see how much the characters change over the course of the franchise, and this may come as a shock to many people as while the growth of each individual tends to be more of a stop-start affair, it’s also far more clearly defined because of the sequential nature of the plot.
It’s a well established fact that I have a soft spot for the Kara no Kyoukai franchise, but that doesn’t mean I’m willing to sit through an hour long clip show. To say I was surprised when the credits ran after the AMV and the final scene, would be an understatement as not only did I enjoy Gate Of The Seventh Heaven, it also clarified certains aspects of the series that were a tad confusing the first time around. Granted there are flaws here and there, and the core elements of the plot lack a degree of substance due to the highly abbreviated nature of the episode, but these can be forgiven as this installment is an enjoyable addition to the franchise if nothing else.
Kara no Kyoukai: Gate Of The Seventh Heaven is about as far as one can get from the current idea of fanservice, and because of this it stands out as an example of how good all those DVD extras, OVA’s and special episodes could be, so much so in fact that the BluRay box set (priced at $300-$400), sold out in the US in a very short space of time.
Hopefully the other studios will take note and realise that fanservice doesn’t have to be aimed at the groin.
This recap is strongly recommended if you have already watched the first six movies.
the movie is organized in chronological order which prepares you for the final 7th movie
Also if you’re a fan of “Kara no Kyoukai” theme songs this is definitely for you!
a collection of the best and most important scenes with some new extra scenes ending with a beautiful AMV followed by every movie main theme within the credits
Basically in this movie, short clips of the first 6 movies are put together in random sequence. The short clips summarizes the movies.
The reason why I gave this movie a 7 out of 10 for Story is because there wasn’t really any development in the story. It was only a bunch of old scenes from the previous movies thrown together.
The art for all the Kara no Kyoukai movies were done extremely well in my opinion. There was a lot of details in almost all the scenes.
The sound was amazing. There were a lot of songs that were played alongside the movie so that it wouldn’t keep the viewers who watched the previous movies bored. The music and songs matched what happens in the movie and scenes.
The character’s personality didn’t change, they remained the same.
I gave this movie an 8 out of 10 because there wasn’t any real development in the movie. This movie was just a recap of what happened this far. The music that was played alongside the movie was what made me stayed glued to my seat for this music. I enjoyed the music a lot.
13: Re:Zero kara Hajimeru Isekai Seikatsu – Hyouketsu no Kizuna
English: Re:ZERO -Starting Life in Another World- The Frozen Bond
MAL Score: 7.60
Covered in ice and snow, Elior Forest is the home to dangerous magical beasts and 50 elves frozen in ice. One day, the great spirit Puck helps a young girl break out of her ice prison. Her name is Emilia, a half-elf born with silver hair, long ears, and amethyst eyes—features that resemble the evil Witch who destroyed half the world long ago.
Shunned by society because of her appearance, Emilia dwells in the forest with Puck as her sole companion and family. Burdened with a sin of destruction she does not remember committing, she spends her days trying to find a way to help her frozen kin. But when the great spirit Melakuera, the Arbitrator of the world, finds Emilia, her right to stay alive is brought into question. Will the bonds of ice she formed with Puck prove to be the warm thread that defies fate?
-Natsuki Subaru (2016)
The OVA shows Emilia’s past with Puck. It showed how Emilia was treated by villagers and how SHE treated them in return. It also showed her daily life, how she earned her livelihood before she was selected as a candidate for Lugunica’s queen, her relationship with Puck, her first meeting with Puck, a little about Elior forest (her home), her powers, etc. There are also some decent (but short) fighting scenes involving Emilia and Puck plus some badass Emilia scenes in which she gets really angry. And after the credits, we have a lovely Emilia and Subaru interaction to lighten up the mood.
Btw this OVA only gave a glimpse of her past. There were still many unanswered questions (like frozen statues of people and how Emilia was frozen herself) and unnamed foes who are yet to appear and will hopefully be covered in season 2. We also get to see a little glimpse of season 2; that is, a little tease on Petelgeuse’s backstory, an unknown voice at the start and Emilia’s relatives.
The art was just as good (if not better) as in season 1 so nothing to complain about.
Loved the OST. They really amplified the emotions in certain scenes. And the credit song was lovely
I’ll just be straightforward. Emilia is beyond selfless. If anything, Subaru wasn’t wrong when he called her EMT (angel), EMF (fairy) or EMM (goddess). We already know from season 1 how most people in Lugunica hated her because she looked like witch of envy. Here we get to see Emilia’s willingness to become friends with the villagers but sadly they treat her like a disease (so she hid her face mostly). They ran away whenever she went to the village and called her a witch except one old man who treated her kindly. Unfortunately, the villagers and even the kind old man betrayed her by confessing her location to some slave traders. But even so, she still cared more about those villagers than herself and tried to keep them safe disregarding her own safety. Even after she saved a family from monsters, they still insulted her and were scared of her instead of showing gratitude.
Puck’s relationship with Emilia was also highlighted here. His caring attitude towards her and willingness to protect her from any sort of harm (like a spirit named Melakuera who considered Emilia a threat due to her likeness to witch of envy) was admirable. We also get to see Puck’s original form in this OVA which was not shown completely in season 1.
Really enjoyed this OVA. Can’t wait for season 2 tbh. I am really excited!
What else is there to say? Give it a watch! It’s really good and quite emotional! I couldn’t stop myself from crying.
It will fill you with a lot of emotions from cute moments to extremely sadness moments. the fights are also pretty enjoyable but obviously not like a fight genre anime. The sound in my opinion are one of the best parts of this masterpiece because they are always in good time with the moment and the environment. And the ending is something heartbreaking.
You should watch also the trailer that is well done.
I hope i helped you
The backstory of Emilia has been very enlightening. Although we did not get the full story of Melakuera as I’ve heard from the LN readers, I think his current presentation is pretty solid even if we aren’t informed of how he became what he is now. However, there were some pacing issues and overall I enjoyed this less than the Memory Snow OVA.
If you’re an EMT fan, I would still recommend to give this a watch!
I liked how the story is conveyed by Emilia’s repeated actions. It shows her daily life in the village and as if everything she does is normal. The story jumps back and forth in time as we are shown flashbacks to Emilia’s past and her dormant powers, which was hinted in the anime as well. The pacing has some issues though – overall I think they fit too much content in 80 min. Some parts went far longer than it should have, and some were over in an instant.
I like the details of the flame animations and how Puck’s ability was portrayed/animated. The spirits were also nicely animated – they are shown to be sentient and react to the people around them. The detail of how the ice became blood red by draining the blood out of the living creature sent shivers down my spine – it was so beautiful yet horrific.
I didn’t feel like any sound was out of place, so overall it must have been great.
We’re introduced to the people of the village and how they shun Emilia because she’s an elf of the forest, at the start of the movie. Even with the hood that hides her identity, they could tell that she’s an elf. I liked how the general store manager was portrayed – a caring old man but yet very human (as he is), acting in self-interest and also fearing the Witch.
The Melakuera also makes his appearance, and although his backstory was not shown, we get that he is an ally of justice or at least a counterforce against evil. I liked how he spoke in ancient Japanese, which goes to show that he is pretty old.
Remember I said I liked Emilia’s repeated actions? But I certainly did not enjoy the repeated fights that were basically two monsters blasting powers at each other. It reminds me a lot of Dragon Ball or Digimon. No strategy involved, just pure bruteforce and the power of will/friendship. There was no fun in most of the fights, though we do get character development during then. I think the main problem is the lack of hype and tension building.
One thing I enjoyed – and I’m sure everyone else did – was when Puck let his guard down when he accidentally hurt Emilia’s feelings. Watch it to find out how it went!
Also, I liked the text that flashed between scenes that shows Puck’s and Emilia’s internal monologue. Though we only had like 2 seconds to read 50 Japanese characters, it was sufficient to grasp the keywords of each message.
12: Kara no Kyoukai 1: Fukan Fuukei
English: the Garden of sinners Chapter 1: Overlooking View
Japanese: 劇場版 空の境界 the Garden of sinners 第一章『俯瞰風景』
MAL Score: 7.61
In September 1998, a string of seemingly random suicides leaves Japan baffled and devastated. But a detective agency specializing in paranormal occurrences notices that there are a few glaring, disturbing similarities tying the deceptively unrelated cases together: All the victims are schoolgirls, and all of them have jumped to their deaths from atop the ancient Fujou Building, a skyscraper that is scheduled to be bulldozed soon.
To investigate the cause of these disturbing events, the head of the agency, magus Touko Aozaki, dispatches Mikiya Kokutou and Shiki Ryougi. The kind and surprisingly normal Mikiya serves as a stark contrast to the cold and mysterious Shiki, who possesses the “Mystic Eyes of Death Perception”: an abnormal ability which allows her to see, and bring, an end to all things.
Dark and philosophical in tone, Fukan Fuukei is the first installment in the seven-part movie series Kara no Kyoukai, adapted from the light novels by Kinoko Nasu.
Kara no Kyoukai (lit. The Boundary of Emptiness), is a series that has taken a long time to become well known. The story was originally created in 1998 by Nasu Kinoko and Takeuchi Takashi (who later went on to form TYPE-MOON), with the first five chapters being released on their doujin website, whilst the final two chapters were released in August 1999 at Comiket 56. The series was picked up by Kodansha for commercial publication in 2004, and this year (2009), will see the series released on the international market courtesy of Del Rey Manga.
Now fans of Shingetsutan Tsukihime will be find many things in Kara no Kyoukai familiar, not the least of which is the fact that they are both created by TYPE-MOON. The stories have several parallels within them, which has led to the latter series being considered an alternate version of the former, or at the very least, set in the same world.
The anime adaptation of the series is being released as seven movies that run for approxiamtely 50 minutes each. Each individual film features a different time period, with no two consecutive movies following in any kind of chronological order. Unlike Suzumiya Haruhi no Yuutsu though, this seemingly out-of-sequence airing is not simply because of a whim on the part of the producers. The non-consecutive ordering is how the series is should be portrayed, and the anime has stayed faithful to that method.
The first movie, entitled Overlooking View, is surprisingly good in terms of its story. Although there is very little character development, the story moves along at a nice pace, and the tense nature of the movie is very much apparent to the viewer. The movie is somewhat predictable in places though, however this doesn’t really detract from one’s enjoyment of it as an individual episode.
One thing to note is that the series subtitle, "The Garden of Sinners", is actually very appropriate. The first movie does a good job of highlighting the fact that the world in which the story takes place is no heaven by any measure, and that not everything is as simple as people may at first believe.
The art and animation for the series is done by Ufotable, a company for which I have a distinct soft spot. Like many Ufotable productions the animation style is distinctive in certain ways, especially during the action sequences (fans of Futakoi Alternative will know what I’m talking about here), and fans will notice Ufotable’s trademark claymation sequences at the beginning of each movie (in other series they are shown with the credits at the end of each episode). The animation is generally very well done, and what may seem like blips in the animating sequence are often purposeful, part of this distinctive style I mentioned.
The backgrounds and backdrops are generally excellent. The maze-like structure of the Fujo building is very well depicted, as are the various outdoor scenes and indoor scenes. The CG has been almost seamlessly incorporated into the show, and the smoothness of the CG adds to the effect of the action sequences.
Character designs are taken directly from the original designs for the novels by Takeuchi Takashi, however fans of Tsukihime will also notice similarities in the features of several of the characters.
One area where the movie manages to stamp it’s mark is with the sound effects. These are often very clear and well used, fading to background noise when necessary.The effects used during the action sequences are sometimes sharp in comparison to the rest of the movie, whilst the effects used to promote an atmosphere of tension are a little lacking. The music sometimes lacks a little subtlety, but generally serves to heighten the effect of a particular scene, addinga sense of foreboding in some sequences.
The voice actors are well used, with the three main characters being decently portrayed. Sakamoto Maaya, who plays the role of Ryougi Shiki, brings a certain edge, a certain chill, to her voice at the times when it’s necessary, something which adds to the overall effect of the character. Unfortunately, the rest of the cast don’t really have much scope to display their skill. Hopefully the following movies will rectify this though.
I will freely admit that the rating I have given the characters is not fair, but this is because a valid assessment of each character is extremely difficult in this case. The fact that the movie is only 50 minutes long means that there is no real development to each character, but I am withholding a final opinion until the end of the series.
As I mentioned before there are certain parallels with Shingetsutan Tsukihime, and nowhere is this more apparent than with the characters. Ryougi Shiki doesn’t just share her name with Tohno Shiki of Tsukihime, she also has the "Mystic Eyes of Death Perception" (and she looks a bit like Ciel). Likewise, Aozaki Touko shares her name with Aozaki Aoko, and both help the person named Shiki in their respective shows (they also seem to know more than they let on as well).
In general the characters are well done, but they lack a certain depth which will hopefully be rectified as the series continues.
Overall this is a very enjoyable movie. The pacing of the story, the tension of various scenes, and the semi-combative relationship of the characters, all serve to raise this above the often substandard fare around. The fact that the series is being done as individual movies is also a plus, as each story arc is completed within a nice timeframe. The movie may be a little predictable, but as a first offering it was very impressive nonetheless.
Some people may not enjoy the first movie for a number of reasons (it has no real romance, no character development, no sequential plot, etc), but personally, I’m looking forward to the rest of the series.
You may expect the first in a septenary to chronicle the inception of the cast, or to establish the universe and conflict in the series. Instead, audiences are thrown into the middle of a story which seems like it was written for people with previous knowledge of the Kara no Kyoukai franchise. There’s little in the way of introductions, which musters very little connection to or understanding of the characters. The film is shrouded in mystery, but produces very little intrigue – the foundations seem absent; it sets up a plot but struggles (or rather, doesn’t attempt) to develop any of the characters. It’s an okay technique to pull in the audience during the first act – get them pondering and interested through obscurity – but it doesn’t work well when that’s all you’re doing throughout the entire film. This causes the story to fall flat and come across as lackluster with very little substance; just another plot involving baddies and a team adept at dealing with them.
It’s this extreme lack of depth to the characters that really spoils what could be an exciting film. With no connection to the cast comes a struggle to care about them and, by extension, the story. There are three members of the main cast, with a very weak supporting team, and hints of depth are just that – hints. The writers want it to be interesting by being cryptic, but they completely miss the mark.
The animation and art style are saving graces, if the film isn’t already too far gone. The character designs, backgrounds and general views are all very crisp and detailed. The art department communicate well a very dark and isolated tone. The animation is fluid and the action sequences are stunning. The music, too, is very well implemented. The backing tracks blend fittingly with the dark tone and the more uptempo pieces used during the action sequences complement them significantly.
However, due to such uninspired characters which pave the way for a very bland story, the film comes across as fearfully mediocre. Some depth to the characters would have gone leaps and bounds, but the writers’ refusal engage with them in the first installment doesn’t make for a very compelling film.
This movie did nothing for me. I’ve seen more happening in first five minutes of a series that has 110 episodes, than I’ve seen in 50 minutes of Kara no Kyoukai: Fukan Fuukei.
The sound has it’s good moments. But there’s so much silence, trying to unsuccsessfully create an ‘atmosphere’ that the movie, in my opinion, fails in this department too.
The good parts (art, sparse fight scenes) are slaughtered by Aozaki Touko’s lamentations, as well with trying to force a dark, desperate atmosphere onto the beautifully drawn world. I guess it was supposed to be smart and intellectually enticing, posing questions about suicide, courage to withstand life, and whatnot.
However it may try, the movie fails. The characters seem as rough drafts, with too many typical traits, the stoyline of a 50 minute movie should have actually existed.
Now, I do not know the background of the story. I have not read the novels, I just wanted to watch a movie for a change. I think Kara no Kyoukai should have been categorized as a series. Because Fuukan Fuukei cannot call itself a movie, even if it goes on for 50 minutes.
I will watch the other 6 movies because I hate making decisive opinions about something I haven’t gotten to familiarize myself with completely. However, I think it is reasonable to form an opinion after watching something that calls itself a movie.
11: Higashi no Eden Movie II: Paradise Lost
English: Eden of The East the Movie II: Paradise Lost
Japanese: 東のエデン 劇場版II Paradise Lost
MAL Score: 7.61
As one of the 12 Sele??o that needs to save the country in order to win a game, Akira Takizawa decided to become the “King of Japan.” With that in mind, after his return from the U.S.A., the remaining Sele??o will also need to follow up on their own plans as they strive to outdo each other.
Saki Morimi and the other members of the “Eden of the East” are under suspicion of being terrorists, but they still do everything they can to help Takizawa reach his goal and unravel the secrets of his past, as the last fight between the Sele??o begins.
