They’re the best Anime that 2009 has to offer! We counts down the best anime to come out this year, including the likes of Detective Conan Movie 13: The Raven Chaser, Redline, Evangelion: 2.0 You Can (Not) Advance, and more!
5: Detective Conan Movie 13: The Raven Chaser
English: Detective Conan: The Jet Black Chaser
MAL Score: 8.22
Kudou Shinichi is living his life as Edogawa Conan, but those days seem like they might end pretty soon. The Black Syndicate is coming dangerously close to learning the truth about Shinichi having survived. Conan and everybody around him may end up dead if he doesn’t manage to find Irish—a member of the Black Organization who has infiltrated the police forces, currently investigating a big serial murder case.
First of all : After the biggest letdown movies nr. 10 and 11 – EVER – Conan finally came back with movies 12 and 13.
Nr 12 was already great in my opinion and i didn’t think that the 13th would be as great. Boy was I wrong.
As many of you already know the Black Organization makes it move yet again in this movie, since we didn’t get to see them at all since the 5th their impact is as huge as to be expected from an undercover-mafia-like-all-in-black-clothes-organization.
The Story : 10
Even before the actual story begins, the movie already gets you psyched right from the beginning. I got hooked in less than a minute. I couldn’t even eat my popcorn properly and my drink was untouched ever since the beginning.
We have the usual twists, turnarounds in this story. I for my part liked the setup of the cases. Mysterious messages via Mahjong tiles, serial murder, love struck suspect. You got something for everyone.
The action comes up at the end to heighten the suspense and to mark the peak of the mountain (as in every Conan Movie) but nevertheless that’s why i actually watch the movies. Conan-Suspense + Action = Pure Awesomeness
The Art : 9
The Art could have been better. Although i didn’t get the chance to watch the Blue-Ray version yet. I’m going to make up for it and watch it later on and edit this Review.
Characters look as good as always and the action scenes sure got some smooth visual effects. (Loved the explosion near the end though 🙂 )
All in all, the Art isn’t much better than the art of the Anime in my opinion, but it has it’s appeals.
But Meitantei Conan has never been known as the Hulk of Animation.
The Sound : 7
The Sound gets only 7 points from me. I love the Soundtrack of Conan very much. Great Tracks out there, but i think the producers could’ve made a far better job with usage of the songs.
What struck me most was that in the final scenes there were some parts where absolutely no background music was playing, even though it could’ve underlined the whole situation easily.
I for my part didn’t feel quite comfortable with this fact, since the music could not support the visuals effectively.
When watching the movie you won’t actually notice it except you concentrate on it. (which i did since i love the Soundtrack so much ;))
The Characters : 10
10 points, nothing much to say.
All big characters were involved.
Ran Mori finally gets something to do (since she has been degraded to a little crybaby in the Anime recently … [Hey! I like her too, but give her some more attention GOSHO !])
Detective Boys make their appearence once again. (i am a little fed up by these little guys, instead of getting the audience harassed by them give some other character more airtime !)
and the most amazing thing : All Prefecturial Inspectors make their debut as a whole ! With “all” i mean ALL of them.
Enjoyment : 10
Big Time 10 points. Even though the music got me a little off in the final scenes it was nothing compared to the whole movie. Suspense was great. The whole story was built up neatly. It was fun as hell to watch this movie.
Without a doubt : MyTop 3 Conan Movies have to be rearranged, the 6th just got replaced by the 13th !
I Recommend this movie to everyone out there.
This movie is not only for die hard conan fans, but also for the “i-watch-random-episodes” and “i-only-watch-story-arcs”- types of viewers.
Enjoy this movie !
Side Note : I also recommend watching the Magic File 3. It will get you into the right mood and willl explain some minor details and get you familiar with the Mahjong plot.
So far your PSJ
Detective Conan is a very popular shonen anime, and I had guessed before knowing there were movies based off of it that there were movies based off of it. However, unlike most anime, some of the movies have actually been pretty awesome. Perhaps it’s because this anime doesn’t have magic and avoids stories about annoying princesses that are protected by the protagonists and stuff like that. Or maybe because they are basically one big case in each movie, except with more explosions than a typical Conan case. (although I admit I haven’t seen movies 8-11, which I’ve heard weren’t that great).
Story: This story is very similar to some of the other Conan movies in that there are many people in danger and many people die because of a large case that needs to be solved. The other movies had other parts of the plot that were more relevent to the actual characters but this takes it to a new level. The Black Organization, the powerful, mysterious organization Conan has been trying to stop for a long time, ends up involved in this case.
Now, something I really hated about the 5th Conan movie is that the Black Organization was barely even seen in the movie and that the entire thing, at least a times, felt like an excuse for Conan to be an explosion-filled, dangerous situation. This movie avoided both. With the exception of the end, the movie felt very similar to Black Organization cases in the anime. They are unexpectedly involved in this, and we slowly but surely learn why. Of course, a little more than half way through the movie and it seems to avoid anything Black Organization related a bit too much, and quite honestly, the case itself, while certainly good, gets a bit boring (especially compared to the Organization, which I am always find entertaining). The ending is great, although I admit it was kinda silly.
