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Bullet Train (2022)

Summertime tends to see the release of big Hollywood blockbusters and action films and one that has been widely marketed is Bullet Train. The film follows mercenary Ladybug (Brad Pitt) who is tasked with acquiring a briefcase from a bullet train that is travelling between Tokyo and Kyoto. Ladybug has undergone therapy after experiencing bouts of bad luck throughout his career and applies a newfound optimism to the job. Unbeknownst to him, the bullet train is not only carrying the briefcase owners, Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry), but also The Father (Andrew Koji), The Prince (Joey King), assassin The Hornet (Zazie Beetz) and The Wolf (Benito A. Martínez Ocasio aka Bad Bunny). All these characters have their own reason and motive for being on the train yet they all seem to be connected to the mysterious White Death (Michael Shannon).

The film is directed by David Leitch with the screenplay written by Zak Olkewicz based on the book of the same name by Kōtarō Isaka. The majority of the film takes place on the train but the way Leitch directs feels as though each carriage is in its own world. This is a film that has a lot of moving parts and players involved so at times the screenplay does suffer as we get to learn about some characters more than others. Even though Ladybug is the protagonist, it seems that the screenplay has extended portions dedicated to side characters who don’t serve as much to the larger plot or aren’t present in the film for as long. However, the quick edits and action-packed sequences ensure that the audience isn’t bored when watching. Leitch’s direction is clearly inspired by the likes of Quentin Tarantino and while the film’s homage to Japanese culture may not be the strongest, it does remain an entertaining watch throughout.

Brad Pitt plays protagonist Ladybug, who has adopted an optimistic outlook following time in therapy. Trying to avoid any violence on his mission, Ladybug sure enough experiences more violence and gore than ever before but luck seems to swing in his favour. Pitt’s performance is absolutely delightful and charismatic, showcasing a funny side to him like we got to see in Once Upon a Time in Hollywood. The scenes in which Ladybug begins to ramble about his new perspective on life and seeing the reactions of other mercenaries and assassins on his journey is hysterical.

When it comes to the supporting cast, the highlight undoubtedly is Aaron Taylor-Johnson as Tangerine. Taylor-Johnson arguably has the most to play with in terms of characterisation for the supporting characters as he and twin, Lemon, have to deal with the liss of the briefcase. Taylor-Johnson has had an extensive career that spans across multiple genres but Bullet Train feels akin to Kick-Ass in terms of its sweary, non-stop action. However, his performance as Tangerine allows him to channel a rough assassin who also has a soft side, especially when it comes to his brother. In a film full of laugh-out-loud moments, Taylor-Johnson is responsible for a lot of them.

Playing Tangerine’s brother, Lemon is Brian Tyree Henry, who has had an extensive career in TV and film that crosses a multitude of genres. Although he is a dangerous assassin, Lemon shows affection for the TV show Thomas the Tank Engine throughout, saying that he learns a lot about people through the characters on the show. Although the metaphor does grow tiresome eventually, it does allow for some sweet moments, especially between the brothers when things don’t go according to plan. Henry’s performance as Lemon is great and he has great chemistry with Taylor-Johnson, but it feels as though he wasn’t given as much room to develop in the same way that Tangerine is which is a shame as the brothers provide some of the funniest moments in the film such as a flashback where they debate how many people they killed during a mission.

One thing that is undeniable about Bullet Train is how striking it is to look at. The cinematography by Jonathan Sela plays a huge role in this as Sela makes use of various lighting and shots to manipulate the limited space. From the carriage that is dedicated to the fictional anime character, Momomon to the tranquil first-class carriage that is more classic and upscale in design, the bullet train in Bullet Train feels much bigger and grander than what it is.

Bullet Train may have its flaws, but there’s no denying that it is a lot of fun to watch. With a star-studded cast and plenty of exciting action sequences, Bullet Train is a film that doesn’t take itself seriously and doesn’t want the audience to either. Brad Pitt is his usual charismatic self as the unlucky “Ladybug” and it’s clear that he is having a lot of fun in the role.

What did you think of Bullet Train? Let me know in the comments below!

Bullet Train is out in UK cinemas now!

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Perfect Blue (1997)

There are plenty of iconic anime films that have been released throughout the years. From the fantasy worlds created by visionary Hayao Miyazaki to Mamoru Hosoda’s brilliant coming-of-age stories, anime has always been an excellent medium within film for storytelling. One such pioneer of the medium was the late, great Satoshi Kon whose directorial debut, Perfect Blue was released 25 years ago this year. The film showed that anime is not just for children and made way for anime content that was catered for adults thanks to its gruesome violence, explicit nudity and mature themes. Perfect Blue follows Mima, a young woman wanting to make the transition from pop idol to mature actress. As she begins to take on more adult roles and gives her public image a makeover, Mima’s life starts to unravel as she deals with a stalker who is hellbent on ensuring that she maintains an innocent image.