I’m writing this review to urge you to watch this movie regardless of whether some people on MAL told you this movie was “shit” – because it isn’t. It’s far from it, and not only that but this movie also answers a lot of questions about the EotE universe.
The story has somewhat departed from it’s original venture of romance, action, and global politics and degraded into just politics, but that doesn’t make this movie a bad one. The story moves away from Saki and the Eden of the East server and really focuses in on who Takizawa Akira really is. The movie directly picks up where the last left off, where Ropponogi gives Takizawa a private jet and goes to meet the wife of the Prime Minister, doing so because he believes he’s the Prime Ministers son. Spoiling too much would ruin the movie for you, but I can promise the suspense that builds is great and resolve is incredibly interesting.
Art and Animation: 10/10
God, I love Production I.G. The animation is nearly the same from the original series and the first movie (as if you didn’t already know) and is of course, gorgeous. There’s one scene in particular though that has animation elevated on an even higher level than usually seen in EotE and that one scene is probably one of the most powerful. I won’t say which one but when you’ll see it, you’ll know what I’m talking about.
school food punishment did the original ending to TV series and I really liked their sound, so having them do the opening and the ending made me pretty happy. The background music is also not something to leave without mention. The music can get pretty intense at times, and it definitely increases the suspense.
EotE is often criticized most harshly for it’s characters. Takizawa Akira is the main subject of this movie, and you could technically say this whole series is about him, but that doesn’t mean he’s the only character that needs to be developed. At the very end of the series we have so many characters that haven’t really been cultured into what they could have been. Saki is still just a romantically challenged girl running around Japan trying to find Takizawa, and so on. This movie introduces a couple of new characters too, the Prime Ministers wife, Takizawa’s mom, the Prime Minister himself, the ball girls, and most notably Mr. Outside. Ato Saizo is the best new face in this movie. Once again, I’m not going to delve too far in because of spoilers.
Regardless of the last three or so minutes, the enjoyment of this movie for me was a ten out of ten. They really wrapped up the whole EotE story and put a couple of nice bows on it and then all of a sudden, a plot twist end that was very unnecessary came along. Albeit unhappy with this end, I’m not going to take out all my anger on this movie and call it awful. I think this movie has such a low score because like me, many others wanted to see the ending to Eden of the East. Whether this is or not, for now at least, we’ve reached the end of Eden.
This movie supplements us with so much information on the EotE series, it’s hard to miss for fans. It keeps the original dramatic and suspenseful nature of the series without cutting any corners – it’s an hour and a half of pure story. After finishing this movie, I’m glad I followed this series all the way through.
*The rest of the review includes minor spoilers.*
This is no longer a dangerous game as it was portrayed to be. Mr. Outside makes an appearance, and he doesn’t fit the script of a criminal mastermind or an evil villain. There are last minute changes to the game in the last few minutes of the movie, and it eliminates all of the seriousness that occurred throughout the series thus far. Apart from that, the game ends without revealing the Supporter and explaining anything about how Juiz operates.
As in the anime series, Takizawa ends everything with a bizarre move, and everyone wonders “What is he doing” and “Why is he doing this.” No one knows what Takizawa is thinking, and he never explains himself. Also, it ends in a goofy fashion when the series appeared to be serious.
There is no happily ever after between the two main characters. Nothing changes with Takizawa and Saki, and they spend no alone time together. While Takizawa is dealing with the drama of being the successor to the throne, Saki sets off to search for his long-lost mother. After everything’s over, Takizawa and Saki basically go their separate ways again.
At times like these, I would turn over to the adaptations for an alternative ending. Sadly, there is no manga in relation to Higashi no Eden, and the novels written by Kenji Kamiyama are the same as the TV series.
My advice is to read reviews on Higashi no Eden II: Paradise Lost before beginning the Higashi no Eden series altogether. The series starts on a good note, but the final ending is mediocre and twists the entire plot. If you already watched the series, then you may feel the need to complete it. However, don’t get your hopes up, because the dedication that you put towards the entire series will probably result in a heartbreak.
Takizawa seems to love wiping his memory and regaining it for no good reason other than “he doesn’t want to bear the guilt of using himself as a scapegoat”. At long last the elusive Mr.Outside makes his appearance except he’s extremely unimpressive, he doesn’t live up to his hype at all. The possibility of Takizawa being the prime-minister’s illegitimate son is explored but I won’t drag on about the weak plot, I’ll let you guys judge it for yourselves. One thing I will mention is that the ending is left open, that’s right OPEN! After the ordeal of having to wait for 2 very stagnant movies I believe that as viewers we deserved a decisive ending. To me the ending felt like more of a make-shift conclusion to a plot that had spiraled out of control, they had to wrap it up in this movie so they ended it abruptly. Nothing gets me more worked up than when good shows are given bad endings. It’s almost as bad as the disappointment I felt when playing Lost Planet 2 (a game that i still pretend doesn’t exist).
The only thing I enjoyed about this movie was the very atmospheric soundtrack. The only reason this movie is getting a 7 from me is because it’s riding on the success of the anime series, Part of me still wants to give it a 6! If you’ve seen the series there’s no way you’re not going to watch this so the only advice I can offer is not to go into it with very high expectations because they will be quashed.
GOOD RIDDANCE EDEN !
10: Kara no Kyoukai 2: Satsujin Kousatsu (Zen)
English: the Garden of sinners Chapter 2: Murder Speculation Part A
Japanese: 劇場版 空の境界 the Garden of sinners 第二章『殺人考察（前）』
MAL Score: 7.82
In the winter of 1995, Mikiya Kokutou passes a young woman during a late night stroll in the snow. Clad in a striking white kimono and bearing an enigmatic gaze, Shiki Ryougi smiles at Mikiya who stares back with curiosity. Later that spring, Mikiya notices Shiki at his high school entrance ceremony, and they become acquaintances through lunchtime conversations. As Shiki begins opening up to him, Mikiya learns about her unique upbringing.
Meanwhile, a series of unprecedented murders takes place across Mifune City. Seemingly related, these murders are particularly brutal and warrant a large scale police investigation. Because of his cousin’s work as a police investigator, Mikiya is given insight into the investigation. Concerned for Shiki’s safety, Mikiya decides to monitor her actions, but in doing so, he stumbles upon a truly frightening discovery that changes his life forever.
The problem with movies is that all too often they’re lacking in one or two fundamental areas, and unfortunately these are normally the plot or the characters. The first installment of this series suffered from the latter, and while it was still enjoyable even with that flaw, there was always the nagging feeling that something wasn’t quite right.
Thankfully this episode begins to address that issue.
The second installment in the Kara no Kyoukai ~The Garden of Sinners~ franchise, Satsujin Kosatsu (Murder Speculation), is actually part one of a two part story arc (viewers will have to wait for the seventh movie to see the conclusion of this episode), yet while this small irony is amusing, the are some flaws with this episode which one can only hope will be rectified with the final movie.
This time around the story takes place over two years prior to the events in the first movie, and thankfully the main theme is the developing relationship between Ryougi Shiki and Kokuto Mikiya during their time together as high school students. Kokuto finds himself strangely attracted to the seemingly aloof Shiki, and proceeds to befriend her until a bizarre series of murders takes place.
Now the nice thing about Satsujin Kousatsu Part 1 is that the plot takes a far more measured approach than Fukan Fuukei does, and while the pace picks up towards the end, there’s something here that was somewhat missing from the previous installment – a sense of purpose.
While the first episode was entertaining, there was a certain aimless quality about it due to the underdeveloped characters that permeated the quieter moments. This movie begins to shed some light on the actions of both Shiki and Kokuto during that time, especially on certain aspects of her behaviour and personality.
The story is generally much quieter in tone than before, which may not sit too well with those who liked the frenetic action of Fukan Fuukei. This is a necessity as the anime of Satsujin Kousatsu Part 1 is to offer the viewer some perspective on every other movie in the franchise, and the clarity it provides may force viewers to reassess their opinion of the first installment.
Once again Ufotable produce the goods with regards to artwork and animation. The character movements are excellent, and the incorporation of CG is almost seamless in respect of the backgrounds and backdrops. There are fewer action sequences this time around, but they are just as good here as they are in the first movie, especially when it comes to choreography and use of environment. As for the the character designs, they’re a little different in that both Kokuto and Shiki have a certain youthful quality about them, which is reflective of the fact that this story takes place two years before the first movie.
Sound is, again, extremely good overall, and the movie uses the various effects well, however there are some issues as there are occasions where the various noises clash to create a veritable cacophony. This doesn’t really detract from the movie though and, surprisingly, actually improves certain sequences.
The music throughout the movie is generally utilised to good effect, often enhancing the atmosphere in a particular scene. The voice actors are also very good, and are able to show some real talent with regards to their respective characters, however given that this is the second movie in a series of seven, this should come as no surprise. What is surprising though, is that the lead seiyuu are able to instill their respective characters with a degree of naivety and innocence, something which improves the overall effect of the movie no end.
Unfortunately that’s not enough to raise the characters from their stupor.
While there is very clearly some development occurring over the course of the movie, one of the issues that seems destined to repeat throughout the franchise is that the plot doesn’t give them enough time for this growth to set as part of their persona, and that leads once more to an imbalance in the storyline. The revelation about Shiki’s personality goes some way to explaining why she is the way she is, but Kokuto is the real problem. As a character he is simply bland, and at no point does the movie go into any detail about his goals, thoughts, ideals, etc. Everything in the movie actually revolves around Shiki, including Kokuto, and all of his actions stem from that one driving principle. Unfortunately this feels like a missed opportunity to add some real meat to both the leads, but it may be that all of these concerns will be addressed by the time the series ends.
The other problem was the lack of Aozaki Touko. It would have been a nice addition to have more information on her from that time period as she is one of the mysteries of Kara no Kyoukai, and in all honesty this could have been done simply and easily. Sadly, the fact that she has not been included in this movie means that it has a slightly disjointed feel compared to the first, but again this may be rectified with the second half of this story arc.
We shall see…
Even with those flaws this is still an enjoyable movie, and it’s nice to finally see how the two leads met and got to know each other. It would have been nice if the plot wasn’t focused so much on Shiki as this would have allowed for some introspection of the part of Kokuto. On the plus side, the slower pacing of this speisode actually adds to the tension this time around, but like the first movie the plot continues to retain a degree of predictability.
Fans of Fukan Fuukei will be pleased at this second offering as it is very much in keeping with the spirit of the series, however I would advise against making snap judgements about the whole franchise simply on the basis of this or the first movie.
As before, I look forward to the next episode.
The first installment threw audiences into a mystery unfortunately dulled by the lack of depth to the characters, but the second installment lays down the groundwork, exploring the origins of Shiki and Mikiya. The story is well executed and – unlike in the first film – has a real sense of purpose, progression and development. It’s a compelling origins story, where Shiki and Mikiya’s relationship is genuinely captivating to watch unravel (especially given the eerie undertones); much more befitting as an introduction to the septenary.
The film chiefly explores Shiki and Mikiya alone, with little room for anyone else in the run-time, but the film still feels a lot more ‘alive’ than the first installment. The supporting cast are more pronounced, with the locations well explored; there’s a better sense of the setting than before. Of the two main characters, Shiki is particularly well developed, we see her many sides and for the first time get a real understanding of who she is. Mikiya, on the other hand, comes across as rather dull and more a vessel to further explore Shiki than an important presence himself.
As in the first installment, the animation and art style remain consistently strong, though with more dialogue-heavy sequences this time around, it is perhaps not as dynamic. Nevertheless, the art is crisp and detailed – Shiki’s eyes are ever-beautiful, as are the locations – with the staff exquisitely animating a number of terrific dramatic scenes. The visuals are impressive, though the cinematography could have been more absorbing, with certain shots becoming a little banal.
There’s no stunning insert song this time around (though Mikiya hums Singin’ in the Rain which is a nice little nod to a classic), but the background music is ever prominent. There are a number of immersive tracks that blend well with the visuals – ultimately creating some very coherent, well put together and atmospheric sequences – with the more uptempo tracks complementing the action sequences well.
Kara no Kyoukai 2 isn’t a masterpiece, but it’s a huge improvement over the first installment. It’s a well constructed origins story with a lot of depth and promise, offering the series its groundwork. Here’s hoping the septenary continues to climb.
This is a sequel to the 1st KnK……kind of….Well, not exactly. You see, KnK is not being shown in chronological order and as such should not be watched in chronological order. I almost made a grave mistake of doing so.
The story of KnK 2 takes place 3 years before the events of KnK 1.
Mikiya, while walking home from school, meets a mysterious girl who he thinks is cute and starts falling in love with her. A month later, he met her again during the high school entrance ceremony. The mysterious girl that he met is named Shiki Ryougi. Meanwhile, the city is experiencing a series of bizarre murders but no suspect has been caught yet.
The events may have taken place before the events of the first KnK but the movie shows us how the 2 characters met and why there’s a connection between them. It’s starting to connect some of the dots but there’s still obviously a lot of unanswered questions that will be answered later on in the movies. So far, I’m liking the story. The gruesome murders, the mystery around it, etc.
Do I need to review the animation? I mean, it’s still the KnK series and nothing really changed from the first one which is already perfect and visually stunning.
The soundtrack was perfect in the first movie but somehow, the soundtrack here is…….inferior to the first one. Granted, there are some themes that are great but it didn’t quite stand out like the first one did. The voice actors are all the same so my opinions on the VA still stands.
The first movie didn’t really give us any great details about the 2 main characters and why I should really care for them. The 2nd movie showed us the main character’s past, how they met, what connections do they have, what they were like back in high school, etc. The movie is now developing the characters (not too developed yet) and they’re giving me a few reasons on why I should give a crap about them. I’m also starting to understand more about Shiki and her “dual personality” and why Mikiya cares for Shiki. In short, the movie just showed us a hour of character development for the 2 main characters.
I personally enjoyed the movie because of the character development and story development. There’s not a lot of action for this movie since all they did was build up and develop the characters
The second movie of the KnK series is not better than the first movie but it’s not worse either. It gave us more in-sight about the characters. The movie just created more plot holes for me but there’s 5 movies to go so I’m not going to complain that much.
For the love of god, if you’re watching KnK 2 first because you’re watching it in chronological order then don’t. The KnK series is meant to be shown out of chronological order and should be watched out of chronological order.
9: Kara no Kyoukai 4: Garan no Dou
English: the Garden of sinners Chapter 4: The Hollow Shrine
Japanese: 劇場版 空の境界 the Garden of sinners 第四章『伽藍の洞』
MAL Score: 7.87
Following the events of Satsujin Kousatsu (Zen), Shiki Ryougi has been in a coma for two years due to a traffic accident. When she finally awakens, she has no memories of her past and is plagued by a profound loneliness. Even stranger, she notices dark lines encompassing the things around her, and if she touches them she can disassemble the object—something which completely terrifies her. Her friend, Mikiya Kokutou, enlists the help of Touko Aozaki, a mage who can help Shiki understand what her eyes—the “Mystic Eyes of Death Perception”—are truly capable of and how to use them properly.
One of the hallmarks of a good story is the ease with which it can suspend the disbelief of the reader or viewer, and in that respect the Kara no Kyoukai franchise has been good, but not truly great. That said, the fourth installment, Garan no Dou (The Hollow Shrine), is a tad more introspective than previous outings, and it may signify a shift into a higher gear for the series.
The story begins directly after the end of the second movie, with the unconscious Ryougi Shiki being transported to hospital in an ambulance accompanied by Kokutou Mikiya. When she finally awakens from her coma, Shiki discovers that she has somehow gained the ability to “see” strangely distorted patterns on everything and everyone, and also that she has been asleep for two years. During that time Kokutou has graduated from highschool and is now working for Aozaki Touko.
Unlike the first three movies Garan no Dou is surprisingly straightforward in that the focus is solely on Shiki, and while there are some plot twists, these are pretty easy to follow. The story flows at a pace that allows the viewer to absorb the relevant information with a degree of ease, and this makes a nice change of pace from previous episodes. Unfortunately, the simplistic nature of the plot means that the show is a tad predictable, and viewers may find themselves wishing for a little of the slightly demented nature of previous outings.
That said, the main goal of Garan no Dou is to offer viewers an insight into one of the franchise’s most enigmatic characters, and in that respect one might fairly say that this movie is a job well done. The simpler approach to storytelling offers the ability to develop specific characters or scenarios in a way that more complex plots simply aren’t capable of as they lack the “free time” that is required. The movie does dip into some complex themes though, but rather than use them as a means to drive the story forward these dalliances with conceptualisation serve to offer insight into the mind and heart of Shiki, something which has been missing for quite a while.