Another thing worth mentioning is the amazing continuity. Sometimes people who make a story for an anime that isn’t based off of the manga can do a horrible job at remembering why people liked it in the first place. One of the many reasons I enjoy Conan is the amazing use of continuity and how so many of the cases are at least briefly mentioned eventually. I can think of no less than 10 references to older cases, and all of them are awesome to anyone who actually remembers those cases (and one of those references was only in the manga at that point).
Art: I don’t have much an opinion of the art for this anime, but I did really enjoy the art I guess. It looked better than normal anime episodes since this is a movie and since the anime art works best when the setting isn’t a normal, sunny day, the parts when it was night or evening were pretty great. But other than that…I thought it was really good. That’s all.
Sound: Like the anime, the voice acting was great. I love all of the voice acting and it was nice to hear Kamiya Akira as Kogoro one more time (this was the last thing translated before we got Kogoro’s new voice actor). Not much else to say, the voice acting for all of the characters is always amazing. Especially the Black Organization members. When they talk, I almost automatically think that something awesome is going to happen because of their voice acting.
The music is…ok. There was some good music but way too often they played this annoying song in the background that, according to the official soundtrack I heard, was actually like 30 very slight variations of the same song. It was not enough to ruin anything in the movie but it was still very annoying.
Character: I should point out that I think that about 95 percent of the recurring characters in this anime are really awesome. But there was more than the usual characters in this movie. In the anime, while Megure, Takagi and others are in many of the cases since they are in that area, there are a number of other inspectors and detectives that have appeared when they have gone to other prefectures. Almost all of them appeared and the interaction between them was amazing to most Conan fans. Gunma’s idiot Yamamura interacting with the recently introduced serious, and badass Nagato Inspector, Yamato was hilarious because of how different their personalities are. Even better was the amazing “deduction” Kogoro did later in the movie and how his two fanboys, the loud but fun Sango Yokomizo and Yamamura reacted to it made me laugh. The continuity also helped and the characters felt much more in character than I would expect (not that I care for the movies as long as they aren’t absurdly out of character). However, something was wrong with Gin. He seemed way too happy. Not even in typical “Gin is going to kill someone” happy that I would expect, but more of a bizarre happy. And some of the things in the ending were kinda silly.
Enjoyment: I enjoyed this movie. Most other Conan fans probably will too. I think others can enjoy it as another random movie instead of actually watching the entire series, but a lot of the things in the movie make me think that even Conan fans who never pay attention to anything that isn’t in the manga would enjoy the interaction between characters and the amazing continuity.
Story (8/10): While Conan is living his daily life with his friends and the other characters as usual, a car accident occurs that ends up being connected to a series of unexplained murders across Japan. This means that the majority of the law enforcement characters from across the series come together to figure out how to deal with this and to find out who’s behind it. But Conan discovers that the mysterious Black Organization has their own stake in the proceedings. It then becomes a race between the 3 groups as the main story progresses into the final truths: why is the Organization involved, who is committing these murders, and how can Conan piece it all together?
This is definitely a movie for the hardcore fans, bringing up a lot of the past Black Organization plots and characters and even the law enforcement characters seen throughout the series. It makes this a treat for fans, since it becomes a game of references for them. The actual plot of the movie is just great, intriguing and mysterious in a high stakes game that will have you wondering how the story will play itself out. Sadly, the main murder mystery plot has a sort of abrupt ending that, while explaining a lot and settles everything, feels like the writers didn’t know how to really tie it into the Black Organization plot at the most crucial moment. Otherwise I really enjoyed the story and am glad that we got a Conan movie that helps delve into the main antagonists more.
Art (8/10): They really cranked up the art for this movie, since it just seems like there was a lot of action and movement throughout the whole story. All the characters look good and there were very few errors. The big set-pieces were also really well done and continue to look better and better with each film.
Sound (7/10): Beyond the normal Conan series tracks, I didn’t really notice anything new or interesting. While they are still great tracks, it gets a bit boring hearing the same score as the main anime itself.
Character (9/10): This was a real highlight for all the main characters. Conan shows just how great of a character he is, the cop characters are really given the spotlight and are allowed to be much more confident and competent than in the main series. The Black Organization characters come off just as menacing and mysterious as before, showing off their status as the Big Bads of the show. The movie characters are pretty well done, though they did kind of need a bit more time on screen to really make the most out of their stories.
The only real knock I have against the characters is that Ran, Sonoko, and the Detective Boys are barely in the film (though they REALLY would’ve been in the way, to be honest), so their small parts in the movie felt a bit tacked on. (Though Ran gets a sick fight scene at the climax.)
Enjoyment (8/10): This movie was a seriously awesome ride and for good reason. It really celebrates the series and shows off it’s best parts and made me want to see what would happen next. Though the only thing I will say is that it’s almost a bit TOO continuity heavy- you really need to remember and have a good idea of where the main plot is and have to remember a good majority of characters to get a big part of the enjoyment out of the film (I myself totally forgot some of the side law enforcement characters, though eventually I remembered them).