The film was directed by Satoshi Kon and written by Sadayuki Murai who based the screenplay on Perfect Blue: Complete Metamorphosis by Yoshikazu Takeuchi. Satoshi Kon directed four films before his death in 2010 with Perfect Blue marking his debut and what a debut it is. The film is a complex look into the psyche of protagonist Mima as she begins to lose grip on reality as an imposter threatens to steal her identity. Kon’s unflinching approach has made Perfect Blue a staple, not only in animation, but in the psychological thriller genre as well. It is a visceral look into societal expectations placed on women and how that pressure to conform can have tragic consequences. Murai’s script is fast-paced while also providing plenty of scope for various factors to mesh and contribute to Mima’s eventual mental health deterioration. Kon’s gritty vision helps to list Murai’s words off the page, resulting in a brilliant film that feels both of its time and deeply relevant simultaneously.

Perfect Blue can be defined as a character study into its protagonist, Mima. Junko Iwao voices Mima and does a brilliant job of conveying the trauma and horror that the character has to endure throughout the film. Mima starts the film with a higher pitched tone to convey her innocent image that coincides with her pop idol career, but as the film goes on, her tone and attitude becomes more authentic and real as her life spirals downwards. Iwao perfectly captures the wide spectrum of emotions that Mima feels throughout. Mima is such an intriguing character and Iwao contributes to this. The idea of the pop idol and image is one that is especially monitored in Japan moreso than the majority of countries and seeing the extent of obsession for the fame and attention that Mima has makes for truly frightening viewing.

As with any film, the supporting characters are equally important. In particular, Rica Matsumoto’s contribution as Mima’s agent, Rumi, is brilliant. Rumi is a former pop idol herself and her obsession with Mima and her career shows how she longs for the life that Mima has, but isn’t willing to move on with her own life. Matsumoto’s performance is tinged with hints of longing and sadness throughout as Rumi clearly disapproves of the direction that Mima’s life is going in.

One of the best elements in the film is the music composed by Masahiro Ikumi which elevates the emotions felt by Mima throughout. As Mima begins to become disconnected and suffer from dissociative identity disorder just as her character does on the TV show she is in, the music begins to reflect this as the tracks become more chaotic. The track “Virtua Mima (Voice)” is especially haunting and its repetition drums in the confusion and terror that Mima is feeling. It’s a soundtrack that is essential to the overall film and helps to make the film as iconic as it is.

What makes Perfect Blue so gripping from start to finish is the editing by Harutoshi Ogata. Ogata does a fantastic job with the editing as he frames the film like a live-action psychological thriller featuring quick cuts to highlight the protagonist’s confusion and disconnection from reality. There are also longer scenes that make for uncomfortable viewing such as the scenes in which Mima is filming a scene for a television show in which she is victim of a sexual assault as well as the iconic chase scene that comes later on. The latter example has become synonymous with anime horror and it’s easy to see why. Ogata’s editing of the chase scene is one of the most eerie and frightening scenes without containing a huge amount of violence when compared with the rest of the film.

Perfect Blue has garnered a reputation over the years due to its explicit content and exploration into mature themes, while still remaining a gripping watch that boasts brilliant storytelling. Kon may have only made four films, but each one shows his immense talent as a filmmaker and Perfect Blue is a fearless glimpse into fame and the dangers of being a familiar face among a public that can easily hide. Despite the dated technology used in the film, Perfect Blue feels even more relevant now as social media has become even more commonplace. Not for the faint of heart, Perfect Blue should be on every film lover’s “to watch” list if they have not already watched it before.

What did you think of Perfect Blue? Let me know in the comments below!

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Summer Ghost (2021)

I was fortunate enough to cover this year’s Cardiff Animation Festival and was able to watch an array of films (over 100 in fact!). One of the highlights was loundraw’s debut, Summer Ghost which has a non-traditional running time of 40 minutes meaning that it can be considered either a long short film or a short feature film depending on your point of view. The film follows three struggling teenagers Tomoya (Chiaki Kobayashi), Aoi (Miyuri Shimabukuro), and Ryō (Nobunaga Shimazaki) and their investigation into a local urban legend called the Summer Ghost, a young girl who was rumoured to have killed herself who can be summoned when lighting a firework at an abandoned airfield. When they come face to face with Ayane (Rina Kawaei), the Summer Ghost, the group tries to figure out the truth about Ayane’s death, so she can find peace and move on.