Ufotable have once again done an excellent job with the artwork and animation, however there are some small areas where the quality drops a little. The hospital environs have an appropriately clinical feel to them which are surprisingly adaptive as when the story takes a darker turn, these surroundings and backdrops adopt a far more ominous feel. Then again, they’re really nothing more than spartan rooms and corridors (which in anime terms is just above a blank canvas), so one has to wonder how much effort went into the environmental design.
The characters are depicted at quite a unique stage given that Garan no Dou covers the two year period between the second and third movies, and the audience is given the rather rare and welcome opportunity of seeing them physically age over the course of one episode (admittedly there is an accelerated sense of time but that’s by-the-by). The slight changes in the design of Kokutou and Shiki (especially facially), are subtle, but they are noticeable (something which Ufotable should be applauded for).
As for the animation, the action sequences are well executed and Garan no Dou features some very fluid natural and unnatural motions (you’ll understand what I mean when you watch the movie). In addition to this the visual effects are suitably ephemeral when necessary, and the incorporated CG fits in to the whole rather nicely. That said, some viewers may find the more physical aspects of the various supernatural phenomenon to be a tad mundane, but it should be pointed out that the main reason for this is simply because of the limitations imposed by “reality”.
To put it simply, there’s only so much that can be done with the “real” world and human beings in a movie like this as taking the more fantastic elements too far would only destroy the storyline.
In addition to some excellent visuals, Garan no Dou also features some highly atmospheric background music, with the tracks on offer ranging from hauntingly melancholy to chorally dramatic. The audio effects are sharp and clean, and it’s nice to see that efforts have been made to rectify the the overwhelming nature of the various sounds that sometimes marred the previous episodes.
One of the strengths of the franchise since the very first movie has been the quality of the acting, and in that respect this film has several things to offer. After much waiting and several fairly mundane appearances in the series so far, Honda Takako is finally able to add some character to the role of Aozaki Touko, and she does it very well. Additionally, viewers are able to see a new and different side to Shiki, and Sakamoto Maaya really manages to capture the feelings of fear and confusion in an otherwise stoic (and psychotic), lead character.
Now many people believe that the second movie, Satsujin Kousatsu Part 1, features the best development thus far in the series, and while the characters do receive a good degree of definition in that episode, Garan no Dou is at least equal, but from a completely different angle. This installment offers viewers the chance to see a far more complex side of Shiki than any of the previous outings, and allows some of her true potential as a character to shine through. That said, Kokutou is relegated to bit parts, but this is counterbalanced by the fact that much needed characterisation is given to Touko.
Which brings up an interesting thought. There’s an argument that the Kara no Kyoukai franchise would have been better off being released as a standard anime series of 26 episodes as this would allow all of the important characters the chance to get some much needed airtime. The current format seems limited in that respect as each episode can only focus on specific characters, with the rest appearing in minor supporting roles no matter how important they are in the overall storyline.
On the other hand, there is something to be said for the current approach as it has the benefit of really focusing attention on the important characters and events in that episode, and the fact that the series jumps around in time means that there is less for viewers to make educated guesses about, and this helps to keep future episodes fresh.
Whatever one thinks of the Kara no Kyoukai franchise, one of the nice things about the series is that it takes the the main theme of Lunar Legend Tsukihime, tears it apart, and rebuilds it as something new, and Garan no Dou signifies the difference between the two shows far more than any other episode thus far. Granted there are overarching plot points that still need explanation, themes that could have been explored in a bit more detail (the whole concept of The Void is just one example of this), and a degree of predictability to the story, but these can be forgiven in the face of some solid character definition and development. One should also remember that this is simply the midway point in the series, so questions will undoubtedly remain about certain aspects of the story, and it remains to be seen if they will be answered in future installments.
The fifth episode awaits….
First at all, I was delighted with the graphics. They are very cool, and well done. The animation is very clear, many scenes were dark but this just add more mystery and thrill, just what this anime is. There are many abstrac obscure scenes and in this time, you’re not going to see many bloody scenes, however, routine scenes are intriguing, too. I like the character design but I think is kind of little cliche, both of the main characters remind of the main characters of Tsukihime, although the personality of the main female characters are really different.
Another thing I liked was the soundtracks. They are really nice and they complement the scenes and mix with them very well. They just give you more occult and mystery senses and a little bit of sadness and doubt of many things. Well, I really like Yuki Kajiura songs and this anime is perfect for her songs.
About the story, this chapter explain a lot than the others chapters. As I said, there aren’t many bloody scenes or too much action as the third one, but this complement the other three previous chapters and you are going to understand a lot of things, but obviously, not everything (If you understand everything, then this anime would have never been classify as mystery). I like this anime doesn’t follow the traditional linear chronological order, maybe it is a little confusing, but this chapter is going to clear up many concepts and ideas.
To conclude, if you like mystery, thriller, psichological plots and obscure gore things, also you like supernatural things like ghost and souls and you had seen the other chapter and you don’t understand it very much, I really recommend you to watch this anime.
This movie is basically one big character development but I still enjoyed this movie.
(There will be some SPOILERS in my review)
The story of KnK 4 now takes place 2 months before the events of the 1st KnK and immediately after the events of the 2nd movie. I was actually hoping for the 4th movie to take place after the events of the 1st KnK but I’m glad they didn’t.
After Shiki got involved in a traffic accident, she spent 2 years in a coma and what’s worse is she now has an amnesia. She is visited by a redheaded girl named Aozaki, a magus and works for a company called Garan no Dou.
Like I said above, I was hoping for the 4th KnK to move on past KnK 1 but I’m glad they didn’t. This pretty much shows what happened to Shiki after she woke up from a coma after being involved in an accident 2 years ago. They showed us at the end of KnK 2 that she was being transported to the hospital but we didn’t really know what exactly happened to her. The story tells us why and how Shiki got hurt. Not only that, it also shows us how and why Mikiya is working for Touko. In short, the story just tells us more about the main characters and why they are at that situation now which is not a bad thing.
The Animation is exactly the same as the previous 3 movies which is already a perfect and visually stunning animation.
If my ears aren’t broken, the soundtrack is exactly the same as the previous 3 movies. They were already great to begin with so I’m not going to complain that they re-used background themes. Another new ED theme song is used for this movie called “Aria” by Kalafina. In my opinion, it’s a good song but not better than the ED used in 1st and 2nd movie.
[Characters]: (9/10) (SPOILERS)
No new characters were introduced as the focus of this movie is the development of the main characters. The movie shows us that Mikiya has been visiting Shiki for the past 2 years, non-stop. He truly has feelings for Shiki and still does. Hell, even the nurses know him by now because he kept visiting the hospital. We also get to learn more about Mikiya, Shiki and Touko. I want to focus first on Mikiya. We learn that Mikiya didn’t graduate college, had a fight with his parents and now lives alone and works for a dead end job (looks like a dead end job to me). Now focusing on Shiki, we learn that she now has an amnesia after waking up from an accident which means she doesn’t remember mostly everything including the day of the accident. She somehow remembers the face of Mikiya but not his name though. We also learn more about her magic eye and how her second personality is now gone. Finally, focusing on Touko. The movie didn’t really tell us anything about her that much in the previous 3 movies so I didn’t find her an interesting character. Now, she seems like an interesting character to me. The movie shows us that she’s a freaking Magus. That explains why she has knowledge to mysterious things that’s going on around her. It also shows us what Touko is really capable of after they showed us the battle scene at the near-end of the movie. I’m starting to like these main characters.
This movie is just a big character development for 3 of the main characters but I still enjoyed it. It’s giving us more reasons on why I should give a crap about these characters. That last battle scene was quite rewarding, showing us what Touko is capable of.
The 4th movie didn’t really go past the events of KnK 1 but this was still a great movie to watch. Learning more about the main characters is quite interesting. People tell me that the 5th movie will be a lot better than the previous 4 so I guess I’ll be watching the 5th movie soon.
8: Death Billiards
English: Death Billiards
Japanese: デス ビリヤード
MAL Score: 7.91
Two men have just arrived at a location known as Quindecim and are unable to remember how they got there. They are immediately greeted by a young woman who escorts them to a small bar, where a bartender awaits them. They are told that they will have to participate in a game, randomly chosen by roulette, and will be unable to leave until its completion; if they refuse, the consequences will be dire. In addition to the rules of the game, the two men are told to play as if their lives are at stake.
The game that has been chosen is billiards. But there’s more to it than just pocketing pool balls, as the two are about to find out the outcome could mean life or death.
Madhouse studios must be mad.
A short story of life and death, a story of human life and the illusion of equality. Could it be possible to compress into 25 minutes? Well, it seems it was.
On artistic-wise, visuals were appealing, if not gorgeous. Such details and great work for such a short story, with all the detailed background visuals were something that multiplied the joy.
For a one shot special anime, it would not be fair to judge characters, yet they were not half-baked personages either.
Death Pool (or Death Billards for that matter) uses its visuals perfectly to tell the back story of the characters and their emotions. No need for long speeches and introductions.
Overall, a rare pearl to enjoy.
Death Billiard is like a piece of beautiful diamond between a pile of rough stones, not so many people even aware of this anime (actually me too, until now). Its kinda coincidence i found this one, honestly i found this one when i am looking for some ecchi anime, thats why i said “like found a piece of diamonds in a pile of rough stones”
Anyway, why do i called it like A beautiful diamond? first of all, Death Billiards is just ONE episode anime. One? yeah just one, but its enough to make your head blows up.
The story involves about 2 man (one young man and one old man), they somehow stranded in a room like a bar and with no hope of escaping, they must play a pool game but its not like any other pool game, the bet for the game is their life!
With that synopsis, i feel like its not gonna work if they had to make it into one episode, but suprisingly they made it well. We could feel the emotion of each character and within 25 minutes we got some little flashbacks to make us (viewer) knows the background of those two men. and not just that, i really enjoy watching the story with that elements. Not to mention, an amazing twist that this anime has in the ending.
Not just the story that makes Death Billiards attractive but also the quality of art itself, especially the background. The background were so detailed and beautifully drawn, and not just that, it also strengthen the fear atmosphere. Not to mention from the sound section itself, it brings up the feeling of despair, fear, confused, and something like that.
and Finally, For a short story. Death Billiards is success to package a “complex” story into 25 minutes video. More than that, the quality that they brings is above from average. My conclusion is, this one is surely a MUST WATCH anime.
“A beautiful diamond between those rough stones”
What happens when two people, whether they’re strangers or the closest of companions, are pitted against each other in a seemingly mundane contest, with the stakes being their own lives? Suspicions, outrage, deceit, bargaining, and all manner of psychological warfare commence, all in the name of survival. However, is everything as it appears?
——If you have questions or comments about this review, please message me——-
I feel this episode 0, if you will, should actually be seen after the first two episodes of the Death Parade TV series. That way, one has an idea what’s going on, and who the characters are. Part of the mystery of the one-shot may be dispelled, but it made much more sense and was more interesting and compelling having seen some of the series.
Two persons enter, and play what’s a seemingly unremarkable game, such as darts, bowling, or in this case: pool. The people have no memory of why or how they’ve come to be at the Queen Decim, and are given no explanation of why they’re being forced to play the game; other than that their lives are on the line. The alternative to playing is explained as “not something they want to experience.”
Eventually, after bargaining, attempts at escape, and outright threats, our contestants concede, and begin their life altering game.
Outwardly, we watch two people locked in a simple contest of pool, each demanding no less than victory for themselves, if only for the pride of winning. Inwardly, we see a classic struggle: a clash between souls, with the ultimate reward or price at stake.
The interplay of fear, suspicions, motives, emotions, and the individual thoughts, feelings, and memories that make up the person are a phenomenal conflict within themselves. They lead us to the question- “What will you do to survive?” which everyone can only answer to the best of their ability to do so. Life isn’t fair, and rarely presents an opportunity for two souls to be on equal footing in their struggle, but again, our characters find themselves answering a question- “what is it that I have to live for?”
In this one-shot, we’re introduced to Decim, the white haired, steely composed purveyor of the Queen Decim. The Queen Decim, an enigmatic bar (and character within itself), with a grand ballroom and game theatre whose only entrance is a pair of elevators ordained with a pair of ornate theatre masks- representing heaven and hell.
Decim’s purpose is to ensure that the entrants to the establishment agree to, and carry out their contract to play a random game of chance, enforce the rules, and execute the results. He’s a stony, dispassionate man, and seems to take no joy in the games that he has his contestants undertake.
Our two visitors in this episode are an old man, and a young businessman, each with their own Raison d’être. Neither has a clue as to why they’re in the Queen Decim, playing pool for their life, but both have the same goal: win. As their fates unfold, so do their pasts- their memories begin to return to them- and alters the path that their life henceforth is set on.
Excellently colored. Dark, ominous shades permeate the show. A miasma of blacks, purple, reds, and blues set the foreboding tone. Beautifully hand drawn characters are very consistent, and the anguish, the swell of victory, and the crush of defeat are very evident in the body language and facial designs. Moving.
Soft BGM, appropriately dark and foreboding. Subtly raises the intensity of the visuals. I felt that the moments of absolute silence were the most oppressive: it allowed the character’s speaking to have a much more profound effect, as there were no distractions.
A very intense and emotionally gripping episode. Twists and turns, and while not much makes sense in the beginning, everything is revealed in due time. While a bit dialogue heavy, and metaphorically challenging, it was absolutely enjoyable. It never felt like a chore to decipher the meanings behind, and has a very interesting outcome.
The gloomy atmosphere and sense that something isn’t quite right that surround the show are entirely addictive. Left me wanting more.
I’ve been looking for a new psychological thriller since finishing Ergo Proxy, and I may have found it. Very excited to see where the TV show is headed.
MAL Score: 8.05
The world of dreams can be an incredible window into the psyche, showing one’s deepest desires, aspirations, and repressed memories. One hopeful tech lab has been developing the “DC Mini,” a device with the power to delve into the dreams of others. Atsuko Chiba and Kosaku Tokita have been tirelessly working to develop this technology with the hopes of using it to deeply explore patients’ minds and help cure them of their psychological disorders.
However, having access to the deepest corners of a person’s mind comes with a tremendous responsibility. In the wrong hands, the DC Mini could be used as a form of psychological terrorism and cause mental breakdowns in the minds of targets. When this technology is stolen and people around them start acting strangely, Atsuko and Kosaku know they have a serious problem on their hands. Enlisting the help of Officer Konakawa, who has been receiving this experimental therapy, they search both the real and dream worlds for their mental terrorist.
Those familiar with Satoshi Kon’s work should know he likes to blend reality and illusion. Paprika was no exception, dealing with the dream world via DC mini, a device which can be used to enter someone’s dreams. As expected the dream world Kon created was incredibly imaginative and surreal. Animation and art for this movie was easily the best of Kon’s work as well as most anime. This movie was worth watching just for the animation and surreal world that Kon creates. Music was equally good, creating a haunting yet beautiful atmosphere. Sadly I don’t think its possible to even possible to describe the surreal and imaginative dream sequences in Paprika. However, that’s it, I could go on and on about the movie’s technical merit, but it doesn’t make up for its weak narrative.
Paprika featured highly imaginative imagery and excellent editing that Kon is known for however, what was it all for? If we take out the imagery out of the equation, what do we have left? The basic outline of Paprika’s story was wafer thin and had a painfully obvious twist near the end. In addition, a tacked on romance that made far less sense than even the most surreal imagery that Kon can muster. Chances are you’re thinking “Its all about the execution, who cares about a weak storyline as long as its done well.” Yes, execution is more important and surreal imagery and crazy editing can be used to make an otherwise boring story captivating. For example, Millennium Actress, one of Kon’s earlier works. However, in the case of Paprika the surreal imagery felt like it was the main point and the story/characters were secondary. Also, the imagery didn’t serve any purpose with respects to the story, it was there for the sake of being there and a “plot” to provide it some context.
What I said was only for the main plot line, the detective’s sub plot was sadly far more interesting. Here the use of imagery really suits his story and conflicts, similar in execution as in Millennium Actress. However, something is wrong when a sub plot is more interesting than the main story.
Characters are also pretty weak. The villain was pitifully boring and one-dimensional. Sadly, I can’t say otherwise for the rest of the cast. Also, the development of Atsuko and her romance at the end was so forced it was unbelievable. Once again, this confused me more than even the most surreal imagery Kon can muster. Konakawa (the detective) was the only saving grace in the cast of Paprika. He actually had a decent amount of characterization and actually developed through the course of the movie.