Detective Conan: The Raven Chaser is probably one of my new favorite Conan movies, thanks to some solid writing, well done characters, an interesting mystery, and just a general sense of using all the parts of the anime to its strength. While it is a bit continuity heavy, I would just say catch up on the plot up to when the movie came out and you should be able to follow along. This is definitely the movie for Conan fans to enjoy and I hope that we see more movies like this in the future.
8/10 = a very solid movie with very few drawbacks and just a whole lot of fun; definitely NOT meant for the uninitiated, since it does rely heavily on past cases and the recurring side cast; recommended for the Conan fan who wants a little canon with their annual movie
MAL Score: 8.29
Every five years, an exhilarating race called Redline is held, and the universe’s most anticipated competition has only one rule: that there are none. Racers are pushed to their absolute limit—a feeling that daredevil driver JP knows all too well. Having just qualified to participate in Redline, he is eager to battle against the other highly skilled drivers, particularly the beautiful rising star and the only other human that qualified, Sonoshee McLaren.
But this year’s Redline may be far more dangerous than usual—it has been announced to take place on the planet Roboworld with its trigger-happy military and criminals who look to turn the race to their own advantage. However, the potential danger doesn’t stop the racers; in fact, it only adds to the thrill. Relying solely on his vehicle’s speed, JP prepares for the event to come, aiming to take first place in the biggest race of his life.
As a film about racing, the plot is fairly standard fare, but the larger than life presentation coupled with the sheer imagination and creativity that has gone into Redline is second to none. The story – despite cliches – is both exhilarating and incredibly well paced. The action is, as you would imagine; fast, fantastic and full of adrenaline. The drama is at times cheesy, but it fits well with the films over-the-top attitude. The crazy antics in Redline make it clear the film isn’t to be taken too seriously; it isn’t a production that sets out to challenge our minds, but rather an exhilarating thrill-ride that’s sole purpose is to entertain. In that respect, the story delivers and then some.
The tagline for Redline during its release was ‘Witness the Future of Animation’ and it’s safe to say the studio never doubted the creativity of the team behind the film. Madhouse handled the production, with second key animation from Gainax – the films full development totaled seven years, with over one hundred thousand hand-made drawings. The amount of action and detail on screen at any one time is so vast the film begs for repeat viewings. The animation – in a word – is mind-blowing. The film is full of colour, detail and beauty like no other, the art style is vigorous and unique, and the character designs are fresh, exuberant and interesting.
The music – chiefly a variety of electronic compositions – is sublime. It blends seamlessly with Redline’s fast-paced visuals, the sound editing is first-rate and the vocal tracks leave warm, fuzzy feelings – especially the ending song. The vocal talent is superb and particularly noteworthy; the film employs actors rather than seiyu in the leading roles. The leading man – JP – is voiced by Takuya Kimura, a member of the pop group SMAP and veteran actor who starred in Yoji Yamada’s The Hidden Blade, part of the directors Oscar nominated samurai trilogy. The leading lady – Sonoshee – is portrayed by none other than Yu Aoi; an actress with many award-winning films under her belt, multiple of which were directed by national treasure and acclaimed auteur Shunji Iwai. Lastly, JP’s right-hand man Frisbee is handled by Tadanobu Asano, one of few Japanese actors making a name for himself in Hollywood (recently he starred in Marvel’s Thor). To quote journalist Helen McCarthy; “casting him was a stroke of genius.”
The main characters all very much fit into conventional archetypes, but they’re not made to be complex, deep, thoughtful beings. The characters, like the story and presentation, are themselves larger than life, quite literally. JP and Sonoshee alone make up about half the human population in the entire film; all of the other characters belong to their respective alien races, besides two other humans. The characters are written to be entertaining, to build the scale of the film and to perform as the archetypes we know and love, but that’s not to say they’re by any means flat; the main characters receive a sufficient amount of development, and the supporting cast is comprised of an exceedingly rich, varied, exciting and incredibly fun horde of wonderful characters.
Redline is a film not to be taken too seriously and anyone doing so has certainly missed the point. Needless to say, if you want a realistic racing film then you have come to the wrong place. However, if you want a fast, funny, eye-watering, explosive experience that will suck you into a world which words barely do justice, this is the film you’re after. But, more than a film, Redline is an experience. Every element works in melody, bouncing off and complementing one another, ultimately creating a tremendous overall work that is magical to behold, completely unlike any other anime production to date.
The first 10 minutes do an excellent job of letting viewers know what’s in store for them. It’s here that the film treats us to an intense and gorgeously animated race sequence and equally beautiful backgrounds and character models. From there on out it’s clear that the films intent is to overwhelm the viewer with adrenaline-filled races brought to life with mouth-watering animation and sound. Storyline and character development are of the lowest priority.
It’s no surprise, then, that Redline sticks closely to the usual 3 act structure. We’re first given a taste of things to come while the personalities and motivations of the major players are established, topped off with introducing the long term goal. The second act is all about the preparation with some rudimentary attempts at character development while act 3 is the main attraction: a 40-minute onslaught of non-stop racing packed with over-the-top, high speed moments and more explosions than 3 Michael Bay films put together.