The film marks loundraw’s directorial debut and is based on a script by author Hirotaka Adachi who incorporates many elements seen throughout his bibliography. The first thing that you notice about Summer Ghost is how strong the style of the film is. It’s clear from the beginning that loundraw has a distinct style, while the writing isn’t afraid to venture into mature topics such as mental health, specifically struggles with depression and suicide. Due to the film’s 40-minute running time, there are some characters who are given more characterisation over others as loundraw has more interest in Tomoya and Ayane. This isn’t to say that we aren’t given insight into Aoi and Ryō’s characters at all as we learn about their individual struggles, but there is more emphasis placed on the friendship between the protagonists and their times spent together. The plot of Summer Ghost is fairly straightforward and linear, but isn’t afraid to blur the lines between reality and the supernatural, allowing the audience to escape within the magic of the film’s world.

The film consists of four major characters so finding the right actors to voice them was crucial, especially since Summer Ghost delves into darker themes. In particular, the voice acting provided by Chiaki Kobayashi as protagonist, Tomoya and Rina Kawaei as the titular ghost, Ayane are extremely strong with the latter proving herself to be the perfect choice for Ayane. They manage to bring life to their characters and perfectly put across the complex emotions that these characters feel through the duration of the film. The scenes in which Tomoya and Ayane spend time together without the others feels extremely intimate and secret with Kobayashi and Kawaei conveying great chemistry for the characters, so the audience believes that they have an organic and natural friendship, despite the short amount of time that we see them spending together.

The soundtrack composed by Akira Kosemura, Itoko Toma, Guiano, and Hideya Kojima perfectly conveys the fantastical elements of the plot as it incorporates whimsy, especially in the scenes when we are first introduced to Ayane and when Tomoya first flies. The composers treat Summer Ghost as though it were a feature with his score as he allows the tracks to become loud and powerful, bringing forth the characters’ feelings during the unspoken moments. There is a contrast between the tracks that accompany scenes that take place in the “real world” and those that accompany supernatural scenes as the former seem to feel more standard and repetitive as though to exaggerate the repetitive nature of everyday routines, while the supernatural tracks are more unpredictable and whimsical in their sound. Despite having four different composers working on the film, the soundtrack works well when put together as it shows the complexities and differences between the characters and their individual perspectives.

Summer Ghost may have a non-traditional running time of 40 minutes that teeters between short film and feature film length. However, this doesn’t take away from Adachi’s beautiful script and the vivid visuals as loundraw makes use of every single second. Whether loundraw decides to revisit the world of Summer Ghost for a feature-length project in the future or decides to leave the project as is, it’s clear that he has a firm place in the future of anime and is a voice and visionary to watch out for as his studio, Flat Studio begins to develop even more projects.

You can read my write-up on Cardiff Animation Festival here.

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Belle (2021)

Anime is always an exciting medium as it boasts some of the most progressive filmmaking. While most people are familiar with the works of Studio Ghibli, there is another huge animation studio that has become hugely popular in Japan and has a large following worldwide. Studio Chizu was founded by director Mamoru Hosoda and producer Yuichiro Saito in 2011 and has released four films to date. The newest of these films is Belle, which had its premiere at the 2021 Cannes Film Festival, where it received a 14-minute standing ovation. The film is an adaptation of Jeanne-Marie Leprince de Beaumont’s fairytale Beauty and the Beast, but where there have been many traditional adaptations over the years (with the most famous rendition being Disney’s Oscar-winning 1991 animation), Belle completely reinvents the story for the modern-day by incorporating social media while still sticking to the moral and basic storyline of the tale.

The film follows Suzu, an introverted 17-year-old schoolgirl who loves music and singing but hasn’t sung since her mother died, who sets up an account on social media app U which allows users to create an avatar and experience a whole new world. Suzu’s avatar is called Belle and quickly gains popularity by singing songs that she has written. When Belle is due to perform at her biggest concert to date, the performance is crashed by the “Dragon”, a mysterious figure who is plagued with anger and fury, and the two eventually bond.

Like all of Studio Chizu’s outputs, Belle is written and directed by Mamoru Hosoda, who strips the original fairytale down to its core and propels it into the 21st century, while providing little nods to the 1991 Disney adaptation. What makes Hosoda such a brilliant visionary is his ability to delve deep into the characters’ internal conflicts and his fearless approach means that we are able to see all sides of his protagonists while injecting plenty of humour and lightness into the film to provide a perfect balance. With Belle, Hosoda provides plenty of background and characterisation for Suzu, so we get a perfect idea of who she is and why she acts the way she does. We see that Suzu has a deep internal conflict as she struggles to form her own identity which is contrasted with the confidence that she exudes as Belle in the world of U. Adding onto this, Hosoda is not afraid to shy away from mature themes and adds in discussions on grief, loss, and child abuse, proving that animation can discuss real-life topics in the same way that live-action films do.