Paprika was a wholly imaginative work that only Satoshi Kon can create. He creates a landscape that was beyond words. This was coupled with amazing technical achievement by Madhouse, the animation studio. However, Paprika failed in terms of story and characters. The visuals didn’t serve much of a purpose with respects to the plot and felt like it was there for the sake of being there. Also, this plot was incredibly superficial and painfully predictable. The tacked on romance and forced character development was equally painfully and confusing. Konakawa was the only saving grace in terms of story and character however, something is wrong when a side character was more interesting than the main story. In the end, Paprika is more like a dream than Kon probably intended. It was captivating during but when it ends you’ll remember only a few visual snippets and forget everything else.
Dreams as a concept have always captivated me, and never before have I seen such a well-done representation of dreams in any form of media. Movies usually treat them as either being pointlessly strange, or pointedly symbolic, but Paprika captures their essence to fascinating effect. Dreams are as much about flow and direction as they are about the immediate situation, and this is something very apparent when watching Paprika, as the dreams flow and change fascinatingly with mundane illogic, moving from one setting to another with only a thematic thread between them. Looking back at my own dreams and how they shift from setting to setting based on the emotional context, and I see that Paprika portrays this perfectly. I can see that the dream sequences were thoughtfully brought to life, and were not just crazy for the sake of crazy. But through all its fanciful imagery and creativity unbound from realism, Paprika has a story behind it that deals with very strong human emotions, and it excellently weaves this emotional content throughout the films, particularly in the dream sequences, where the subconscious expresses the truth behind each character’s external, day-to-day personality.
The way it tells this story is simultaneously a strength and a flaw of the film; on the one hand I am inclined to say that it was obfuscatory in the way it obscured the plot from the viewer. While watching this movie I felt like I was trying to get my head around a particularly long riddle. As I followed it, the only understanding I really got of what was actually going on was in retrospect, and while some may call this clever, I found that not having an idea of the direction of the plot was a detriment. However, given that the movie revolves around the theme of dream analysis, it is also a fitting method of storytelling: the audience itself has to engage in the movie as though it were analysing a dream, and hence can only be understood when looking back at it. However, my advice to anyone planning to watch the movie: pay close attention to the dialogue and symbology of the dreams, because it is all too easy to get caught up in the zany fun of the dream sequences and lose track of the plot.
When it comes to the plot itself, I’m not so enthusiastic. Nor am I so aflame with praise when it comes to the characterisation. Both of these factors are the reasons why I am hesitant to label it as my favourite Satoshi Kon film; Tokyo Godfathers had excellent characterisation, and a simple yet powerful story; and Perfect Blue, with its introverted character study, delivered a great emotional impact. It may well be impossible to create a perfect film, but if these factors had been better incorporated into Paprika, then it would be among my favourite anime films, possibly my very favourite. It is a shame that Satoshi Kon’s vision and creativity is let down by a lack of depth in his characters and stories now, after his consistent accomplishments in the past. I think the main problem was that the movie tried to involve a too larger cast, to whom it could not provide ample depth in its limited feature-length time-frame. The other problem was that there was very little attention given to delivering a sense of conflict, a crucial element to any story. Perfect Blue had the internal conflict of the subconscious and the conscious; Tokyo Godfathers had conflict between its characters and society; and this movie tries to incorporate an antagonist-protagonist conflict, almost as an afterthought, with neither party given enough profundity to their perspectives to make the conflict intense. There was mention of their different ideology when it comes to the exploration of dreams, and a subplot of jealousy, but little more. So the story lacks the optimal ‘beginning -> conflict -> end’ structure, meaning it felt like it just went on and on until it finished, as entertaining as it was.
I have little to say about the technical achievements behind this film, other than the fact that it was fantastic in almost all aspects, with only the score music lacking. It is clear he used the same musical producer behind Paranoia Agent’s score track, and I simply cannot find his style of music appealing; it feels immature and cannot contribute effectively to the mood of the movie. Much better was the use of music in Perfect Blue, the score of which really sold the hauntingly intense atmosphere. The visuals are much better; this is his best looking film yet, with vivid animation and, as expected, brilliant direction.
It was not given enough weight, but I liked the message that dreams are the final sanctity of the human mind, which should not be intruded upon. This movie beautifies dreams, and attaches importance to them (as seen in Atsuko’s acknowledgement of her feelings for Dr. Torataro through her subconscious), and the suggestion that veil between them and reality is sacred really spoke to me, even if it came from the mouth of the antagonist. Paprika is a thoroughly enjoyable, visually captivating movie, which does overwhelming justice to its theme of dreaming, but which has flaws in its plot and characters that prevent it from being a great achievement as a film.
Adapted from a novel of the same name by science fiction author Yautaka Tsutsiu, Paprika takes Kon’s mind-bending style and applies it quite literally to the plot. The story takes place in the near future, where a remarkable device called the “DC Mini” has been invented, which allows people to enter other peoples’ dreams and access their unconscious thoughts; intended for the use of psychotherapists. However, while still in its development, one of the DC Mini prototypes is stolen. Soon, development staff members begin to have their dreams invaded and entangled, and its up to head of development Chiba Atsuko, and her chipper alter ego Paprika, to find the culprit and retrieve the prototype before more damage is done.
This premise works perfectly with Kon’s directing style and the themes he often explores. The movie weaves from dream to reality and back again seamlessly. With the DC Mini giving the ability to enter (or invade) peoples’ dreams and psyches, it becomes increasingly difficult to distinguish between delusion and reality. There are scenes which seem to take place in reality, until something strange occurs, pulling back the curtain to reveal that it is a dream instead. The dissolving wall between the two comes with some serious consequences, as characters slip into madness; becoming delusional and erratic. Kon perpetuates a sense of unease and delirium with colorfully deranged imagery, hallucinatory sequences, and sudden outbursts of insanity, keeping the audience in a state of constant imbalance. And yet there is a certain unhinged joy than comes with the madness. There is something wondrous about unconscious mind and the images it conjures; the limitless possibilities of a dream, and the hidden meanings behind those dreams. Even at their most disturbing, the surreal dreamscapes of Paprika are entrancing.
Our protagonist, Atsuko, is cool-headed; always in control. She maintains a stern, often harsh, but logical and level-headed demeanor. She’s all business, doesn’t have much of a sense of humor, and little patience for the childish irresponsibility of man-child genius Tokita, the inventor of the DC Mini. Or at least that is how she seems on the outside. In stark contrast is Atsuko’s alter-ego, the titicular Paprika. Paprika is a free spirit, more easy going and fun than Atsuko, to the point that the two seem to be completely different people, and not just because of their differing character designs. This contrast is interesting because it shows how a person’s suppressed desires can manifest in spite of (or because) their attempts to keep control over themselves. As much as Atsuko would like to think she has control over herself and everything around her by suppressing her emotions, she’s only being dishonest with herself. The rest of the cast (sans Detective Konakawa), are underdeveloped, yet still likeable and interesting. Tokita adds some nice comedic relief; the two antagonists are really quite interesting, though they would have certainly benefited from more screen time.
There is also a sub-plot involving a detective who Atsuko is treating in unauthorized sessions using the DC Mini. Here, Kon infuses Paprika with his love for movies, ironically enough through a character who claims to hate movies. Despite such claims, Detective Konakawa’s dreams often are movie themed, and his strong objection to movies implies some kind of past trauma. Indeed, as the movie delves deeper into his character, it reveals he has a deep knowledge and connection to movies, but now avoids them because of unfulfilled and broken desires of his youth. The movie reveals this slowly and uncomfortably, often playing out like a therapy session, using motifs such as a reoccurring dream of a murder in a hallway which represents a case Konakawa is currently having trouble solving, or his dislike of the number 17. Konakawa’s character ark also draws a interesting parallels from movies and the internet to dreams; all are places that the human subconscious can escape into. A rather meta concept, considering that you are watching a movie.
Paprika is Satoshi Kon’s most vivid and wildly imaginative work. Kon clearly let go of restraint from the deranged, ever-shifting opening dream sequence. However, that isn’t to say that it is done with no finesse, quite the contrary actually. Even with the free-floating lunacy of the movie, Kon’s cinematic brilliance shines through. The radical transitions from dreamscape to dreamscape, which would look awkward in less skillful hands, flow like water under Kon’s direction. The imagery is dazzling (if at times unsettling), and incredibly creative, sometimes frighteningly so. The chase scene in which Paprika is being pursued by the antagonists through multiple shifting settings is a breathtaking showcase of the movie’s visual ingenuity. As is the movie’s crazed grand finale, which features one of the main characters growing from infancy to adulthood while absorbing another character’s dreams. There are also some crafty motifs the movie implements to set mood and tone, notably the crazed parade that is assimilating all other dreams. This all comes together to create a unique controlled chaos of visual imagination that is impossible to forget. It’s also worth noting that the movie has the coolest opening credits I’ve seen, with Paprika taking a tour of the city in a way only she can.
The sweeping electropop soundtrack by Susumu Hirasawa is fittingly strange, but also grants the movie a sense of grandeur. The music has an odd, otherworldly texture which works very well in a movie that spends most of time roaming through the realm of dreams and human consciousness. Interestingly enough, some of the vocals were produced using vocaloid, which doubtlessly contributed to the music’s strangeness. Of special note is the bouncy track titled ‘Meditation Field’ that accompanies the opening credits, and the bizarre ‘Parade’ which plays as people descend into madness or when that crazy parade of dreams shows up.
Though sometimes a bit convoluted, Paprika is an eye-popping, cerebral extravaganza that never fails to impress and entertain. More than simply a piece of eye-candy, the movie invokes some interesting ideas about dreams and the human psyche. Both Atsuko and Konakawa illustrate some fascinating insights in how people lie to themselves or bury the unpleasant, and what repercussions that might have. Paprika is just exploding with creativity, brimming with imagery straight out of your wildest dreams, and endlessly entertaining. It’s a fitting final work for a great master.
6: Kara no Kyoukai 3: Tsuukaku Zanryuu
English: the Garden of sinners Chapter 3: Remaining Sense of Pain
Japanese: 劇場版 空の境界 the Garden of sinners 第三章『痛覚残留』
MAL Score: 8.06
On a solemn night in July 1998, teenager Fujino Asagami is mercilessly raped by a street gang in a dilapidated bar. No matter what physical or sexual abuse they deal, however, the girl regards her captors with the same apathetic expression. The next day, mangled bodies are discovered in that same building, so torn apart that investigators find it infeasible to even consider the culprit human.
Elsewhere, a client request reaches Touko Aozaki’s detective agency, tasking Shiki Ryougi with either capturing or killing the perpetrator of last night’s incident. But soon, word spreads that a single survivor escaped the slaughter, and now the murderer is plowing down everything in their path to locate and exterminate him. A brutal race against time begins, pitting Shiki against a dangerous foe imperceptible even to her legendary eyes.
Sometimes you have to take a step back in order to make any progress, and in a sense that’s exactly what happens with the third installment of Kara no Kyoukai ~The Garden of Sinners~. After Satsujin Kosatsu Part 1 viewers may have been under the impression that the franchise would progress in a way that would allow for a degree of linearity with the development of the characters, but it seems like TYPE-MOON have their own agenda, and they’re sticking to it.
Set a mere two months after the events in the first movie, Tsuukaku Zanryuu (Remaining Sense of Pain), focuses on a young girl named Asagami Fujino, and begins with quite a brutal scene in an abandoned underground bar. Through seemingly random chance Fujino meets Kokutou Mikiya, who finds her huddled in an alleyway and takes care of her for a night, only to find her gone the next morning. Meanwhile, there is a report of a gruesome murder, and Aozaki Touko asks Ryougi Shiki to capture the suspected perpetrator. Shiki sets out to find the culprit, but doesn’t check any background information as she believes they will try to kill each other when they meet.
The strange thing about Tsuukaku Zanryuu is that even though there is a degree of predictability to certain events, the plot only really makes sense in hindsight. The events in this episode may initially seem disjointed and without reason, but this is actually a pretty interesting method of storytelling as it requires a degree of intuivity from the viewer. That said, there is a slightly aimless quality to the storyline at certain points which can slow proceedings down to almost a crawl, but the plot is quick to pick up the pace and the latter half of the movie moves along at a fair clip.
The art and animation in this installment are actually a step up for Ufotable. Given the quality they’ve shown in the previous two outings it’s difficult to believe that they could actually outdo themselves, but they’ve managed it with their efforts here. The animation is top-notch throughout, and the various action sequences are superbly detailed without suffering any major loss in quality. The CG is rendered and integrated very well, and is almost indistinguishable from the traditional animation in many sequences.
The character designs haven’t really changed much from the first movie where two of the leads and Touko are concerned, the only difference being an increase in the variety of expressions for both Shiki and Kokutou. Unfortunately it seems as though there has been a step backwards when it comes to the design of Fujino, and while she may appear to be a fairly well realised character, there is an impassive quality to her features which is sometimes at odds with her speech or actions.
The voice actors are, once again, extremely good. Suzumura Kenichi (Kokutou Mikiya), hasn’t had much of a chance to shine thus far in the series, but several scenes in this episode allows him to show some of his quality. Sakamoto Maaya once again brings out the best in Shiki, and it’s surprising how much she has settled into the role of the “psychogirl”. There’s also a very good performance from Noto Mamiko in the role of Fujino, which is ironic as it’s her ability to act that highlights the issues with the character design.
The effects are pretty good throughout the movie, but like Satsujin Kousatsu Part 1 there are occasions where the noises and music clash, and this can be a little harder on the eardrums than before due to the action based nature of this episode. That said, the overall quality and choreography is a step up from the previous two installments, and some efforts have been made to resolve the niggling issues with timing that have pestered the series thus far. This also applies to the background music which, like before, follows the usual themes of sombre and dramatic, and it seems as though the tracks are more suited to their purpose in Tsukakuu Zanryuu, but that may be due to the new pieces on offer rather than any inherent improvement.
It should come as no surprise though, that the one area where the movie falls down is with the characters. Fujino is fairly well realised on the whole, and possesses a surprising amount of depth thanks to some great acting and very good scripting. The problem is that while Shiki and Kokutou receive some new development, it’s not nearly enough to satisfy viewers and fans. There continues to be little to no justification for their actions throughout the narrative, and while there is an effort to garner audience participation in order to make the story work, this does not automatically mean that viewers are willing to fill in the blanks where the characters are concerned. In addition to this there is a distinct lack of Touko in this episode, and her presence in this movie is relegated to bit parts, which seems a little odd as she is an integral part of both the lead character’s stories, so one would assume that the series would allow more screentime so that the audience would get a better perspective on her.
Even with that flaw though, this is still a highly enjoyable addition to the series. The action sequences are enough to satisfy any junkie of the genre, and fans of Kara no Kyoukai will be pleased to see some different sides to Shiki and Kokutou.
Now, bring on the trumpets and the fourth installment.
Well anyway onto this review.
Warning: Their are spoilers within this review, so please watch the movie first if you don’t wish to be spoiled.
Story – 9
Well first off the story in the third movie, in my opinion, is much better than the second and first. The story in this one is a stand-alone story, like the first movie, and its pretty much understandable by itself. Definitely some twists and turns in this one and keeps you on your toes. Some parts are more understandable if you’ve seen the first two before this one and explains somethings that appeared in the first movie.
Art – 10
As always the visuals in this series is just outstanding. The special effects were just done beautifully and the background with excellent dark tones that fit this supernatural series. And as always the murder scenes made so gruesomely and lifelike. Again, excellent.
Sound – 8
Not much change in this category. Pretty much the same as the first two movies. Still good bgm for its supernatural and suspense theme. I thought the theme song "Kizuato" was alright as well.
Character – 9
Ok now the third movie definitely improved in this category. Not in character development, but more background info. It also introduced a very interesting character in this story by the name of Fujino Asagami and her ability; whom you’ll feel pity for or not. This movie also explains Shiki’s ability known as Mystic Eyes of Death Perception, which has been unexplained since the first movie, but still doesnt reveal how she got them though.
Enjoyment – 9
Well all I can say is that, if you’ve at least watched this series since the first movie then you’ll probably be blown away by this one. Alot more action than the others, though its more towards the end of the movie. And how the story unfolds til the end you might be shocked. Not to mention this movie explains some things from the first one. And like the first two, murder scenes are still explicit. I should also mention that their’s also nudity in the scenes where it shows Fujino getting violated (although those guys did deserve to die).
Overall – 9
All I can say, even from an average anime viewer’s point of view, that this movie is the best movie of the three movies released so far. The action scenes is definitely great and the animation is excellent as always. Overall the movie itself is excellent, with flaws here and their. Definitely a great movie of the supernatural.