Sounds good on paper. But Redline goes so overboard with its spectacle that it somehow becomes a bit dull. It’s simply too much.
First off, there are too many characters. The main characters are pretty forgettable and the only contestant who was somewhat cool was the established champion. The film further hurts itself by introducing subplots and characters who aren’t related to the race. A sizable chunk of screentime is reserved for a b-story involving an evil government (basically space-China) that’s out to stop the race and dig up some ancient weapons or something. Ultimately they’re only there to cause tons of explosions and other kinds of destruction. This in a film that’s already filled to the brim with explosions and spectacular set pieces.
This is Redline’s second excess. There is simply too much going on in the third act. A big race alone would have made for a wonderfully thrilling climax but Redline throws in an obligatory mafia subplot as well as the aforementioned evil government. What it all leads to? Stuff getting blown up and more stuff getting blown up.
This wouldn’t have been so bad if there was a reason to care or even some sense of urgency but there isn’t. All the cars race at impossible speeds and run just fine even after taking enough damage to wreck 10 spaceships. The result is that tension is basically nonexistent in this film. Nobody of note dies and damage to the vehicle is shrugged off so easily that one gets the feeling the only thing at stake is the film’s running time.
It’s a real pity seeing as the film is brilliantly animated and incredibly stylish. The film had a production history of 7 long years and you can tell when watching it that all that time was well spent in honing the stunning visuals to perfection. It’s no exaggeration that this is a new benchmark in terms of pure animation. The film’s many characters have detailed, instantly distinguishable models and are fluidly animated, machines roar and rush over surfaces with incredible speed and there’s even the occasional use of deformed animation for stylish effect that’s very effective. The visuals in Redline are a labor of love and the best part is that it overwhelms the senses in a way that seems difficult (perhaps impossible) to replicate in another medium.
In the end, that makes it all the more tragic that these gorgeous visuals aren’t telling a story worth caring about. Worse yet, its main hook (the visuals) simply can’t be used to carry a 100-minute feature film. Some serious editing could have reduced it to have its length and it would’ve made for a better-flowing and much more enjoyable viewing experience.
As it is, Redline is a stunningly animated but overlong film with such incompetent storytelling that it cannot reach its full potential. One can only hope that first-time director Takashi Koike’s next project will be a lot more polished. As it is, the talent is there. It simply needs to be honed and guided properly.
Now in when it comes of the plot of Redline it is short, sweet and straight to the point. The film follows our main character JP, a driver who wants to race in a tournament called Redline which is held every five years. However he fails to qualify for it and just when he believes his dream is over, by chance two people drop out of the tournament which gives him a qualifying place.
It has been mentioned by critics and viewers, that Redline lacks a plot or that the story comes across as lackluster and while I can understand that point of the argument I can also argue against it. The film has enough of a plot to work in cohesiveness with the rest of the film and while it’s not overly complex or thought-provoking it doesn’t have to be. I would like to think of it this way: Would your rather watch film with an overly drawn out plot and character development which could be potentially tedious and slow down the fast-paced nature of the film? Or would you want to watch a film with a condensed plot that has enough story and personality to make you care about what you are watching? Personally I prefer the latter.
When it comes to the visual presentation of Redline, words fail me. I mean seriously, no words can truly say how beautiful this film really is. Japanese animation studio Madhouse have crafted one of the most visually stunning animated films in existence, you really have to see it in action to comprehend its awesomeness. Firstly there’s the character design, from the human-based characters to all of the other alien races and cybernetic beings that reside within Redline’s world, the designs are diverse, unique and interesting. Secondly you have the vehicles which are also fabulous, coming in many different shapes and sizes, from simple to completely crazy designs, with individual quirks and weapon arsenals to be admired. And lastly there’s the locations of the film that vary from the rocky crayons where races are done to spaceships floating above planets, all of which have an incredible amount of detail that draws your eyes in especially on a large cinema screen.
But I feel that the main aspect that makes Redline so great is the fluidity of the animation. The quality of the animation in this film is actually insane, with several sequences of high-octane action crafted with some beautiful choreography, nicely placed camera angles and great use of speed. Everything moves in such a smooth manner, with no moments of slowdown or inconsistencies whatsoever. The film delivers an experience like no other in the animation department and really conveys on the concept of speed, pushing you to edge of your seat and beyond.
But what is a film without a good soundtrack? Luckily Redline happens to have a brilliant soundtrack crafted by James Shimoji, which compliments the visuals wonderfully. The soundtrack is mainly composed of techno-based music, but it works well with the action on-screen, its explosive, fast-paced and it sounds so good! Also personally I felt that Redline’s soundtrack really reminded me of the video-games F-Zero GX and Tatsunoko Vs. Capcom, both of which have great soundtracks with explosive music that sounds great on the highest volume level. I also have to note that the sound editing in this film is tackled perfectly as well.