The style of the film is captivating from the opening scene as we are immediately thrust into the world of U and get to see Belle performing a song while riding a whale. The great thing about the U universe is the limitlessness and imagination that takes hold as we see hundreds (if not thousands) of uniquely designed characters against a computer-animated backdrop that is vast and endless. The production design is carried out by Tomm Moore, Ross Stewart, Alice Dieudonné, Almu Redondo and Maria Pareja, who are best known for their work for Cartoon Saloon, and it proves to be a perfect combination as they help bring Hosoda’s vision to life.

Leading the cast is Kaho Nakamura, who voices Suzu and Belle, providing the speaking and singing performances. Nakamura perfectly captures Suzu’s frantic and nervous energy as we sense her internal conflict and desire to forge her identity, while also providing the confidence and sense of self that Belle has. Although Belle is technically Suzu, it is technically a role of two parts as Belle is a part of Suzu that Suzu feels unable to convey to the real world, meaning that this is not an easy task to achieve. However, Nakamura portrays every aspect of both characters beautifully, while also having the singing voice to match. The contrast between the opening scene in which we hear Belle sing confidently and fantastically and the following scene in which Suzu frantically gets ready for school shows a huge conflict in her personality and identity.

Now that we’ve discussed the Beauty, it’s important to discuss the Beast, which in this case is Dragon. Providing the voice of Dragon is Takeru Satoh whose performance is filled with the darkness and turmoil that the character feels. The character is introduced with a bang halfway through when Belle has risen to fame and is performing at a huge concert as he is pursued by a group of vigilantes who swear to bring justice and order to the U universe. Dragon’s first scene is highly intense and violent, marking a huge contrast to the events of the film up to this point, and perfectly marks the differences between the two main characters. Dragon doesn’t say a lot, but when he does, Satoh perfectly conveys the struggle that the character has and the physical and mental anguish that he is feeling.

Going against the norm, Belle incorporates musical elements, which is almost unheard of in Japanese cinema, especially within anime. Hosoda originally wanted Belle to be a musical but restricted the number of songs; however, the songs that managed to make the final cut are exceptional and fit beautifully into the story and the world of the film. The film’s opening number “U” is our introduction to the character of Belle, who we see before we are introduced to Suzu, and immediately immerses the audience into the world of U and the various characters that inhabit the social media world. The film’s climactic moments lie in the performance of “A Million Miles Away”, which is a slow ballad that Suzu sings when she is searching for Kei and Tomo. The song builds and builds, showing the power and community that has brought millions of social media users over. Comparing the emotional tone of “A Million Miles Away” with the upbeat and celebratory tone “U” displays the complexities in Suzu’s character, and her ability to connect with people through the power of music.

Belle is an animation that will steal your heart and stay with you long after it has finished. Fearless in its theme and progressive in style, Belle marks another triumph for Hosoda and Studio Chizu, and it is such a shame that it hasn’t had a look-in at the major award boards. Between Suzu’s impeccable characterisation and the wonderful songs, Belle is a film that has a lot to say and propels anime into a new age thanks to its combination of hand-drawn and computer animation.

What did you think of Belle? Let me know in the comments below!

Belle is available to watch in cinemas now!

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London Film Festival 2021: Wheel of Fortune and Fantasy

It’s an accomplishment for any filmmaker to be able to showcase their work at London Film Festival; however, for Japanese director Ryusuke Hamaguchi, he has two films showing at this year’s festival. With his adaptation of Drive My Car sweeping awards at Cannes Film Festival (you can read my review here), his second film Wheel of Fortune and Fantasy took the Silver Bear Award at this year’s Berlin Film Festival meaning that we are gifted with two exceptional films from the visionary filmmaker. The latter is an anthology film split into three segments centred on women and their lives in modern day Japan. The results are a fantastic glimpse into Hamaguchi’s solid character work and his ability to bring out the magic out of everyday life.

As expected, Hamaguchi’s direction and writing is seamless and organic, proving that he is a filmmaker who isn’t going anywhere. His use of long takes filled with dialogue between two characters can be intense and slow paced but works perfectly for the kind of films he wants to make. His ability to get into the characters’ heads and bring forth their motives in a way that is completely natural while making it seem effortless is exactly why he has been sweeping the awards panels off their feet. Showing the magic in everyday life may seem boring but what Hamaguchi does is create characters who are completely relatable whilst also allowing the audience to build their own interpretations and emotions on top of it. Wheel of Fortune and Fantasy proves his talent for writing well-rounded female characters who have agency and are unaware of their sexuality without objectifying them at any point. He isn’t afraid to be daring in the topics he explores and seems to allow the characters to develop in an unpredictable way.