Actually if you only saw this movie, you’ll probably still enjoy it, but if you’ve seen the first two movies before this one, then you’ll probably be blown away by this one as Ive mentioned before. So its recommended to watch Fukan Fuukei first, Satsujin Kousatsu (Part 1) second and this one third to truly enjoy this series.
So an average anime viewer should definitely watch as well as you TYPE-moon fans out there.
We open the story with a scene of a woman being raped… Isn’t that a bit too serious of a scene to open with? This is the type of content you want to give your audience time to brace for, not just put it in from the get go. We need time to brace ourselves, Movie. We then switch ahead a bit and find out that most of the rapists have been killed off screen. A fate that should be suffered by all sexual predators. Preferably with a lot of pain involved. Touko’s agency is hired to find the killer who, it turns out, is their victim, Fujino. And no, that’s not a spoiler. It’s revealed almost right away. Someone give that girl a medal and a puppy. Meanwhile, Keita is approached to find the last surviving rapist who doesn’t deserve an actual name so I’ll just call him Scum but Fujino is looking for him as well. They should just hand him over to her, but they decide to protect him in spite of his confessed crimes because… murder is bad even when it’s well deserved and entirely justified. Yeah, I’m not buying it. But there’s more to this scenario than a justified revenge killing spree and it could mean disaster. Okay, let’s look at the positives and negatives. I’ll start with the negatives because, in this case, there are fewer of them. One issue with the film is the pacing. Although, unlike the first two, this one doesn’t have a bunch of slow stretches. It’s just overly hectic. They introduce a lot of story elements which they either rush through or leave unfinished. They just try to cram too much in. That leads to my biggest issue. Scum never has to go through any sort of punishment, at least none that you see. Which really ticks me off. They aren’t going to vivisect him? Disembowel him? Quarter him? We don’t even get to see him maimed a little. They could’ve at least sent him to prison where he would hopefully get shanked and die of tetanus. Now we move on to the positives. This has quite a bit of disturbing content but, in spite of the impression I may have given, it is handled pretty well. Yeah, the opening sets a very dark tone and it could’ve easily led to some huge problems if they’d tried to, say, inject humour into later scenes, but they avoid that. The moral questions they bring up are pretty poignant. Even if some of us already have a strong opinion on them. I also like the way that Touko, Shiki, and Mikiya are inclined to sympathise with Fujino, albeit in different ways and that the event that leads to her climactic clash with Fujino is somewhat separate from the original case.
One thing that’s a little odd about KnK 3 is that the antagonist, Fujino, comes off as the most sympathetic character around. If you don’t feel sorry for her there’s something wrong with you. This isn’t to say that our three major protagonists aren’t well handled. They all have a good sense of personality in this. Mikiya especially comes off really well. Like the other films, the side characters in this are pretty shallow, but the main characters do carry things effectively so it’s not a major issue. This is also the first film that’s given you a sense of Touko’s personality which does have some interesting elements to it.
The art remains incredibly well done. With really detailed backgrounds and objects. The character art is still the weak link being well done, but kind of standard.
This film, like the last one, has really good voice acting. Noto Mamiko, Suzumura Kenichi and Honda Takako in particular give strong performances. Although there really isn’t a weak link. The music is used to add to the atmosphere and works quite well.
The yuri factor is a 1/10. There’s no yuri in this.
KnK 3 is a dark and disturbing film. It is certainly not for everyone and you should probably skip it if you’re a sensitive sort. However, it is a pretty well done film and, if you can handle the content, it is an interesting work with some layers to it. That being said, it does have some pretty serious faults and I didn’t like it as much as the second film overall. I give it a 6/10.
5: Mahou Shoujo Madoka★Magica Movie 1: Hajimari no Monogatari
English: Puella Magi Madoka Magica the Movie Part 1: Beginnings
Japanese: 劇場版 魔法少女まどか☆マギカ 始まりの物語
MAL Score: 8.23
Madoka Kaname and her best friend Sayaka Miki are ordinary middle school students in the city of Mitakihara. But one day, they encounter a strange cat-like creature named Kyuubey, who claims he can grant them one wish. In exchange, they would become magical girls and fight against evil perpetrated by witches. A veteran magical girl in the area, Mami Tomoe, decides to show them how to hunt witches, while the mysterious transfer student Homura Akemi warns them to not take Kyuubey’s deal, though she refuses to say why.
However, after witnessing the brutal reality of fighting witches, the girls decide it may be safer to decline Kyuubey’s offer. But when another magical girl arrives in the city and Sayaka decides to make a wish to help the one she loves, things quickly escalate as they are confronted with the harsh truth behind their powers and the ultimate price of their wishes.
All of these of these things are prevalent within Madoka★Magica. And yet there’s no anime quite like it.
Back in 2011, Madoka★Magica took the anime industry by surprise with a decidedly mature take on an otherwise lighthearted genre. Important characters die in brutal fashion. They struggle with the concept of right-and-wrong, that ‘justice’ is arbitrary and often fanciful. The villain is driven not by greed or vengeance, but by rational motives, occasionally making you wonder if the girls are the ones you should really be rooting for. It was dark and twisted – it took the tropes of the genre and fed them to the ghouls.
And it was a massive financial success. Enough to spawn a movie adaptation only two years later.
Now, let’s be honest – the first thought that came to mind when hearing about these movies was that SHAFT was milking the money cow. TV to movie adaptations don’t have the greatest reputation, and really, it’s hard to be too surprised by that when comparing the bulk of them to the quality of their source material. So where does that leave Madoka★Magica? Somewhere else entirely. A place where a movie adaptation can not only equal the source material, but surpass it, too.
A glimpse at the art is enough to tell the quality of the movies. It is a beautiful anime to look at, befitting of a full-feature movie and far more than just a copypaste of the TV series. A TV series which, mind you, was marred by subpar animation and technical mistakes in its original broadcast (which have sorta-kinda been fixed in the BluRay release). There are next to no technical mistakes in the movie adaptation, and while the characters’ faces could use some more work, SHAFT has put the effort into making the animation flow as well as possible. And that’s to speak nothing of the art direction and scenery. Even simple locations like a secondary school are given unique designs (in this case, something resembling a cathedral), while the worlds of the witches are illustrated in some weird clay-like design which mixes in several widely different animation styles. Your eyeballs will be treated to one of the best-looking anime out there.
The pacing also sees a significant amount of improvement. A few lighthearted scenes involving the school teacher (rambling on about not being married– poor lady) are added in to set a more appropriate atmosphere at the beginning of the story. The dream sequence from the beginning of the TV series has also been removed, which tones the foreshadowing down a notch and makes the big ‘shock’ scene seem all the more crazy.
It’s a little bit odd, though, that SHAFT would make all these improvements and yet not keep in a vital scene for one of the characters. Mami receives no character development, no depth. The scene where she explains her past to Madoka is gone. Erased. And why? It was the only thing that made her seem like a human being and not just a mentor for Madoka and Sayaka. In the movies, she’s just that – an archetype and a plot device. For a series which stands out for having well-written and developed characters, I can’t for the life of me understand why they would remove such an important scene. It’s an unnecessary blemish on an otherwise brilliant story.
The music, much like the art, is exceptional. Rather than simply accompany each scene, the music enhances them. Fights feel tense. Emotional scenes make you want to go and grab a blanket. It’s a powerful soundtrack, and even listening to the music weeks or months after will be enough to get those same feelings back. The voice acting is stellar as well, with Kitamura Eri providing an especially commendable role for Sayaka’s character.
For those looking to get into the series for the first time, both the TV series and the movies serve as equally valid entry points. I would argue that the movie duology is the better of the two, though, as the cinematic experience makes the climax so much more satisfying. Having only one break in the story does wonders for pacing.
Madoka★Magica is just as great as it’s always been. There’s no need to make significant changes when the existing formula is already so sound. All the little changes (with one notable exception) are enough to improve the story and make it even better than before. Has all the praise the series received over the past few years been exaggerated? I never thought so.
As much as SHAFT is reaching for our wallets, it doesn’t change the fact that the Madoka duology is a solid adaptation of an excellent series. More of the same isn’t always a bad thing. Sometimes it’s more than enough.
Yet, was it needed?
Let’s set the record straight: the first two movies cover the same story of the original series. However this is not a simple rehash of the original. It’s a bit unfair to use the term “recap” simply because most fans know the story; the movie contains the same events, but everything in the film has been revamped. Newcomers will be treated with an amazing experience, and fans will be delighted by the subtle changes. Mostly.
After the first few seconds, it becomes quite clear that Shaft had no intention on simply recycling Blu-ray footage: it’s even better. The visuals are absolutely stunning — these changes extend beyond fixing the infamous “meduka meguca” quality drops; the art is much more polished, the animation is more fluid, and backgrounds are incredibly elaborate. The use of the paper-cut-out style returns, bringing an dynamic contrast between the two worlds. Fortunately, these changes are more than simply cosmetic. I have always praised Shaft for having amazing cinematography and this movie is no exception. Familiar scenes have subtle changes: pans, close ups, dynamic angles, head-tilts. When combined with the directing of Shinbo Akiyuki, all these tweaks enhance the tension and suspense.
Shaft also spent much time reworking the sound design. Compared to the original series, audio plays a more prominent role is establishing the atmosphere. Whispers and footsteps add to the eerie nature of the witch-hunts, while the crashes and explosions add power to the action. Of course, the biggest highlight would have to be the amazing soundtrack. Kajiura Yuki created an amazing score that reflects the magical yet horrific world. And just like the visuals, the movie boasts a few new tracks to please the returning fans.
The most controversial change is the pacing. By switching from a television format (12-episodes, 25 minutes each) to a movie format (120 minutes), the story is definitely accelerated giving a great sense of development and plot progression. The movie covers the first eight episodes of the original. The faster pace works to improve the drama (especially with Sayaka’s arc later on) and help give more personality to the characters. However, this change is the Achilles’ heel of the movie.
The original series excelled in “shock and awe” tactics. Before airing, there was mysterious nature to the show. The eerie aesthetics and haunting foreshadowing toyed with the audience’s expectations in the early episodes, only to dramatically reveal its true nature in a stunning plot twist. By deconstructing the genre and using parallels to Goethe’s Faust, it was a roller coaster of madness as the world witnessed the tragedy and downfall of our protagonists. Every week, we were treated with stunning revelations and jaw-dropping cliff-hangers. The pacing was slow yet methodical, only to enhance the suspense and drama. The movie does not have this. The story continuously progresses from scene to scene, granting no time to let it all settle. The audience has no chance to reflect. This isn’t to say the movie is incompetent. The experience is all in the story and the directing, but it’s clear sacrifices were made. This ultimately boils down to one question: What is the purpose of these movies?
Essentially, these movies are a love-letter to the fans. The enhanced audio and visuals definitely deliver a new experience, though the added benefit is quite minimal. Shaft could have simply reused old footage, but it’s clear they chose to make something more. The movie is fantastic as a stand-alone product, but it’s hard to critique it without comparing it to the original. Fundamentally, the story is faithful, yet it lacks the same emotional impact of the original. I’m confident that both die-hard fans and newcomers will enjoy this movie. However, for new fans I recommend the anime original instead.
For a movie to be adapted for another run (especially in terms of story retelling), popularity and revenue often comes as one of the reasons. In fact, anime that have been revived in recent years for a remake or rerun are not new such as Hunter x Hunter, Gurren Lagann, Berserk, Evangelion, and so on. When that comes to the equation, Mahou Shoujo Madoka★Magica also becomes part of that formula. Despite being only 12 episodes with the original TV series that ran in 2011, it has achieved tremendous success that resulted in the record breaking sales of its BDs, numerous anime awards being won, and achieved universal praise for its presentation. So obviously, when a TV series of this caliber gets a movie adaptation, I was excited. No, I was more like ecstatic.
The movie covers the first 8 episodes from the original series in recap form. Therefore, don’t expect any new plot twists or storytelling alternation in this film. In other words, this isn’t a prequel, sequel or side story but rather a recap. This doesn’t mean you should skip anything though especially if you want a refreshment of PMMM entertainment. For new viewers, this should be a delightful experience. As for those who have seen the original TV series, the movie should be a reminder of what Madoka really was.
As far as experience goes, the movie itself touches upon what modern technology can do – recreating the style of PMMM to its finest form. In fact, animation itself isn’t a term to be used here but rather as a vivid expression of what the movie presents. As for starters, the tone of the movie is lighthearted. There’s no change to Madoka’s character from the original series as she remains her usual self. Easily recognizable by her round face and pigtail-like ribbons, she is obviously still the star of the movie. Then, there’s of course the mysterious Homura who transfers to Madoka’s school. As a new student, she’s obviously the talk of the class. Her character remains generally the same and fills the void of the show with its mysterious tones such as the question:
“Do you treasure the life you currently live?”
From a magical girl theme stance, the question spells out a darker mood of the realm. It explores aspects of the magical girl genre like never before. Chiwa Saito (Bakemonogatari, Last Exile, Strawberry Panic) plays her role brilliantly as Hormura as she draws not only Madoka towards her character but the viewers as well. Coming from the TV series, the infamous Kyuubeymakes his return. As the familiar of the magical world, he can grant any wish to a certain girl, on the condition that she becomes a Puella Magi and fights against witches. For fans who are already familiar with him, it’s nostalgic. But for new viewers, this is an experience to see just how dark his character can be. Other characters makes their reappearances too of course like Mami and Sayaka.
The story pacing itself is designed to fit within this movie in a span of more than 2 hours. (2 hours and 10 minutes to be exact) In other words, 8 episodes from the original TV series had to be fit into this presentation. It’s no easy task especially that means some parts would have to be cut out. Perhaps most imperative of these parts involves Mami and her character. Otherwise, one other particular with a big appetite gets more screen time than I had thought which bought a big smile to my face.
Then, there’s the magical transformation from a normal girl into a Puella Magi to fight the witches. The transformation itself is fluid with a strong OST to back it up. Yuki Kajiura’s work is recognizable here with her style. The action itself is also colored with fantasy like atmosphere enhanced by the visual direction of this film. Indeed, it looks sharp. Shaft also adapts its style of presentation through its easily recognizable work. With a magical staff, gun, and determination, these girls can do just about anything.
The themes of solitude and despair also remains intact in the film. As mentioned by Kyuubey, the magical girls represents the spread of hope while the witches are the symbols of despair. That part comes with the tears running down on the face of Madoka after a startling revelation. It’s amazing how almost every little detail gets captured though in this film. Shaft wastes no time with this adaptation to visually present this at its finest imagery. The voices of the characters captures the mood as well. In the beginning, Madoka has that cheery atmosphere surrounding her. On the other hand, Homura shows more of the darkness of the magical world. Then, there’s of course Mami that represents a balance of both in a way. I give praise to the voice actors and actresses in their roles for an outstanding performance.
For character designs, there’s that sense of magical girl feeling. The way they are dressed shows they are serious in fighting the witches just like from the original TV series. For new viewers, Kyuubey will be the surprising twist behind that emotionless smile. The city and its magical realm contrasts greatly in designs that shifts between the world of the real and the surreal. In fact, that fantasy world represents a surrealist sense of despair that also conjures emotions. Of course, there’s emotions here and there especially since the responsibility of being a Mahou Shoujo is never easy, not once in this film. As for the witches, they are designed to be evil without remorse. Their visual representation seems to be sarcastic with their simple designs. However, make no mistake as they are the harbingers of despair.
Ultimately, this film may have a different impression depending on how you watch it. Obviously, not every single second from the original series will be presented in this work. However, what it has brings refreshment to fans of the PMMM franchise. It takes that magical girl theme and gives it to viewers once again with style. What it might lack though is new additions (such as new material inserted in) since this is a recap..but clearly, this can be supported by the OST, atmosphere, and mood of the movie. The original series had that as well so this is a pleasant refreshment. The production values are probably the strengths along with the powerful soundtrack. (make sure to turn the volume all the way up with headphones!) No random fan service, no forced humor, no stupidity, no still animations, no regrets. It’s more than just a recap. It’s a magical experience. ／人◕ ‿‿ ◕人＼
4: Mahou Shoujo Madoka★Magica Movie 2: Eien no Monogatari
English: Puella Magi Madoka Magica the Movie Part 2: Eternal
Japanese: 劇場版 魔法少女まどか☆マギカ 永遠の物語
MAL Score: 8.39
Though Sayaka Miki’s wish was fulfilled, the unforeseen consequences that came with it overwhelm her, causing her soul gem to become tainted as she succumbs to despair and eventually loses her humanity. Homura Akemi reveals to Kyouko Sakura and Madoka Kaname the ultimate fate of magical girls: once their soul gem becomes tainted, it transforms into a Grief Seed, and they are reborn as witches—a truth Homura learned only through repeating history countless times in a bid to prevent Madoka’s tragedy.