In terms of the enjoyment of Redline, I say be prepared to fall in love with this film. After watching the trailers for this film you get a rough idea as to what you will be watching, however those trailers cannot prepare you for the whole film. As a lot of people know this genre of film has been done before, after all Redline is a film about guys, girls and cars. But what Redline as film does well is give us a familiar format to work with, but it’s covered in such an innovative, stylised and charismatic fashion that you will be left in awe after you see it. Also throughout all of the chaos and mind-blowing visuals, Redline never feels like it’s heading into unnatural territory, in fact a lot of aspects about Redline feel realistic and believable.
Overall Redline is an experience that I feel everyone should enjoy. It’s a like a rush of energy that’s exhilarating, fast-paced and unforgettable. Takeshi Koike, Redline’s director should feel very happy about the film that he has crafted and considering his previous work before coming onto this project I’m not surprised that this film turned out to be a success. Again I feel the need to mention Madhouse’s insane skills as an animation studio as they have created a film full of action, charisma and style unlike any other film. There are so many individual things about the film that’s weird and wonderful and completely unexpected, but overall I say watch this film and experience the epicness that is Redline!
3: Evangelion: 2.0 You Can (Not) Advance
English: Evangelion: 2.0 You Can (Not) Advance
MAL Score: 8.34
When the threat of the Angel menace escalates, mankind’s defense force is pushed to its limits, with Nerv at the forefront of the struggle. Shinji Ikari and his partner Rei Ayanami are assisted by two new pilots: the fiery Asuka Langley Shikinami and the mysterious Mari Illustrious Makinami.
With the aid of their mechanized Evangelion units, equipped with weapons perfect for engaging their monstrous opponents, the four young souls fight desperately to protect their loved ones and prevent an impending apocalypse. But when startling secrets are brought to light, will the heroes’ greatest challenge prove to be the monsters…or humanity itself?
While the first Rebuild of Evangelion movie followed the series closely, events are drastically changed in 2.0. The plot vaguely follows episodes 8 to 19 of the series (and picks up from where the first Rebuild movie left off), but it’s during this film that the ‘remake’ starts becoming the ‘reimagining’ Anno said the Rebuild tetralogy would be. A treat for fans new and old, the new canon material does not disappoint. Twists and turns – as expected – are ever present, new characters enter the fray and the plot takes fresh, astonishing directions while retaining its mysterious, engrossing aura. The pace is near flawless and both veteran fans and new audiences alike will be able to watch with wide-eyed excitement and suspense as the new plot unravels.
The animation and art are one of the absolute stand-out elements in Evangelion 2.0. As in the first film, the Angels have been given a make-over, along with the Evangelion units, the futuristic, ever wondrous city Tokyo-3 and even the characters. Between them, the animation staff for the Rebuild tetralogy have worked on a huge number of highly acclaimed works, which includes the original Evangelion series. The team create an alarmingly beautiful world among all the chaos and destruction, with such intricate attention to detail, stunningly complex designs and action set pieces unlike anything before it. The art style is bold, clean and dazzling, and the animation is dynamic, majestic, smooth and ever fluid. Studio Khara have set a frighteningly faultless example to other animation studios – they’ve outdone themselves.
The music was composed and arranged by Shiro Sagisu – who scored not only the first Rebuild film, but also the original series and The End of Evangelion – and recorded at the famous Abbey Road Studios with the London Studio Orchestra. Music has always been a very innate part of Evangelion; as integral as the Evangelion units themselves, and it’s no different in Rebuild. Sagisu creates a fine amount of stunning compositions that further bring to life Tokyo-3, the characters and the phenomenal action sequences. Rebuild 2.0 even has it’s own ‘Komm, süsser Tod’ moment where an upbeat song is played in contrast to a brutal sequence, with the lyrics adding a welcomed sense of irony, which is what we’ve come to expect and delight over from the Evangelion franchise. The ending song is provided by Japanese sensation Utada Hikaru, who offers a beautiful acoustic rendition of her famous track ‘Beautiful World’, a perfect companion piece to the ending, again in contrast.
Rebuild 2.0 excels in its characterisation. The charismatic Asuka is introduced, who adds a whole different vibe to the film and there is yet more original material for fans of the series, as established characters such as Shinji and Rei develop significantly, the latter in directions you may not expect. A completely new character – Mari – also joins the fray. Much of her motivations are shrouded in mystery, which allows the film to stay at a consistent pace and prevents it from becoming bloated, considering the amount of characters and plot developments already at hand, but her presence adds yet another exciting new element, along with some comic relief. Despite a cast of characters that were established almost fifteen years ago, they come across in Rebuild as very fresh, very unpredictable. These aren’t the same characters from the Evangelion series, they’re new interpretations, new versions; with a clean slate comes new directions, new experiences – in areas the film becomes as fresh to long-time fans as it is to new audiences.
Rebuild of Evangelion 2.0 is an absolute spectacle, as astonishing to the eyes as it is the ears. The second film is able to out-do the first installment in every aspect, all the while taking the story in thrilling new directions for fans both new and old. A remake would have been too easy for Anno and his team – instead they have gone above and beyond, recreating the Evangelion universe we’ve come to know and love, offering us new interpretations fifteen years on, proving – with some ferocity – that Evangelion is far from gone. Rebuild solidifies Evangelion as an absolutely exceptional franchise, continuing to awe-inspire fans the world over, reminding us all why we fell in love with it in the first place.