The film’s first segment is titled Magic (or Something Less Assuring) which follows friends Meiko (Kotone Furukawa) and Tsugumi (Hyunri) as they leave work for the day. The latter is discussing how she has found someone she really likes called Kazuaki (Ayumu Nakajima) who just so happens to be the former’s ex-boyfriend although she doesn’t know this. What follows is an intricate love triangle as Meiko realises she is still in love with Kazuaki and tries to win him back before he gets serious with Tsugami. Furukawa’s performance as Meiko, in particular, is unsettling as we see her discomfort as she realises the situation that has found herself in. Meiko’s encounter with Kazuaki shortly after leaving Tsugumi is gripping and unpredictable with both Furukawa and Nakajima visibly going through a whole spectrum of emotions after their relationship ended negatively two years earlier.

The second segment is titled Door Wide Open and is by far the most explicit and darkest inclusion of the three films. The film centres on Nao (Katsuki Mori) who agrees to seduce a reputable professor, Segawa (Kiyohiko Shibukawa) after the latter humiliates her partner, Sasaki (Shouma Kai), a student who has failed his class. Like the first segment, it appears that there are three pieces of the puzzle moving and this one dives even deeper in terms of its complexity. Segawa is a renowned author and Nao’s method of seducing him is reciting an extract from his book in which there is an extremely detailed sexual encounter between characters. Never taking her eyes off Segawa whilst reading, we see the discomfort in both characters as the tensions rises in conjunction with the sexual tension from the excerpt. Mori’s performance is unapologetically fearless and completely gripping as we see the shift in control change constantly between Nao and Segawa. There are also discussions to be had of the gender constructs in this segment as well. Having a female character read the relentless sexual description of the writing from the male professor gives the former power of the situation, taking it from the professor in a bid to humilate him by using his own words against him.

The final segment is entitled Once Again and follows Moka (Fusako Urabe) who meets Nana (Aoba Kawai) at a train station believing that she was once her first love. Nana is flustered by Moka’s approach and is equally happy to see her. However, it later emerges that Nana isn’t who Moka thought she was and both women had mistakenly thought that the other was someone else entirely. The situation gives a chance for both characters to divulge into past traumas and find an outlet for its release to the other, despite being perfect strangers. Urabe and Kawai work fantastically together and we really feel their genuine connection as the events of the film develop. Even when it turns out that the characters don’t know each other, it doesn’t seem to matter and allows us to delve deeper into their backstories.

The only connecting thread that weaves these stories together is the music which is a light classical number by German composer Robert Schumann. The score is simple and romantic in style, fitting the themes of love perfectly as each woman shows their love in a different way. Even in the scenarios where there are dark undertones or an unhappy ending, the music serves to bring the audience back into the narrative of the film as an anthology and helps to move them along to the next segment. It’s a simple yet effective way of ensuring that these segments have some form of connection and helps to avoid alienating them as three completely separate films. After all, they do serve as a consistent triptych of the female perspective in modern day Tokyo which gives a basic common ground between them.

Overall, Wheel of Fortune and Fantasy may be a jarring view for some due to its anthological narrative but it is a testament to Hamaguchi’s skill as a writer and director that he is able to work with so many different kinds of characters and somehow find the humanity in them, showing that not everything is in black and white or good and evil. With each segment lasting 40 minutes each, we are really able to delve deep into the characters’ psyches and are able to explore their perspective of the world in a short amount of time.

Wheel of Fortune and Fantasy is showing at this year’s London Film Festival!

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London Film Festival 2021: Drive My Car

One of the many films to captivate audiences at this year’s Cannes Film Festival was Drive My Car where it won three awards including Best Screenplay. Adapted from Haruki Murakami’s short story of the same name from his 2014 short story collection Men Without Women, Drive My Car follows stage actor Yūsuke Kafuku (Hidetoshi Nishijima) who is hired to direct an upcoming production of Uncle Vanya following the sudden death of his wife. The film is a whopping three hours long and because of this, the original narrative of the short story has been extended thoroughly to create a story so detailed, that watching it is like being on a long and relaxing car journey.

Directed by renowned visionary Ryusuke Hamaguchi who cowrote the script with Takamasa Oe, Drive My Car is an exceptional character piece that really allows the audience to delve into Kafuku’s life in riveting detail. The simplicity of the direction and Hamaguchi’s knack for long conversational scenes allows the film to develop at an organic pace serves Drive My Car well and feels like a breath of fresh air in a current climate where filmmakers feel the need to rush their characterisation. This film is proof that less is more and shows Hamaguchi’s place as a fantastic visionary which hopefully lead to more astounding character pieces being made in the future.