Kyuubey only compounds their despair when he confesses his true intentions: to harness the energy created from magical girls and use it to prolong the life of the universe. As the threat of Walpurgisnacht, a powerful witch, looms overhead, Homura once again vows to protect Madoka and the world from a grim fate.
Caught between honoring Homura’s wish and saving the world, which one will Madoka choose in the end?
Mahou Shoujo Madoka★Magica Movie 2: Eien no Monogatari is a story of inescapable destiny, and an unlikely hero who could change it all.
I’m not the biggest fan of the anime series (at least I wasn’t before watching these movies), and, while I think it’s good, it never left a very big impression on me. The reason I’m writing a review of the second movie instead of the first, is because this movie finally succeeded at leaving that impression with me that I have missed both times I have watched the anime. I’ve heard people talk about feeling a “void” after finishing an amazing anime, and Eien no Monogatari has successfully left me with that feeling. I just can’t think of anything to do right now other than writing a review or going to bed early.
As with the first movie, Eien no Monogatari is a recap which follows up and retells the last four episodes of the anime. While the first movie was about an episode and a half shorter than the original material it retold, this movie is actually slightly longer (around 20 minutes more) and it really helps it pace the story much better than before.
Story – 10/10
The story now begins to shift from the main quintet of girls to just Madoka and Homura. It becomes more focused on the idea of the “Magical girl” and exactly what they are. It delves a lot into the psychological aspect of the story as Madoka’s conflict of whether to become a magical girl or not reaches it’s climax after witnessing the tragedies occurring around her and knowing that more are yet to come.
I’ve got to give it up to Gen Urobuchi for being able to create this psychologically intimidating situation for Madoka so well. As the mysteries about Kyuubey come to light, his explanations for why he has done everything he has is amazing and really eye-opening. It really takes apart different aspects of the human race like guilt, emotions, and why we consider some things more important than others, and looks at it from the perspective of something that is not only not human, but does not understand our human perspective on any of these topics.
And then it starts to really focus on Homura. Episode 10 of the original Mahou Shoujo Madoka★Magica anime was one of the best episodes I’ve ever seen, and this movie pulls off that segment even better than before. It has more time, better animation, and some new soundtracks that make it the highlight of this movie in my eyes.
Art – 9/10
Speaking of the art, it’s all redone amazingly. The original anime had some sloppy, rushed animation which has completely vanished in this movie (and the first movie as well). There are still a few still shots that last maybe a little too long, but the action scenes, emotions of the characters, and the backgrounds are all a huge step up from before. The added time in this movie allows for a few new shots to be shown and for many previous ones to be given more depth. Overall, the art is the biggest improvement from the series.
Sound – 10/10
I always loved the Madoka★Magica soundtrack, and thought it was one of the best in all of anime. I have no idea how they made it better despite how amazing it already was, but they sure succeeded. I thought it had one of the best soundtracks ever, but now I know that between these two movies, I cannot think of a single anime in existence with a better soundtrack and I am not exaggerating. They reused all of the old songs, and even added a few new ones with a new, amazing ending credit song as well.
The voice acting is just as good if not better than before. I really can’t compare overall because I would have to watch the anime and movie side-by-side to do so, but there are a few parts where I’m sure the movie has the anime beat, especially when it comes to Madoka’s voice actress.
Character – 10/10
The characters become fewer in this movie as it begins to focus on Madoka and Homura, so it’s a good thing that those two are one of the best duos in anime. I’ll admit, I always liked Sayaka the best and cared less about Homura because of that, but this movie really made me like Homura much more than I ever did before. With the little extra time this movie has, her character is given even more focus and extremely well written development. Madoka as well I felt was stronger in this than before. Her psychological distress was less rushed in the movie and given more time to add to the emotions and darkness of the story and helped build her character. The other characters, especially Kyoko, have some emotional scenes that also top the anime in my opinion (well definitely Kyoko’s, the others are about the same).
Enjoyment – 9/10 (Amazing)
I actually enjoyed this more than the original anime. Sayaka being my favorite character, I enjoyed the middle of the anime series the best, but with these two movies, I actually enjoyed the end of the story more. The new, brilliant art, new additions to the already amazing soundtrack, and the slightly longer time allowed this movie to go above and beyond the already great anime. I can’t wait for the third movie with new material and I’m really hoping it will just as good (maybe better if we’re really lucky) than these two movies.
Well as mentioned previously, this movie is the 2nd part of the trilogy installation from the Mahou Shoujo Madoka★Magica saga. The movie covers the remaining 4 episodes from the original TV series. While the first movie was titled ‘The Beginnings’, this is where it it ends from where the TV version left off.
This movie is essentially another recap of the TV series and thus, there is no original material in terms of storytelling or plot twists. However, that doesn’t mean viewers should pass up a chance to give this a shot though because not only does it bring refreshment, it also brings that sense of magical feeling you might get once again like never before. Indeed, Madoka is like a magical girl theme series like no one has ever seen before especially to those new to the franchise.
The movie starts off from exactly where The Beginnings left off related to Sayaka. The OP song remains the same that is orchestrated by the talented ClariS (Luminous). What the second movie offers though is even more of a darker tone related to the Mahou Shoujo theme. Madoka learns it the hard way from the very beginning from Homura. Both the physical and mental scares remains in Madoka’s mind along with Kyouko. They bring out the psychological style of what PMMM was, is, and continues to be. As for the movie itself, Kyuubey still remains the all unforgiving antagonist with his devilish smile and mind games. It’s a mind twist itself after all.
Like the previous film, this one also boosts talent in terms of voice acting and emotions. Madoka’s VA Aoi Yuuki is especially noticeable because her character suffers throughout her experiences with the events in this movie. In fact, she struggles with her current situation and the words from Kyuubey. She knows they are true facts but hard to accept them as reality. Even Kyouko whom originally started as a confident girl is now struggling with her situation and some startling revelations. They are all suffering with the fate and what they must endure.
The movie also spells out the new destiny that Madoka must embrace just like she did in the original TV series. Along with the startling revelation made in the beginning, Madoka must make difficult decisions even if it’s by herself. In fact, she wrestles with her own feelings and true facts in regards to her best friend, Sakaya. It’s painful to watch but it’s also the grim reality of how dark the movie is, just like the original TV series. Kyuubey further fuels the darkness with his plan and ambition to make Madoka into a Mahou Shoujo no matter what the cost.
Despite this though, fans from the original TV series may also remember a bit of Homura. For newer fans, it is a new insight to her character as we see another side of her, or rather in a different way. We see all the magical girls but then, there’s some of things we don’t expect..(for newer fans that is). Be ready for another twisted ride.
The OST of the movie remains top notch. We can give our thanks to Kajiura Yuki who is able to bring out her talent at its finest. The emotional scenes are played solemnly with the pacing while the action scenes possesses that full throttle feeling of fighting. The artwork takes its majestic style to its own right as well. The way the characters are crafted along with the Witches makes them seem more grim than usual. Of course, the fantasy world also remains surreal with its cutting edge style. Additionally, there’s the grey and red coloring backgrounds that almost seems to bleed in with the style of the series. Even though it seems that the movie portrays the TV series for a recap, it is still just as dark in many ways. Thank you Shaft.
Overall, this was another great film. Despite being a recap, it still had the tone of the TV series with its great cast of characters, supreme OST, unique artwork, and a grim story of magic. It is a world that the characters live in with darkness. The movie is a good wake-up call for those who still comes back once and awhile to relive the experience of PMMM. It is through these experiences where we realize just how dark some series can be. A magical girl theme series unlike most others, Puella Magi Madoka Magica takes the magical girl idea to a whole new level, a level that is unparalleled to what I’ve seen in recent years. There’s pain. There’s sorrow. There’s emotion. There’s betrayal. There’s solitude. Then, there’s Eternal.
First, let’s be clear, the two Madoka movies do not tell any new stories different from the original TV anime. However, that doesn’t mean the two movies have no value, for they are by no means mere recaps of the original series. Except for the plot, everything – visuals, music, voice acting, directing, etc. – everything you can name has been extensively revamped.
Take the visuals for example. Most, if not all, of the scenes have been redrawn and reanimated – the backgrounds grander and more dynamic, the movements smoother, and all the drawing imperfections and animation mistakes fixed. The results are breathtaking. Time and time again, I found myself inadvertently silenced by the beauty and vividness on the screen.
The movies also boast a good number of new tracks by Kajiura Yuki, some of which are remixes/rearrangements of tracks from the original anime, and a few are new compositions entirely. If you know anything about Kajiura Yuki, I probably don’t have to tell you how amazing the new soundtrack is. At the same time, the new tracks also set a different feel for the anime.
Even the lines have been re-recorded. I cannot compare how the voice acting is done in the movie to how it is done in the original series, but I can tell you that in every scene of the movie, the voice acting is always real and compelling. I myself was definitely pulled deeper into the story thanks to the voice actors’/actresses’ part.
Of course, not every change made for a stronger story presentation. Transitions are not always the best, and some important scenes from the TV anime had to be cut out. The added grandeur and drama in the cinematography also sometimes end up working against the story instead. Still there are some changes that neither strengthen nor detract from the story presentation. Nevertheless, the stunning visuals, the soul-hauntingly beautiful music, the emotional grit of the voice acting, and clever editing all come together nicely, sustaining the flow and impact of the story.
When all’s said and done, the differences between the movies and the original series really aren’t that great. But for returning fans, hardcore or not, even these tiny, subtle changes make the movies worth watching. Through such changes in pacing, in cinematography, in animation and music, and in a small number of tiny additional scenes, Shaft has masterfully presented us with a slightly but meaningfully different perspective and feel of the Madoka story. So while it is not essential to watch the two movies to enjoy Madoka Magica – the original anime is still the core production – do try watching the movies if you ever want to revisit that fantastical and cruel world which came to your doorsteps over a year ago, in the form of a cute, white, cuddly animal.
3: Kara no Kyoukai 7: Satsujin Kousatsu (Go)
English: the Garden of sinners Chapter 7: Murder Speculation Part B
Japanese: 劇場版 空の境界 the Garden of sinners 第七章『殺人考察（後）』
MAL Score: 8.42
In February 1999, a string of murders has Shiki Ryougi and Mikiya Kokutou on edge. These crimes share a disturbing resemblance to a similar set of homicides from 1995, when Shiki and Mikiya first met, and awaken a dark, murderous desire that has laid dormant within Shiki’s soul ever since then.
With Shiki under suspicion due to her involvement in the past killings and supposed resemblance to the killer, she and Mikiya set out to find the true perpetrator. In the midst of their separate investigations, Mikiya grows increasingly concerned with Shiki’s well-being and hurries to find the one responsible in order to protect Shiki from her own impulses. With the lead he receives from his cousin, police investigator Daisuke Akimi, Mikiya is led into the underbelly of Mifune City, as the salvation of Shiki’s soul lies in his determination to prove her innocence once and for all.
There’s an old aphorism about saving the best till last, and Kara no Kyoukai ~The Garden of Sinners~ has done just that.
The seventh and final movie in the franchise doesn’t simply follow the events of the second movie, but utilises threads from several previous stories to weave an interesting, and sometimes disturbing, tale of obsession. The second part of Satsujin Kousatsu (Murder Speculation), takes place in February 1999, one month after Oblivion Recording, and more than three years after the events in the second movie.
This time around it seems the serial killer from part one is back, and as the bodies are found one by one, Mikiya Kokuto searches for answers as he continues to believe Ryougi Shiki was not responsible for previous set of murders, and that she is innocent of the crimes being commited now. Meanwhile, Shiki prowls the dark alleys night after night …
One thing that really sets this movie apart from the rest of the series is that the plot is much tighter and more flowing than in most of the previous outings. There is also a conscious effort to tie up some of the loose ends left over the course of the series, and while there are still several unanswered questions, the second part of Satsujin Kousatsu does manage to offer some catharsis about Shiki and Kokuto’s relationship.
That said, the writing isn’t perfect. There are still some plot points that remain unresolved, and while they may not have a major impact on the narrative per se, they do leave one feeling that the overall storyline from the whole series is a little incomplete. In addition to this the dialogue suffers from an abundance of intelligence as every character can philosophise their actions in some manner. The upshot of this is that the movie can sometimes seem condescending or patronizing, and even though this questionable arrogance may be unintentional, the simple fact is that viewers may find themselves wanting to punch the screen from time to time.
While the writing may not be up to standard, the same can’t be said of the visuals. Ufotable have, once again, pulled out all the stop for this finale, and it shows. The characters move with an animal grace that is rare to see, and the overall animation is stunning in its quality and choreography. The opening credit sequence is particularly noteworthy as it shows great imagination, as well as some stunning techniques that will hopefully appear in more anime. As for the movie proper, there are some fantastic lighting effects throughout which add a more ominous atmosphere to much of the story, especially when used alongside the often dark, dank backgrounds and settings. That said, there are occasions where the lighting is a little off (for example, characters are easily distinguishable in areas where there is no readily available light source), however this is a minor gripe as the majority of the movie is the most atmospheric and well animated episode in the franchise.
Sound is another area where the movie excels, although there are admittedly a few minor niggles here and there. The cast are at their best in this episode, and their experience with the characters, especially Kokuto (Suzumura Kenichi), and Shiki (Sakamoto Maaya), really does shine through. The performances of the seiyuu literally ooze quality, and while there is a penchant for philosophical monologuing at times, these are delivered with aplomb.
In terms of effects Satsujin Kousatsu Part 2 might arguably be the best in the series. Each sound is clear and distinguishable, even when the habitual cacophony occurs during heavy action sequences, and once again the franchise proves that it can deliver very high production values.
The real triumph though, is the music.
In the simplest terms this movie a definite contender for “best anime choreography of the decade” as it features some of the most breathtaking melding of animation and music to be found in the medium, and the choice of tracks is nothing short of inspired. The opening sequence is a choral, hymn-like track which perfectly sets the tone for the rest of the movie, while the end theme, a bittersweet ballad, works very well with the movie’s finale. Where Satsujin Kousatsu Part 2 really shines though, is in the application of its thematic music. The tracks on offer have a generally dark feel to them (this isn’t really a “nice” story after all), but added to that are visuals that have not only been timed extremely well, but feature some excellent animation, stunning set designs, and superb camera angles.
One of the issues that has plagued the Kara no Kyoukai franchise from the outset is that the characters are often underdeveloped, and while certain events over the course of the series provide opportunities for growth, these chances are all too often overlooked. That said, there is some development to be had, it’s just unfortunate that the lion’s share of it only occurs in a few movies, and this is one of them. It’s the introduction of Shirazumi Lio that changes the dynamics of not only the story, but also the relationship between Kokuto and Shiki. He is the one thing that forces the pair to grow as characters, and his presence in the movie casts a pall over every story in the franchise.
Confused? I’ll elaborate then.
Kara no Kyoukai has made the effort to portray Souren Araya as the main “bad guy”, but while his goals may be the drivers for many of the events over the course of the series, he never affected Kokuto and Shiki in the way that Lio does. It’s his formation of a very disturbed “menage-a-trois” that causes Kokuto to “get off his backside” for once, and pushes Shiki to the edge of reason. Lio is also noteworthy for the surprising amount of characterisation that has gone into his creation. He is a complete persona from start to finish, and while there is virtually no development on his part, he honestly doesn’t need it.
To be perfectly frank, I found this to be the best installment in the series, and while it is somewhat more graphic than other episodes, this only serves to improve one’s understanding of the characters and events (as opposed to simply being graphic in order to be “cool”). A case in point is one particular interaction between Lio and Shiki, which while being rather sexually charged, is more reminiscent of a child pulling the wings off a fly. It’s this emphasis on improving the viewer’s understanding of the characters that really sets the movie apart, especially as this is what has been lacking for most of the series.
If you’re a fan of franchise, or of TYPE-MOON, then Satsujin Kousatsu Part 2 is a movie that you should definitely watch. As a standalone it holds its own against many other releases, but when the series is taken as a whole the movie is raised to a new level. That said, in order to fully appreciate the difference it’s best to watch the rest of the series first, as while each episode functions as an autonomous tale, this particular film has been designed to convey an ending.