There never was an anime series in my entire life as an anime-consumer that moved, influenced and fascinated me as much as Hideaki Anno’s original NGE series. I can not describe every single detail about the original series’ ingenuity for it would take too much space in these few lines (since this is a review about the second rebuild film). Let’s just say that I have never encountered another anime series with more finely written, intelligent, charismatic, understandable and individual (probably the most important characteristic considering the whole bunch of archetypes today) characters combined with an exciting and cleverly told plot and a superb atmosphere from which we can learn a message that is important in all periods of our lives.
When I first heard about Anno and the old crew directing a series of Rebuild movies, I didn’t really know what to say. He said that the old NGE series was not fit for newer generations and that he would have to update it for them. He probably meant problems that emerged in society nowadays, so I trusted him. I was quite happy after watching the first movie that stuck pretty much to the original first quarter of the series and was looking forward to the second movie which should integrate new elements (although I was REALLY afraid of that new character wearing a pink (!) plugsuit). Then I saw the ratings on MAL and my excitement grew. What did they change? The answer: everything.
– The Characters:
In general, we can say that every fascinating character from the original series just turned into some kind of stereotypical alternative version. There is not a single trace left of what once was a psychological profile given to them. Not only did they simplify the characters, but also gave away their backgroundstories in some kind of ‘in-your-face!’ manner, so that subtlety became a foreign word. Of course, you may say, this is a movie and you can not rebuild complex characters within such little screen time. It’s not like they do not get any screentime in the movie, there’s plenty of it around, but the creators don’t use it at all (except for dull slice of life sequences and ecchi fanservice)!
I’d like to take a look at the changes from the original series and analyze what the new character’s personality is like, so as for people who haven’t watched the thing yet I’ll write down a
here, so I can go into detail:
Original: Lost boy who gains some confidence while working for NERV but always feels left alone, feels rejected by everyone, trying to find a personality on his own, craving for affection from anyone —– 2.22 Version: your typical shounen hero and also a harem lord
‘I wonder who of my love interests can cook better?’
Asuka Soryu Langley:
Original: Lost girl who strives for affection from anyone by any means necessary, is still haunted by past, inferiority complex —– 2.22 Version: Violent tsundere archetype randomly in love with the harem lord while being exploited for lots of fan-service:
(oh yeah, and she’s talking to a sock puppet, now THAT’s subtle)
Original: Scientific abuse incarnate, an artificial lifeform that is torn between substitutability and development of personal feelings towards society and her creator —— 2.22 Version: Kuudere archetype who discovers her random love for the harem hero
‘Whenever I think about him, my chest feels warm…’
Original: Being left alone by her father’s death, she has to encounter a harsh world after the second impact and makes her way to the top with discipline, although she hides an easy-going side inside which she only shows to people dear to her, craving for affection from anyone —— 2.22 Version: Supporting cast who’s just there to tell you EVERYTHING you need to know about the EVA mystery ‘in-your-face!’-esque. Misato’s fate is shared by every other character in this movie (except for Kaji, he’s there to make you laugh with silly attempts to speak the english language, best scene in the whole movie), so I spare you the ranting here.
and finally, my ‘favourite’ ‘character’ from this ‘movie’ (ok, that last quotation mark was just for fun)
Mari Makinami Illustrious (yeah, that’s her name, folks, I didn’t know it either, but I read it on the package of the DVD after watching the movie):
well, Mari, she… she’s… yeah, she has a nice rack… and… aaannnd… she wears glasses and… a pink plugsuit… and she is the most UNFITTING ‘CHARACTER’ FOR THE BLOODY DAMN NEON GENESIS EVANGELION FRANCHISE!!!!!
Ahem, sorry for that, but it’s true, a ‘character’ who’s there for the whole purpose of fanservice and hollywood action scenes has nothing to do with the (let’s say) ‘realistic’ world of Evangelion. She’s even enjoying the EVA fights, what’s this?! they always depicted the war against the angels as a terrible burden for the youngsters (which it IS) and she’s enjoying it?! And what about that parachute, ahh, nevermind, let’s go on…-.-
[END OF SPOILERS]
– The Story:
Now, what I can say about the story in general is that they really tried to create something different and the way the movie ends, it really is possible they are going to change it into something else. But this doesn’t mean it’s going to be good, really.
The whole purpose of the background story in the original series was to be discovered by the audience bit by bit so that they could put all the pieces of the puzzle together and create their own interpretation of what’s happening. Now, Hideaki Anno assumes that kids these days don’t use their brains anymore so he presents the story with every bit and every little mystery directly in your face. You do not need to think about it, the characters will tell you everything you need to know. This simplification destroys everything the smartly presented plot of the original show stood for.