Playing Kafuku is Hidetoshi Nishijima who has been perfectly cast in the lead role. Kafuku is a veteran actor who lives with his wife. We see people come and go in Kafuku’s life which is expected in his occupation as an actor and following the death of his wife, he finds himself at a stand still emotionally as he cannot fathom why she cheated on him before her untimely death. Despite this, Kafuku is recruited to direct an upcoming production of Uncle Vanya and is assigned a driver, Misaki, to transport him to and from the rehearsal venue where they strike up a friendship over time. We see Kafuku remain emotionally disconnected from those around him but something about Misaki strikes his curiosity and he desires to learn more about her. Due to the character centric plot, a lot of the film’s brilliance comes from Nishijima’s performance which feels so natural and organic in the role. He makes this mammoth performance seem easy and effortless despite being in almost every scene of this three hour epic. That is by no means an easy feat and the exceptional clarity and nuance he brings makes the film even more rewarding to watch.

The supporting cast is filled with strong performances, especially those who play the actors in Uncle Vanya as playing an actor requires extra layers. However, the star of the supporting cast is Tōko Miura who plays Kafuku’s driver, Misaki Watari. Miura’s performance is quiet and subtle but she her impact on the film and on Kufuku’s character is clear. At first it seems as though Kufuku and Misaki have nothing in common but eventually the former begins to open up emotionally and the two form a bond with Misaki providing much wisdom which helps Kufuku to move on with his life. In terms of their background, Misaki does not have an arts background and there is misconstrued as beneath Kufuku and his lifestyle. Soon enough, Kufuku realises that Misaki has much more to offer him than any play could. Miura’s performance is quietly powerful and it’s a shame she isn’t in the film more but the scenes we are treated to between the characters are beautifully written and paced, displaying a masterclass in filmmaking and character studies.

Overall, Drive My Car may seem intimidating due to its three hour running time, but just as the title suggests, the audience is taken through a journey slowly in a way that we get to fully take in everything the film has to offer. Adapting Murakami is no easy feat and Hamaguchi does a beautiful job of bringing this short story to life and extending the storyline in a way that is even more rewarding and breathes life into the characters by lifting them off the page.

Drive My Car is playing at this year’s London Film Festival!

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People Just Do Nothing: Big in Japan (2021)

People Just Do Nothing is one of the funniest comedies the BBC has had to offer in recent years. Following the incredibly popular mockumentary style that has become increasingly common in the comedy format for TV shows, People Just Do Nothing follows a group of aspiring musicians who run a pirate radio station, Kurupt FM, and their quest to hit the big time. The show ran from 2014 to 2018 with the film, People Just Do Nothing: Big in Japan seeing us revisit the group as their signature song has seen a huge surge of popularity after being used in a game show in Japan. The boys hit Japan in the hopes of starting their professional careers and, as expected, run into all kinds of hilarious problems along the way. Just like 2016’s Absolutely Fabulous: The Movie, People Just Do Nothing: Big in Japan shows that you can have a lot of fun with a cinematic feature based on a sitcom with fantastic results.

Directed by Jack Clough and written by the cast, People Just Do Nothing: Big in Japan remains true to its roots. Not falling for common traps normally committed by films based on TV shows, the characters’ actions in the film feel true to how they would act on the show rather than making them caricatures or something less risky to please a larger audience. This is a film that has been made with the fan base in mind and with plenty of inside jokes and references to events that happened on the show, long time fans are sure to be happy with the results. Even those who haven’t watched the show before are sure to have a great time as the characters are well established and the introduction makes the following events of the film clear so as not to alienate the audience. Clough’s direction cleverly sticks to the mockumentary style and the script is well paced so as not to feel like an extended episode. The cast and crew make the most of the location filming and allow the audience to really see the most of Japan.

Reprising his role as the franchise’s lead, Allan Mustafa is great as MC Grindah, who agrees to fully corporate with the Japanese record company who want to make the group mainstream by giving them a complete image makeover that is world’s apart from what they present. Mustafa’s performance is on top form and he ensures that Grindah is as funny and deluded as ever. The premise of the film is simply but the way that Mustafa performs allows us to see real growth in Grindah as he begins to lose grip of his roots and starts to become fashioned into the record label’s image of what a successful musician should be like. We see the mental anguish that he feels as he is pulled in each direction until he has a major breakdown while still providing his signature comical performance so the film isn’t dragged down by the seriousness.

Could there really be a People Just Do Nothing film without Asim Chaudhry as the iconic Chabuddy G? The answer is no and luckily, we don’t have to wonder as Chaudhry is on top form as everyone’s favourite manager. It’s just a shame that he isn’t in it more but as we see Chabuddy’s position as manager threatened, we begin to see his life unravel in a way that seems even worse than what we have seen before. We see plenty of laughs as Chabuddy tries to bluff his way through a variety of situations but there is also a sincere side that we see as he tries to stop Grindah but venturing down a path that isn’t true to his image.