Kara no Kyoukai may not be to everyone’s tastes, but whether you like it or not the one undeniable fact is that the franchise makes a great advertisement for the potential inherent in the anime industry, and given some recent releases like Break Blade, it seem like someone was paying attention.
Kara no Kyoukai 7: Satsujin Kousatsu Part 2 is the finale of a string of movies based of a series of light novels by Kinoko Nasu. In the final movie, the story revolves around the appearance of multiple murders as well as the disappearance of Ryougi Shiki, and Kokutou Mikiya’s attempt to unravel the mysteries of the murders and Shiki’s whereabouts.
I was really conflicted on whether or not the story for the finale deserved a 9 or a 10, but in the end i chose the give it a 10 against my better judgment. All of the Kara no Kyoukai movies have a very adult plot, focusing on murder and moral values within society, and the 7th movie also takes this stance while focusing on Shiki and Mikiya’s relatioship, as well as tying up lose ends in the plot, and revealing things that the other movies left out. The use of suspense and mystery, as well as the constant flash backs that reveal more and more of Mikiya and Shiki’s tale really helps to keep the story flowing as well as keeping the viewers interested. If I had to be really picky, the only problem with the story is the pacing at some points. The flow of the story does not have a constant pacing, where at some points it seems to move extremely slow while other times the story seems to progress and reveal information in a short amount of time.
Really, all the Kara no Kyoukai movies have amazing art and animation and the finale is no exception. The use of a dark color palet brings out the story’s dark undertones of the story, as well as complementing the characters and scenery.
Sound is also used very effectively as well to help create a mood to immerse the viewers in. It is up beat when it needs to be, and sad when it needs to be as well. The combination of the art and sound creates a mood that helps immerse viewers in Shiki and Mikiya’s world and the situation they are in. It is the addition of these elements which truly brings out Kara no Kyoukai’s brilliance. Keeping the viewers attention is only half the battle, for an anime to truly become remarkable in the eyes of the public it needs to draw in the viewers, immerse them in the characters world. Having the viewer feeling tense as a character rounds the corner, having them feel for the characters during emotional moments, this is all created through the use of art and sound, and Kara no Kyoukai nails it.
As stated in the story, we get to see more of the relationship between Shiki and Mikiya as well as their development as characters. Shiki is a very unusual character, one of the reasons that people are drawn to this anime, and although she is hard to identify with, seeing her struggle with her problems, struggle with understanding her emotions, as well as evolve as a person is what draws us to her. While other movies did not so much focus on Shiki and her emotions and how she is changing, this movie is solely dedicated to it, and that is one of its greatest draws.
What can I say, I have been praising this movie for the whole review. It is a masterpiece in my eyes, and while it may not have as much action as the others, it is still my personal favorite.
While writing this review, I was trying to find things wrong with this movie, but not matter how hard I thought, I was not able to. It may seem stupid that I gave this all 10’s, but really, this movie deserved every one of them. It is outstanding, amazing and remarkable.
So let me ask you, what makes an anime memorable to you? Characters? Story? Art? There are only a select few animes that ever reach this level with people, an anime which you will remember while forgetting many others. It needs to stand out, it needs to grab your attention, and most importantly, it needs to affect YOU. For me, Kara no Kyoukai 7 is that kind of anime.
*slight spoilers ahead*
This film had some good points (the art for example, which has been a consistent highlight throughout all of the films) but it’s heavily outweighed by the low points in the execution of the movie’s story.
For one, it ran an hour too long. The film is a bulky two hours I felt was mostly filler, and definitely could of been condensed. It seemed like the director and writer made this film way too long to make up for the long wait but it was completely unnecessary.
That being said, I did enjoy the first part of the film. It’s starts off very promising with a suspenseful murder-mystery sort of vibe that’s been prevalent with all the films. Shiki’s back story is finally fleshed out a little more which was nice, though you have to have a good memory to catch everything. (Lots of references to the past films, to be expected.)
Where the movie really lost points for me was the main theme of the film; the idea that Shiki has always had this latent desire to kill and Kokuto’s argument that murder is never justified. I agreed with Kokuto and the movie argues very well throughout that killing means killing a part of yourself too. This was a recurrent theme throughout the films and they had me believing it, which was why the ending was such a supreme disappointment for me. The film seemed to contradict and ignore it’s own argument for the sake of a “happy” ending and I felt a little cheated by it. Where are the consequences of murder they kept talking about? the loss?
So, if you liked the other films then you’ll get a lot of the same. The tone, characters and artwork are all familiar and are certainly worth a look if only to know how the series ends. But this film is a prime example of a story that was structured with a very clear ideal in mind, only to chuck it out the window for no reason at all. If your a fan of good, consistent writing like me, you’ll be disappointed.
2: Mahou Shoujo Madoka★Magica Movie 3: Hangyaku no Monogatari
English: Puella Magi Madoka Magica the Movie: Rebellion
Japanese: 劇場版 魔法少女まどか☆マギカ 叛逆の物語
MAL Score: 8.45
The young girls of Mitakihara happily live their lives, occasionally fighting off evil, but otherwise going about their peaceful, everyday routines. However, Homura Akemi feels that something is wrong with this unusually pleasant atmosphere—though the others remain oblivious, she can’t help but suspect that there is more to what is going on than meets the eye: someone who should not exist is currently present to join in on their activities.
Mahou Shoujo Madoka★Magica Movie 3: Hangyaku no Monogatari follows Homura in her struggle to uncover the painful truth behind the mysterious circumstances, as she selfishly and desperately fights for the sake of her undying love in this despair-ridden conclusion to the story of five magical girls.
There’re cliffhanger anime for people to die for a sequel.
There’re even anime that just leaves cliffhangers and never come back.
There’re those garbage anime that you just don’t feel anything at all.
And there’s Madoka, an anime with an amazing story, art, sound, character, but a soulless and downright devilish ending.
There will be absolutely no plot at all, because I want people to understand and be ready for anything.
And, I tell you, you’ll need to be.
[P.S. There are absolutely no plot summaries in here, but the vocabularies and terms I use may indirectly suggest a minor point of the story.]
This story is meant to leave an unsatisfactory ending. The motif is pretty clear: the Bible and the genesis of God and Lucifer.
Come on, our world hasn’t come to an end, has it? A story based on our world, a never-ending cycle of unsatisfactory endings cannot be satisfactory by itself, unless by deception and/or imagination.
Urobuchi, author of Fate/Zero and Madoka among many others, is famous for a seamless plotline. I cannot state that this movie has brought down his fame, because all his stories had dark motifs. Indeed, this movie has left an unsatisfactory ending, but this is a masterpiece, creating an amazing transition between theogenesis and diablogenesis.
How could I dare say that unsatisfying ending crushes this masterpiece?
Imagine Madoka being reanimated with Monogatari: Second Season’s animation technology.
Now add malice to that.
Now add another plot twist to that.
That does not even begin how great the movie was.
The seemingly childish animation was still there, but the malice was all the more heightened, getting into the fine line between creepiness and evilness.
A wise mangaka once stated that drawing a malicious face (not angry face) was not an easy job. He stated that the background, the eye, the position of the panel, the position of the character, darkness, facial expression and etc were all necessary to make one malicious face.
Then how much harder would it be to draw nearly an hour-long malice?
Shaft studio, producers of monogatari series and of course madoka among many others, is known for their ability to, despite using quite “cheating” methods, send chills down the viewers’ spine. Using scenes where the character simply stands, or where the name of the font used or color of the scene or sometimes seemingly scanning the clothings or skirts of an unknown origin, Shaft studio actually makes a great success of delivering an heightened message to the viewers.
And, truth be told, I could not catch a single misgivings about the animation of the movie. When malice was needed, Shaft did their job. When they needed a happy tea time, Shaft did their job. When they needed a battle scene, Shaft did their job. No more colors or fonts. They did their job.
If there’s one criterion I always cut down and attack, it’s the sound. Being a very keen person in sound, I always wanted the producers to use the “perfect” BGMs (of course nothing is perfect but still I can dream?!) at the “perfect” moment. But I have to say it–rebellion nailed it.
The song was as creepy as it could get. The background musics at the moment of realization was so good that I got a chill down my spine and nearly pissed myself (true story). On the opening, ClaRis did their usual mislead. The general “ah, this is a magical girls’ story! There’re absolutely no genre-twisting stories or one of those Urobuchi things in here!” and comforted the slaughter lambs. Then, came the usual malice.
Scary it was.
And somehow, even at the ending, although the song was in major pitch and no double voice or alterations have been added, it was still creepy and malicious. It created a sense of Judas’ kiss, meaning that while the act itself was a beautiful act, the inner sense was dark enough to creep our intestines. If there is one thing that music should do, it is to do that. Even through the electronic amplifiers, music should always deliver the feelings.
Rebellion was an amazing exemplification of this job of music. It did its job when it needed to, creeping our guts out after cleansing our soul with “cute” music, then presenting the “Judas’ kiss”.
Sound–a job well done.
No one expected this.
No one could have expected this.
No one could have seen this coming.
Yet this was inevitable.
Urobuchi always does this. He reveals a down-to-Earth fact that has been in front of our face the whole time yet at the same time a fact that no one has realized.
The development of our main character, Akemi Homura, is wonderfully presented with this motif.
Her “transfiguration” was something no one have realized, yet something so obvious and inevitable that everybody should have known.
I will not go onto further details.
As for minor characters, such as Mami, Sayaka, Kyouko and our all-time hated con artist, MOTHER****ING KYUBEY, they have done their job spectacularly. Every bit of stories they shared and every bit of clues they presented showed and developed the story rapidly. In a way, they “created” the main character. It is always difficult to involve all of the characters and giving all of them important roles. Failure to do so may not be the doom of the anime, but a horrible trial of doing so means the end of the anime and doom of its production. However, Rebellion Story, while providing every character a role, also succeeded in not awkwardly fitting in their roles into the original plot.
It is indeed a job well done.
Now, before you say anything or go away, let me explain myself.
Indeed, this was an amazing movie, and I don’t think any other movie can create a seamless storyline as this one.
However, I didn’t enjoy this at all.
In fact, I don’t think I can ever see the movie again.
It was too soul-breaking that it felt like my soul was breaking apart.
Indeed its story was good, indeed the art was amazing, indeed the sound did its job, indeed the character development was godly.
But I just couldn’t like it.
Still, this was only my opinion. Some people might like it.
In fact, exactly because I liked it, I want people to watch this.
It both critiques the conventional “now everybody’s happy” anime endings and the well-known “good guy always is the good guy” logic and crashes it down to Earth.
Because of this, I have to take off the Enjoyment spectrum out of the overall rate.
It indeed is an important aspect of anime, but not in this one. This movie DOESN’T want you to enjoy the show. And that is exactly why this is great.
Great story, art, sound and character.
It is the work of our lifetime.
Don’t miss it.
If you are in a region where you can go watch the movie, you are blissed.
GO WATCH IT.
IT’S WORTH EVERY PENNY.
Then, happy anime-ing.
I dreaded the day that a sequel came to fruition for Madoka Magica. This was a show that ended on a rather ambiguous note but still left a good, everlasting impression in its original run, hinting that there was really no need for a sequel, an explanation, or an “After Story”, for that matter. I’m not saying I don’t want any more of it, not at all. But seriously, Gen Urobuchi, there’s no way you can write a sequel any better than the original series, especially when your original series was THAT good. So yeah. Like…. just stop.
Okay, I was jumping like a schoolgirl when I heard that there was a new Madoka Magica, but I didn’t have much hope for this one either.
But what I believed to be a mediocre attempt to capture the world by storm and ultimately fail, I was proven wrong. I hate being wrong. I can’t stand the thought of being wrong. To me, being wrong, is just wrong.
Never been happier to be wrong.
Story: What the original series packed was a story that was armed to the teeth with dark undertones and twists so shocking, Lindsay Lohan could be one month sober from her usual crack fiend habits and the power of the message would still be ultimately missing. So when Madoka Magica was renewed for a sequel film, they ultimately took the exact same impact and made it even better. For those of you who have already seen the original (and you HAVE to see it first), you might be wondering, “how does it get any better?” Remember when Madoka transcended into the heavens and became a holy power? Think of this as God’s believer trying to make direct contact.
However, I think the real impact of the film doesn’t happen until much, MUCH later. You’re watching for an hour and thirty minutes and you probably haven’t reached it yet. Ten minutes later, you’re probably…. almost there, and I’m specifying what happens near the end. When you hear from other MAL users about how the ending was a serious shock, nobody knew how to take it, “ending of Oreimo”, all that stuff, that’s all true. But if you still have a vague idea of what they’re talking about, then imagine it this way: life gives you a cookie, then kicks you in the third leg just to take it back (if you don’t have one, forget the reference!). Only difference is, if life does it, you’re rolling on the floor, writhing in pain. The ending to this third movie turns you into Niagara Falls for a while.
The story is just splendid.
Art: Aniplex can screw up just about anything on this list in the eyes of some, but if there’s something a pissed-off fanboy or a nine-year-old shounen rage kid cannot base his bad rating on, it’s the animation. Looks clean, characters move in a crisp and fluid motion, and the Nightmares that appear, while they don’t retain the same animation style as the rest of the characters/scenes, it blends in, oddly enough. If they did those sequences wrong, it would pop out very noticeably, especially given the two conflicting animation styles. Fortunately, there’s a sense of depth, and instead of that bolstered look where a character looks as if they “happen” to appear in the scene, the character looks like they’re actually there (and there is a HUGE difference between the two definitions).
Sound: I’m a fan of ClariS.
…..yeah, moving on…..
Character: I didn’t quite understand Homura’s actions the first time I watched the movie, but after a good runthrough over the exact section I was skeptical about, I had to use my own judgment and speak for myself, “it’s logical, it makes sense.” This is the exact same place in the movie where everyone spreads rumors about Gen Urobuchi “ripping out your hearts and sending you into a black oblivion of nothingness and despair and I’m gonna go kill myself and-” you get the idea. You’ll just have to watch this part for yourself and make your own decision about Homura’s actions (that’s a small spoiler, I think, but I know it’s not enough to spoil the entire thing).
I don’t like forgettable characters. Not the forgettable ones in the sense that we see them once throughout the whole movie and they dick off for the rest of the time to do as they please because we don’t need them. I don’t like forgettable MAIN characters, and while Sayaka was one of the main cast of the original series (and still is), I feel like she was neglected most of the time, and never really got the spotlight even after Kyouko came in, who ended up stealing it (as far as Character Favorites on MAL tells me). With the amount of screen time Sayaka got in the original series, I was impartial about her death. It never struck me as particularly noteworthy. That changes with the third movie. Her role is more defined, we do get to see more of her, and this “more of her” that we see isn’t just a way to give Sayaka fans something to squeal about. This is her own persona, her own contribution, and what I would call redemption from her lack of presence in the first movie. I’m more delighted by the idea that Urobuchi doesn’t neglect to use his characters when he needs them.
Enjoyment: If you can classify “enjoyment” as sitting at home and drowning in my own puddle of tears while watching, then yes, I did enjoy it.
Madoka Magica is one of those shows that never initially grabbed my attention, but then again, it doesn’t take very much to draw me in at the same time. All it needs? Good storyline, good execution, and I can cope with the rest. But while a select number of shows can do a combination of both and I would still point out a flaw or two, and while some will gradually lose my initial attention, Madoka Magica is, for me, a very, VERY difficult show to dislike or change the rating of, or keep my eyes off for that matter. I wasn’t swayed by the hype, I’ve listened to all the criticism, and at the end of the day, this series still stands as one of the best series I’ve seen, if not the absolute best. Even with the ending as controversial as it is, there’s no way I can bring myself to dislike this series. I thought it wasn’t a proper ending, as diehard of a fan as I could be, but I was satisfied having seen it.
And while I have a tendency to associate myself with shoujo and rom-com shows, I’ll have to admit eventually that I loved the action sequences just as equally as the idle explanation scenes. You know, those ones where they just sit around and talk to each other? Yeah, I don’t know why I like those scenes. Maybe I’m just weird.
Overall: I think everyone who previously didn’t know I like watching anime and everyone who does know has heard this from me at least twice within the past two days: WATCH THIS MOVIE. If I keep this up, I probably won’t have a social life. Whatever the case, I don’t think I’ve been this hyped over an anime show, nor have I had such a strong desire to watch it again.
Maybe I’m being biased because this is my favorite show, and maybe I’m missing something here and I failed to pick it up, and while this third movie may probably be one of those shows that will still get bogged down on hype alone, there’s no reason for any of that. It’s brilliant, it’s well-thought-out, and it really doesn’t need any of its hype to prove its worth.
