Postby TheSubtleDoctor » Tue Jul 19, 2011 7:01 pm
The Sky Crawlers
Here is a film that has been slammed pretty hard in various places, and I am not sure why. Well, I am partly sure why: people go into it expecting lotsa sweet-action dogfights. Expecting this is to fundamentally misunderstand Mamoru Oshii and the kinds of things he likes to make. His films are more Aronofsky than Bruckheimer, which is to say that they are more about being thoughtful, meaning-laden slow-burners than a string of action set-pieces. If you are in the mood for the former, then Sky Crawlers really delivers. I almost want to compare this movie to a Makoto Shinkai work, but Sky Crawlers is meant to put you in a reverie rather than make you reach for the tissue box. I don't want to give the impression that this movie is impenetrable because it isn't; however, it's vastly more rewarding if you just let it encompass you and also take time to think about it.
So what is Oshii trying to convey in his most recent work? I'll attempt to be abstract so as not to give much away. The Sky Crawlers is about being trapped: trapped in your life, in your situation, in the physical world. It's about being a product of someone's vision rather than being free to make your own; about being misunderstood. But, the central point of the movie is that a human being is able to transcend the trap. S/he can make a choice, even within the trap, that creates a beautiful moment which, in turn, imbues her/his past, present and future with a vibrancy and a meaning. Love can transcend the trap.
Do the character models suffer at times? Yes. Are the machines all disappointingly done in CG (the CG is technically is fine, but I would have preferred hand-drawn)? Yes. Is this movie a slow-paced one? Indeed. I think, though, that if you're an Oshii fan, a Shinkai fan or just a fan of slower, thought-provoking works, you should check this one out.
Tokyo Godfathers
What an experience! I laughed, I cried, I was thoroughly entranced for two hours. I am used to Satoshi Kon being the guy that wants to tell us about the vagueness of the border between appearance and reality. Tokyo Godfathers is anything but that; it is a straightforward story that is heart-warming, hilarious, poignant, and fun. If one were to just read the premise on paper, they might think that this is a film that just should not work. Kon certainly made his central cast a group that doesn't have the broad appeal usually necessary for films to work. TG is about three homeless people, two being middle-aged and one being a gay cross-dresser (the best character, BTW, and not due to "comical" stereotyping)...hardly a group that most can identify with, let alone think "These folks would make a compelling movie cast!"
But, the film absolutely works. Again, I was totally hooked for the entire duration, fascinated by these people Kon was taking us on a journey with. It was such an enjoyable ride, this movie, totally lacking slow and.or uninteresting parts. Something funny, interesting, weird, gasp-inducing or heartstring-plucking was always occurring on screen.
Oh, did I mention it was gorgeous? Yeah, the movie is beautifully drawn and animated. I wasn't too hot on Milenium Actress, but Tokyo Godfathers has made me really eager to check out the rest of Kon's too-brief catalog.
Shin Mazinger Z
Along with Tetsujin 28-go, SMZ is one of the two Yauhiro Imagawa giant robot shows that wrongfully goes un-talked bout. People know about and laud Giant Robo, G Gundam is part of Gundam so, whether people love it or hate it, they talk about it. I don't hear much about SMZ, which is disappointing because I feel that, though this show has a couple of flaws, Imagawa is at or near his best for big chunks of the series.
Though SMZ is a remake of a Go Nagai show (Mazinger Z: the series with the first ever piloted robot), it feels much more like Imagawa. Much as he did for Mitsuteru Yokoyama's characters in Giant Robo, Imagawa breathes vibrancy and complexity into Nagai's cast of characters (and, similarly to his treatment of GR, some characters in SMZ are from Nagai works other than Mazinger Z, such as Violence Jack). Certain villains, in particular Baron Ashura, are wonderfully developed and totally compelling. In addition to Nagai's usual high-octane, hot-blooded manliness, Imagawa's hand adds layers of emotional intensity that the original likely lacks.
The animation and mecha designs are solid. Also, the 1st OP features a fantastic JAM Project song...possibly my favorite one. I was always pumped for the episode after seeing that OP.
There are a couple of missteps taken with the series, though. First is a story-telling issue I have. It's not really a problem...more like an inefficiency. Though each arc of the story makes sense by its conclusion, the viewer is often made to think that things just aren't going to fit coherently together. Again, the endgame of each arc fits the pieces into place, but the execution of that piece-fitting tends to feel off at times. I'm not talking about the good kind of being in the dark about a show's mysteries, where you're anticipating the big reveal at the end. SMZ often made me go, "Wait. How did that happen? Why? How did he/she get there? How did person X know about thing Y?" Then, at the end, Imagawa explains it all. I don't think he's haphazardly making up things at the end to neatly tie up his arcs; Imagawa is a director who plans. Still, I feel that if he told his stories in a more conventional, straightforward way, they would just feel more natural.
The second thing is that the ending is absolutely not an ending. It is totally an abrupt, screeching halt. The final scenes are obviously set-up for a sequel series, but here we are, two years later...without a sequel.
I do think Imagawa fans and fans of robot shows would find a whole lot to like here, with surprisingly well-developed characters and well-animated, nicely choreographed fights.
Also: Mazinger turns into a big fist at some point.
Also, also: Zeus (yup, the Greek God himself is here, and he plays an integral role in the series) has a rocket punch. A ROCKET PUNCH.