There were so many highlights in this film from the hilarious reveal of the group’s stage costumes to the dance moves they are expected to learn but the greatest development to arise from the film is the relationship between Steves (Steve Stamp) and Miki (Hitomi Souno). Steves is often the fall guy of the group and often finds himself in the worst circumstances but doesn’t really mind due to his permanently drug induced state but it is his scenes with record label employee Miki that provides the majority of laughs throughout the film. You may have watched the film and wondered if there is anyone who can match Steves’ level of weirdness and the film answers that question. What starts as hysterical shenanigans soon turns into something more and it is lovely to see Steves develop another layer and see a different side to him.

Overall, People Just Do Nothing: Big in Japan isn’t afraid to have fun and allows fans and newcomers to the franchise alike enjoy their adventures. With plenty of laughs and hysterical characterisation, this is definitely a film that will pleasantly surprise you and is entertaining to watch.

What did you think of People Just Do Nothing: Big in Japan? Let me know in the comments below!

People Just Do Nothing: Big in Japan is available to watch in cinemas now!

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Earwig and the Witch (2020)

The latest film by Studio Ghibli is Earwig and the Witch, which has been the subject of controversy among Ghibli fans due to the computer animated style of the film which differs a lot from the signature 2D anime style that the company has become known and lived for. With Hayao Miyazaki’s son, Goro, taking the helm of this Diana Wynne Jones novel, it seems that Earwig and the Witch is seeing how Studio Ghibli does in the computer animated landscape which has dominated animation for the last decade. The film follows orphan Earwig (who is promptly renamed Erica by the orphanage matron) who is adopted by Bella Yaga, a Witch, and the Mandrake, a mysterious man who keeps himself to himself.

Please bear in mind that this review is in regards to the English language version as the Japanese language with subtitles was not an option at the cinema.

The film is directed by Goro Miyazaki, whose previous films with Ghibli include Tales from Earthsea and From Up On Poppy Hill. With his father bring Hayao Miyazaki who is not only one of the founders of Studio Ghibli but is a titan of animation, it’s easy to immediately compare Goro’s work to that of his father’s. Although his efforts have been proven to be hit and miss, there is something about Goro’s vision where you can tell he is wanting to push boundaries in animation. From the Universe building spectacle of Tales from Earthsea to his latest integration of computer animation in Earwig and the Witch. It is no secret, the computer animation does look out of place in the Studio Ghiblu catalogue but it isn’t too distracting with some scenes looking impressive such as the opening car chase. However, it does seem that the world would have looked even better and more detailed if it was done in the traditional hand drawn way. When watching the English dubs of other Ghibli films, it’s not too obvious, however, the computer animation makes the dubbing distracting at times. A comparison that could be made is that Goro has adapted a Diana Wynne Jones novel which reflects his father’s 2004 adaptation of Jones’ novel, Howl’s Moving Castle which is often ranked as many people’s favourite Ghibli film. When compared to Howl’s Moving Castle and Diana Wynne Jones’ universe as a whole, the holes and odd pacing of Earwig and the Witch are evident. With an extremely short running time of 90 minutes, the film ends abruptly and feels as though there is a scene missing.

The leading role of Earwig is voiced by newcomer Taylor Paige Henderson who brings a stubbornness and hardness that would be expected of a young girl with Earwig’s background. The character of Earwig is much like other Ghibli heroines in that she thinks she knows the ways of the world but she has a lot to learn. However, bearing in mind she is likely younger than the fiercest protagonists such as Nauiscaa and San, Earwig is a little rough around the edges in terms of her character. Henderson does a good job at portraying Earwig’s unapologetic nature. Vanessa Marshall on the other hand does a stellar job as Bella Yaga, the witch who takes Earwig into her care. Even when not on screen, we feel Bella Yaga’s presence. Much like the witches of Ghibli (think Yubaba and Witch of the Waste), Bella Yaga is focused on herself and on the surface, doesn’t wish to subscribe as a role model for the younger characters. Also like the aforementioned characters, Bella Yaga appears to be mean and unreasonable but actually has a kind side and does appear to care for Earwig.

In support, Richard E. Grant pulls off a fun performance as the mysterious Mandrake, a tall and lurking figure of little words who quickly becomes subject of Earwig’s curiosities. As Earwig settles into her new family life, we see the bond between her and the Mandrake grow stronger. However, the strongest bond with Earwig is the family cat, Thomas, voiced by Dan Stevens, who acts as Earwig’s companion and mentor to the world of magic as our protago is struggles to fit into this new world.