The final chapter in the highly acclaimed Madoka trilogy/show has come to a close, and studio Shaft has closed this book right (if not heart wrenching). The story is all tied to Homura after the events of the first two films. We follow her as the story travels down a road most fans never saw coming, but since this is the final chapter there is an end to this road. A very fitting end. I won’t go into detail because of spoiler reasons, but some fans might feel crossed (Homura’s actions during the final moments of the film). Thematically speaking this series has always been about the balance of hope and despair. How the influx of these two emotions create the balance of the world. I feel that once you see the film (and are done crying in a puddle of tears), if you think about what the show has been leading up to, then there is no other way this could have ended. Also there is some excellent fan pandering in the film. Several fights, and scenes were crafted for your viewing pleasure and entertainment. Which this being the final film I really appreciated (mainly in the beginning of the movie). Very minor complaints are near the beginning of the film tho. Lets just say it is a little jarring (for a good reason of course), and takes a little while to get going. Once it gets moving however it never stops, which is a good thing given the run time of the film. Overall an excellently crafted narrative, and conclusion to the series. Filled with tid bits, and nods to the fans of the series. What more could you ask for from a final chapter? For me at least, nothing.
I’ve always been a fan of the style of animation in the Madoka franchise. The artistic nature of the backgrounds, and the world I have always found incredibly appealing. Here is no different. The world is beautifully rendered, and full of little details brimming with color and imagination. The Character designs are top notch as well. Fans will be happy to know there is also new transformation scenes, which look fantastic as well. The fights in this hold a cinematic quality to it that I just don’t see in Anime all that often. They were fluid and fast, which added to the spectacle of what was going on. If the Madoka animation hasn’t shined you on in the past then I don’t think this one will do anything different. For fans on the other hand, they will be happy.
The rule of thumb, besides pure enjoyment, that I use for judging an OST is if it amplifies the tone of the film. All to fitting is what I can say. The music moves with the scenes, and allows the audience to feel connected to it that much more. The voice acting as well is top notch. Saito, Chiwa delivers a fantastic performance as Homura, which is a good thing considering this is her show. Everyone else was great across the board, but her specifically was a stand out.
Everyone is back this time around including some new additions. Of course the spot light is on Homura in this film, and this journey for her has been a rough one. It truly is heart breaking. Now like I said earlier some fans will be split on Homura’s actions in the latter half of this film. So it is up to you to decide on how you feel at the end, but for me it was tragic in a good way. I’ve rarely ever felt more understanding, and sympathetic for a character. This is the fruition of her development, and it is damn good. Concerning the rest of the cast, none of them were really side lined, except for the new addition, Nagisa. Nagisa is the new “magical girl” in the film, and she is underused. Which I am actually fine with considering I came to see the characters I have grown to love, but then I just think back to why she was there to start with (fan service probably). Anyways it was great to see everyone for one last show, and minus the addition of Nagisa, they brought their all.
This film broke my heart in all the right ways, and I will take good story telling over happy any day. Filled with moments that made me want to cheer, and sink into a pit of sadness; this final film was what I needed in my life.
Like all good books one has to reach the last page sometime, and this closing chapter delivers. As a fan I would recommend this to anyone who has enjoyed the original series/films (because they are necessary for this one). If Madoka was never your thing then this won’t win you over. Fantastic characters, story, art, and sound, nothing more to really say except one hell of a good film, and I can’t wait to watch it again. As always thanks for reading.
1: Kara no Kyoukai 5: Mujun Rasen
English: the Garden of sinners Chapter 5: Paradox Paradigm
Japanese: 劇場版 空の境界 the Garden of sinners 第五章『矛盾螺旋』
MAL Score: 8.55
In November 1998, a double homicide occurs at the newly constructed Ogawa apartment complex in the heart of Mifune City. The murderer, Tomoe Enjou, has fled in a panic. To his astonishment, he is not pursued by the police and news of the incident has not been reported through media outlets. After Shiki Ryougi defends Tomoe from a group of thugs, she allows him to use her residence as a hideout. However, a few days later, Tomoe is shaken to discover that his mother is alive, even though he is convinced that he killed her.
Coincidentally, Mikiya Kokutou is investigating a tip that his associate Touko Aozaki receives regarding the murder at the unique apartment complex. As he uncovers more information about the incident, Mikiya takes a particular interest in Tomoe. Deciding to investigate him further, Mikiya soon discovers the disturbing truth of the foreboding Ogawa complex.
The fifth installment of the Kara no Kyoukai film series, Mujun Rasen combines an intricately constructed mystery with established themes and characters to produce a dark, thought-provoking story.
Wow. I have to say that this movie is enough to leave one speechless at times, and for a variety of reasons.
The fifth installment of the Kara no Kyoukai series, Mujun Rasen (Paradox Spiral), is somewhat of a departure from the previous four outings not just in terms of its running time (almost two hours), but also in terms of art direction and story.
Set around two months after Fukan Fuukei, the tale begins with a disjointed sequence of events that are gradually cleared up as the movie continues. The story itself centres around a boy named Enjou Tomoe, who is saved from a group of thugs by Ryougi Shiki. She invites him to stay with her after he begs her to hide him somewhere as he believes that he has committed a crime and appears to be on the run.
During this time it seems that Kokuto Mikiya is away on some business, and Aozaki Touko is investigating an odd rumour she has heard from a policeman she knows.
Now the main problem with the story direction is that many people will be confused by the path it takes. There are numerous sequences that are repeated several times, and the story has a tendency to not only jump about from one time to another, but also from one event to another (a style similar to that used by Luc Besson at times). The result is something more along the lines of a Satoshi Kon production, and while there will be many people who enjoy the numerous twists, turns, loops and whorls that take place in the story, there will be just as many who will be put off by the overwhelming amount of information one has to process at times.
The art and animation throughout the series thus far has been top notch, however there is a noticeable drop in quality in this Mujun Rasen. Given the length of the movie it may be that Ufotable were forced to cut some corners with the designs and animation, but there are quite a few scenes where their normal quality really shines through. The CG is, as always, of a very high standard and runs smoothly in conjunction with the normal animation. The backgrounds and backdrops are well designed, and a lot of thought has gone into ensuring that certain elements in this area follow the concept of the story.
Unfortunately, the drop in quality I mentioned is noticeable in several scenes, and in one in particular, the character looks constipated rather than hysterical. In addition to this the animation of the action sequences, whilst being excellent overall, suffers towards the end of the movie, with one key sequence being more dizzying than breathtaking. That said, the sequence in question will appeal to those who like roller coasters at the very least.
The sound is on par with the other movies and is well executed overall. The effects are extremely good throughout, but the old problem of the noise sometimes being too overwhelming has reared its head once more. The score used throughout the Mujun Rasen lends to the general atmosphere, however there are times when the music seems a little out of sync with the on-screen action.
On the plus side it seems my prayers have been answered as more is revealed about Touko, especially as the antagonist in this film, Araya Souren (who appeared briefly at the very end of the previous movie declaring himself to be a magus), has a history with her. In addition to this, there is a secondary character named Cornelius Alba who also has a history with both Touko and Araya. In addition to this the viewer can finally see some different sides to Shiki, as well as gaining some insight into why Touko was so interested in her during the events of Garan no Dou.
The downside is that Mikiya continues to be more of a supporting role in this movie, and Tomoe, while generally being a decent character for the most part, may annoy some people.
Even with those flaws, this is still an excellent movie (especially if you can get your head around the plot). Fans of Kara no Kyoukai should generally be pleased with this latest addition to the franchise, and although it does drop a little in terms of animation and artwork, Mujun Rasen will hopefully herald a new direction for the series.
I’m expecting good things from the sixth movie…
OK, so this is version 3 of my KnK 5 review after watching the movie for the second time and getting part of my first review deleted. The full summary part has been taken off to keep the size down (I spent a lot of time on that too). I will be more in-depth and critical this time around. Before you read this review or watch the movie, make sure you’ve watched the first 4 KnK movies. Scores are based on 2nd time around. Comments and private messages are appreciated to help me review better next time around.
First Time: 8.5/10
The thing to note for #5 compared to the other 4 is that this time, the movie is nearly 2 hours long. That’s more than double any of the previous movies. However, the story is by no means slow, and there are more than enough turn-arounds and absurd twists to keep it enjoyable. Odd installments of flashbacks and repeating scenes make the whole thing a bit difficult to follow, but overall, the story was unique compared to the other Kara no Kyoukai episodes and understandable if you’ve watched the other 4. By this time, you should be quite familiar with Shiki’s as well as Touko’s abilities.
Second Time: 9.2/10
The problem with the first time around was the confusing non-linear story pattern. The montage when Shiki reappears was helpful at clearing this up, and the second time through, I could grasp some of the deeper meaning in some of the obscure statements. Araya and Touko had some really profound quotes that only truly struck me after watching the movie again (this time, I didn’t have to worry about catching the plot). Philosophically, it was almost like GiTS for me. I also noticed some real logic lapses the second time around. Stuff like how the police didn’t do a follow-up and the lack of blood in some scenes and excess of blood in other scenes. Some of the coming back from the dead and not being fazed by stab wounds are also ridiculous, but within the bounds of a supernatural anime like KnK.
First Time: 10/10
I was going to give this a 9, but I suppose art also entails animation. As always, KnK has some of the best (or possibly the best) animation of all time. The fights are packed full of excitement and every attack is conveyed beautifully. Again, Shiki’s eyes are as beautiful as ever, and there is plenty of blood. This time around, there is more than one fight scene, so it’s almost like double the awesomeness.
Second Time: 10/10
KnK is basically the height of animation quality. There were a few lapses here and there and some sloppy artwork in some places, but the second time made me concentrate more on how beautiful the animation really is. Sometimes, I take KnK for granted, but compared to other anime, this is on its own level. Since there were 3 fight scenes, I am satisfied that there weren’t any blatant drops in quality for any of them. Some criticisms for you picky people include lack of blood during the stabbing scene and some cgi moments that were less than superb. Also, Touko regrows her teeth in her fight and Mikiya is present in the very beginning of Touko’s fight on the ground (1:07:32 in the gg-Takajun subs) when he shouldn’t be (he disappears in the next set of frames). Overall excellent though.
First Time: 9.3/10
Every person has their own personal taste with music. For me, the soundtrack of every KnK movie is beautiful, and this is no exception. With mixes of familiar tracks from the previous 4 movies as well as a few of its own, KnK 5 has perhaps the best soundtrack of the entire series so far. Additionally, the ED song is Sprinter, which is my favorite Kalafina song so far. The thing that makes KnK so amazing is not only the animation quality and straight-up beauty of the fight scenes, but also the incredible bgm that backs each fight scene up. Ever since the first movie, the bgm that they play has never failed to engage me more into the story and “feel” the emotions.
Second Time: 9.7/10
I downloaded a rip of the KnK 5 OST after watching it the first time. Lo and behold, the second time around, I loved it even more. Once again, Sprinter is a definite plus. Sure, the soundtrack is a bit repetitive, especially from other KnK movies, but I think that’s what makes it great. Why take down a winning formula? That being said, this is the best OST of the 5 movies in my opinion because it combines many great tracks into a full 2 hours, along with adding a few compositions of its own.
First Time: 9.7/10
If animation is the one thing KnK is associated with, character would be a close second. From the utterly confusing first movie to the scene-setting second movie, we’ve seen Shiki, Mikiya, and Touko develop. Now that I have become comfortable with Shiki, I consider her to be one of the most interesting characters of any anime, regardless of her eyes. Her monotone conversations never cease to amuse me, and she gets in a lot of time talking with Tomoe, the new character. The psychological aspects of KnK 5 rival those of some of the previous movies, and there is some questioning on the side of the “bad guys” as to what “absolute wisdom” is. If you’ve seen and understood the other movies, the character development in this is just as good, if not better because we get to see a side of Touko that has not been revealed before.
Second Time: 9.4/10
So I HAD reviews of individual characters, but it got eaten up by the MAL system somehow… Basically, there was some fluctuation between characters. Shiki and Touko really shone through this one, but Enjou was just annoying in some ways and Mikiya got almost no screen time. To reiterate, Shiki was just adorable at times, which is part of the reasoning behind the high score.
First Time: 9.9/10
I don’t really remember what I had written here before, but basically, this is well worth the time to watch. Heck, I even watched it twice… Just absolutely fantastic fight scenes and some serious plot development to think over.
Second Time: 9.2/10
Watch it again if you want. The fight scenes are still top-notch and engaging. Plot elements may drag on for the second time, but it’s helpful to know what’s going on as it’s going on.
Extremely impressive movie with some serious psychological elements interweaved into a complex plot. As always with KnK, incredible animation and character development. Basically what I’m trying to say is that this was one of the best things I have ever seen, anime or not, and something that I rewatched a week after seeing it the first time (don’t forget that it’s 2 hours long).
After having watched the four prequels of the series and finishing the fifth just now, I will write this review based on the information we have up to now for the characters, storyline and so on. Not for what this series could be or how the adaptation should have been either.
Also, this is my first actual review, so I hope I will end up being helpful to those reading this.
Ok, let’s begin! I’ll seperate this into 5 parts.
First off; The story. 9/10
The 5th part of the series does not fail to deliver yet another storyline that will not confuse the viewer, as long as he pays attention to the dialogue, that most of the time drives the show along.
Mystery, incredible twists and gore scenes lead to this increadibly dark show. The reason behind my 9 is based on the fact that I found the mystery absolutely original, it’s something I have never seen nor did I ever think of, and the way it was explained in the movie was simple and clear. As for its negative side, the only part of it that always annoyed me was the order of the series themselves. It never had a fluent continuation, a new movie was always beginning from a new checkpoint making it unclear at times.
The main characters are extremely well drawn. The simillarities between this movie and Fate/Zero are quite obvious, especially in the faces/eyes. Takeuchi Takashi is easily one of my favourite character designers and he has not failed to impress me yet another time. I can guarantee satisfaction on this certain aspect.
As for the animation, compared to the rest of the movies it was downgraded due to the length. However, ufotable is like pizza. Even when it is bad, it is still good. This part of the show is still its high point and when it has to get good, you know it will. The fights are excellent, wild and bloody as always, the movements are smooth and realistic and will keep the viewer glued to the screen whenever they occur.
Just like the movies before it, and, from what I’ve read, the movies after it, the sound is fitting always to the situation, energetic as well as calming whenever it should be, however, in this particular movie, the soundtracks tend to get very loud, making it hard to hear the voice actors or focusing on certain situations, although that really gives you an adrenalin dose when it should.
The characters in this movie had their best performance yet. We have seen each one of them in action this time, as well as proof of their intelligence and the potential that they have in the development of the story. We also get introduced to the counterpart of Shiki, who is the main focus of the first half of the show. The mystery that, as mentioned above impressed me the most in this movie was revolving around him, so I really enjoyed his stay on the show.
Overall, this movie’s advantages far outdo its flaws and the viewer will remain speechless at times. It deliveres pure entertainment. Intense plot, with truly well done fight sequences that might make your jaw drop. That’s what made me make a review on this particular movie.
Do not hold back from watching. And do it as many times as you want.
I hope I helped you out and I’ll try and get better with reviewing.
Did YOUR favorite anime make the cut? Let us know in the comments below!
1. Kara no Kyoukai 5: Mujun Rasen
2. Mahou Shoujo Madoka★Magica Movie 3: Hangyaku no Monogatari
3. Kara no Kyoukai 7: Satsujin Kousatsu (Go)
4. Mahou Shoujo Madoka★Magica Movie 2: Eien no Monogatari
5. Mahou Shoujo Madoka★Magica Movie 1: Hajimari no Monogatari
6. Kara no Kyoukai 3: Tsuukaku Zanryuu
8. Death Billiards
9. Kara no Kyoukai 4: Garan no Dou
10. Kara no Kyoukai 2: Satsujin Kousatsu (Zen)
11. Kara no Kyoukai 1: Fukan Fuukei
12. Higashi no Eden Movie II: Paradise Lost
13. Re:Zero kara Hajimeru Isekai Seikatsu – Hyouketsu no Kizuna
14. Higashi no Eden Movie I: The King of Eden
15. Kara no Kyoukai Remix: Gate of Seventh Heaven
16. Kara no Kyoukai 6: Boukyaku Rokuon
17. Mahou Shoujo Madoka★Magica: Concept Movie
18. Ibara no Ou
19. Dwaeji-ui Wang
21. Junk Head
23. Arve Rezzle: Kikaijikake no Yousei-tachi
24. Timing (Movie)
25. Na Bbeun Sang Sa