– The Design:
This is the most surprising thing about the whole movie. People tell me everywhere how great this thing looks and how smooth the 3D animations blend in. But you know what? It is not true, it’s simply not true! The 3D evangelions look like ingame graphics from a poorly programmed ps3 game. Not only do the ‘great’ 3D effects make EVA02 blend in like Krauser II on a K-On concert, they also allow us to discover silly programming mistakes like transparent school desks (if you don’t believe me, take a look at shinji’s classroom). And for the design changes… sheesh, you shall see yourself… (‘Test-Plugsuit’ and ‘Za biisuto’ eh, gosh…-.-)
Of course the drawings and character designs are ok, it’s Yoshiyuki Sadamoto, the original designer, after all (he tends to go for the ‘one piece’ hip, but that’s ok here).
– The Final Conclusion:
I am absolutely sad to say it, but ‘Evangelion 2.22: You can (not) advance’ is one of the worst pieces of celluloid anime movies I have ever seen, considering its predecessors. There is not a single shred of intelligence left in this bleak version of a once brilliant series. I trusted Hideaki Anno and his nakama, for I thought they were some of the few people left in the business taking their job seriously and trying to really give something to the audience instead of just taking their money for cheap entertainment. But that’s what happened and that’s what Evangelion 2.22 is, cheap entertainment. I still can’t really believe it.
And what’s even more important: What’s up with all the people who love this movie and call it masterpiece? I really could understand it if there are people who don’t know or don’t care about the original work (archetypes substituting real characters is common today) or watched it for tits, they will have their cheap thrills with the hollywood action and the countless fanservice ecchi moments and maybe really like it as the Gurren Lagann it wants to be (hey, GL is great, but NOT NGE!). But for the Neon Genesis Evangelion fans who loved the series for everything it stood for, all the attributes I mentioned before, everything that EVA 2.22 destroyed and spat upon, I do not understand them at all…-.-
Oh yeah, and here’s a little speculation to round out the review that requires a
Just a little conspiracy theory, my only hope that keeps me from screaming ‘zetsubou shita!’:
All of this ridiculous nonsense could just be Shinji’s first attempt of creating a new world, but based on his teenage dreams and thus filled with bullshit teenagers might find interesting and kakkoii. As a conclusion Hideaki Anno once again could draw the ace up his sleeve here and say: “This is nothing but fantasy bullshit, it doesn’t have anything to do with reality! Get a life, kids!” kinda like he did in the original series. That wouldn’t really make this movie much better, but it would not kill the whole franchise.
Until the next movie comes out, I’ll just pray every night that “sabisu sabisu~” was just an ironic hint to that outcome!
[END OF SPOILERS]
Thanks for reading
A lot of the visuals were eye popping stunning. However, there were times that it looked a bit grainy, kind of like an image that had been upscaled. The music was a bit hit or miss, with some corny music playing at seemingly inappropriate times. But when it was hit, it was really good, especially the music that played at the end of the Bardiel and Zeruel fight.
The movie starts with pure action, and as expected from seeing the trailers, there was a good bit of action throughout this movie. To balance it all out, there is also some character interaction and development, enough to flesh out the characters like Asuka and Mari. I especially liked the cuts of Tokyo-3 bustling and filled with people doing their thing and living their lives. Asuka seemed much more likeable, probably closer to the definition of tsundere. Rei smiles a lot more and her caring of Shinji is made obvious. Asuka’s animosity towards Rei is, in no small part, due to Shinji. Mari is crazy, and she has a nice rack. Kaji got an unexpectedly large amount of screen time and seems to play a bigger role than in the TV series (whether this is true is yet to be seen). There’s also a good bit of Penpen, who does a bit of “almost” talking.
Overall, great movie, I enjoyed it quite a bit.
2: 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.
1: Tengen Toppa Gurren Lagann Movie 2: Lagann-hen
English: Gurren Lagann The Movie: The Lights in the Sky are Stars
Japanese: 劇場版 天元突破グレンラガン 螺巌篇
MAL Score: 8.57
Humans have enjoyed their lavish, peaceful, and prosperous lives for seven years since the day the almighty Spiral King was defeated—the day they reclaimed their homeland, Earth. However, the boon of this lifestyle leaves them unprepared when an unknown, hostile threat arises due to the ever-growing human population. This calamity is the Anti-Spiral—a fearsome enemy with unparalleled power.
As the Spiral King’s prognosis postulating the destruction of “The Spiral’s World” begins to come true, the pieces are in place, and Team Dai-Gurren is ready. With his late brother’s hope to see a better future for mankind, Simon—along with Nia Teppelin and the rest of the team—is determined to overthrow the mighty Anti-Spiral in order to revive humanity’s lost hope.
The movie included much more different scenes than the first movie Gurren-hen, and the last battle was so intense, one couldn’t blink to miss anything. The background music for this movie was as well different than from the series, and very fitting with each scene of the movie.
Very enjoyable and brilliant.
The movie resumes from the point where the Spiral King has been defeated and Kamina City is being built. The spirals of Earth have lived peacefully for seven years and, surprise, the cast has aged and matured along with the planet. All is well – Yoko is a school teacher somewhere far-off, Viral the immortal Beastman has been imprisoned, Rossiu is a powerful leader in the new worlds government, and Simon is regarded as the hero of all humans in defeating the Spiral King. Peace is boring, and just as requested an enormous battle begins – no less, right as Simon proposes to Nia. The first hour of the movie is dedicated to story taking place on Earth. Albeit a little choppy, it doesn’t lose it’s impact. The second hour of the film is the battle for the universe against the Anti-Spirals in space, with an entire newly animated ending full of explosions, outrageous over-the-top screaming, fighting for justice and all that good stuff. If you loved the original series, you won’t be disappointed.
The animation and art are as beautiful as ever. The colors are vivid and thrilling, bringing the experience of using a galaxy as a weapon right to your home computer. Not much to be said as a lot of the animation is reused, but the new scenes are just as good, if not better, than the originals. The amount of art put into faces and mechs (and mech faces) still amazes me to this day.
Do the impossible. See the invisible. Row. Row. Fight the powah. I hope that sums up the musical score. Just kidding! The music renews a fair amount if tracks including the aforementioned, but what’s really nice how it’s applied. When Sorario Days (the original OP) started playing, I think the back part of my brain stopped working and I submitted to the screen and the anime took over. In summary, the soundtrack enhances the quality to an extent where it can obliterate your senses.
Same characters, but this movie focuses in on Nia in its new scenes. No complaints. Some characters that did or did not survive the first series encounter different fates too, so watch out for those. Some also get new mechas, which might I add, are awesome. And of course, the effect of Kamina’s manly spirit still resonates as strong in this movie as it did before, even though he plays a minor role in the story.
How much did I like this movie? I screamed at my screen for the last 15 minutes of the movie and was carried by the presentation throughout. A truly spectacular movie. There were moments of sadness, moments of joy, moments where it was hard to even blink.
I hope this quick review is enough to wet your pallet for another exciting adventure with all your friends from the Dai-Gurren Brigade. This is a good movie to just flop down on the couch with, regardless of age or gender. Taste is a different matter. If you were not a fan of the original anime, this apple doesn’t fall too far from the tree, and therefore you most likely won’t enjoy this movie as much as I. I gave this anime a 10 because I felt it achieved all things I wanted from it – now you, the reader, have to decide on your own whether it was a 10 or not.
The movie picks up right where Gurren-hen left off, though the opening sequences have been hugely condensed in order to quickly drive the plot into the second arc of the story. The setting expands in Lagann-hen, we travel from Earths surface into interstellar territory, in line with the TV show, although small sections of the story have diverged from the series, some understandably and others disappointingly. Certain new ideas seem extremely rushed, dragging what was a fairly engrossing – if manic – plot downwards. Nevertheless, the scale of the story is as ever admirable and thrilling, though the developmental issues carry over from Gurren-hen, making it clear the Gurren-hen/Lagann-hen film double was more an excuse to cash in on the series, rather than create a coherent piece separate from the TV show. The dialogue, at times, also encountered issues; present simply to move the story along without any natural flow to it.
As in Gurren-hen, the rehashed sequences barely differ – if at all – from the series, but the new scenes go above and beyond. The new ending sequence is a powerhouse of action and zest, which will leave you wishing there was more, but unfortunately, there aren’t as many new additions to Lagann-hen as there were in Gurren-hen. The staff really rely on the climatic sequence to blow you away, and while it may do just that, they don’t really attempt anything deserving of praise throughout the opening and middle acts.
Taku Iwasaki’s score returns for its third outing with no changes, yet the sound and music is a noticeable drop from the first installment. The music felt poorly timed, jumbled and out of place during much of the film, and often it was at such a low volume it may as well have been absent. Even the sound effects, which could have been turned up a couple of notches it give it that extra umph, were disappointing. The sound department manage to redeem themselves a little towards the end with larger emphasis on the music, but it’s a shame an aspect presented so well in the series wasn’t handled better in Lagann-hen.
Developmental issues mean that Rossiu and Kittan are still very much unknown characters to the audience of the movies, and Lagann-hen does little to remedy this. The film makes use of its supporting cast, more so than in Gurren-hen, but extra screen time doesn’t equal development. They are still empty shells with a single trait, which isn’t far below their series counterparts, but disappointing nevertheless as they lack any kind of background or character motivation, and the movie absolutely requires you watch the series in order to comprehend the characters’ depth.
The stand-out segment in Lagann-hen is the climatic sequence, which delivers and then some, and is probably the sole reason to venture into the second installment beyond just re-watching the series. Pushed for time, Lagann-hen is always moving, but even so it begins to tire. Undoubtedly, far more could have been done to create a more coherent adaptation of the series, and it’s unfortunate the studio behind such an enjoyable work would rather cut corners and cash in, than create a comprehensive piece both long-time fans and those new to the franchise can enjoy.
Did YOUR favorite anime make the cut? Let us know in the comments below!
1. Tengen Toppa Gurren Lagann Movie 2: Lagann-hen
2. Kara no Kyoukai 7: Satsujin Kousatsu (Go)
3. Evangelion: 2.0 You Can (Not) Advance
5. Detective Conan Movie 13: The Raven Chaser