Overall, Earwig and the Witch is by no means a top tier Studio Ghibli film and it does have its flaws, especially the script which doesn’t feel entirely finished, but it should be applauded for trying something new. Although there is nothing necessarily broken about Studio Ghibli’s output, there are some eye-catching sequences and with a great song, “Don’t Disturb Me” sung by Kacey Musgraves which will get stuck in your head long after the credits roll, Earwig and the Witch is definitely worth a watch.

What did you think of Earwig and the Witch? Let me know in the comments below!

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Top 5 Sailor Moon Episodes

One of my favourite anime shows of all time is the 90s classic Sailor Moon. The original anime based of the hugely successful manga by Naoko Takeuchi ran from 1992-1995 for five seasons following teenager Usagi Tsukino who is an underachieving schoolgirl by day and a crime-fighting hero by night. Along with the other Sailor Senshi who are introduced as the series goes on. The five seasons are known as Sailor Moon, Sailor Moon R, Sailor Moon S, Sailor SuperS and Sailor Moon: Sailor Stars (also known as Sailor Stars), respectively. One of my favourite shows for a long time, Sailor Moon is one of the most popular animes in the world and for good reason. It’s relatable look into the life of teenage girls as they deal with relationships and friendships while also having to pass school exams and think on their futures.

There are times when the show hasn’t dated well (insert the weight-shaming episode here) but overall, the show was pretty progressive considering it was made in the 90s with children being the target demographic. I say this because there are a slew of LGBT relationships throughout the show’s run from first season villains Zoisite and Kunzite to the third season’s addition of Sailor Uranus and Neptune who are in a relationship. Also, the depictions of death and loss grow more violent as the show goes on to reflect the greater threats as well as acknowledging that the audience has grown up alongside the show and its characters.

With its wide array of characters with distinct personalities, there aren’t a lot of shows like Sailor Moon around and it’s that resonance that has made it a pioneer of the Magical Girl genre within anime. With a staggering run of 200 episode, I have decided to rank my top 5 favourite in order which was insane given how many there was to choose from.

Here are my top 5 episodes:

5) “The Dark Queen: Birth of the Black Lady”, Sailor Moon R

The first episode to kick off this ranking is one from the show’s second season. Chibiusa has been manipulated by Wiseman into believing that no one loves her, conjuring up memories from Crystal Tokyo. Using her sadness and anger, Wiseman transforms Chibiusa into Black Lady. Given how the relationship between Usagi and Chibiusa is extremely turbulent during this season, it’s hard to watch as the former is unable to heal Black Lady. The foundations of their growing relationship seemed to have been wholly crumbled by Wiseman’s tricks and now Black Lady is another obstacle in the Sailor Senshi’s way to saving the world. All through Sailor Moon R, Chibiusa is seen as extremely stubborn but she is also a child and this is what makes her emotions easily swayed when she is constantly brainwashed into thinking she isn’t loved. Black Lady seems to be that culmination of negativity brewing inside Chibiusa that she feels against herself.

4) “Shadow of Destruction: The Messiah of Silence Awakens”, Sailor Moon S

The first of two Sailor Moon S episodes to make this ranking, this episode takes place later in the season and sees the second arc come to a brilliant climax. We see the innocent Hotaru succumb to the darkness that has ruled over her through the season and the revelation that she is the feared Sailor Senshi and the last to be revealed, Sailor Saturn. Having captured Chibiusa, the Mistress of Darkness has ruled over Hotaru and takes Chibiusa’s heart crystal and consumes it. Hoping that the light inside Hotaru will win and she will transform to Saturn is diminished and we see her change into the evil Mistress 9 instead. What puts this episode on my list is the heartbreaking betrayal that the darkness has made Hotaru carry out on Chibiusa. Their blossoming friendship is one of the highlights of this season and seeing the frail Hotaru succumbing to darkness is a sad turn of events. The strength of the evil seems to be hugely advanced as well and appears that it will overwhelm the Sailor Senshi. Hotaru has now become a figure to be feared rather than sidelined.

3) “Usagi’s Love: The Moonlight Illuminates the Galaxy”, Sailor Moon: Sailor Stars

It would be insane not to put the final episode of the whole show on here. Rounding of a fantastic 200 episodes in its 5 season run, the whole saga concludes with Eternal Sailor Moon defeating Chaos Galaxia. This episode sees Sailor Galaxia falls under the evil entity Chaos’ control thus becoming Chaos Galaxia and everyone except Sailor Moon is lost. Sailor Moon transforms into Princess Serenity and manages to defeat Galaxia by refusing to fight and holding onto her hand until she has rid herself of Chaos. Despite no violence, it’s still intense and action filled as Galaxia struggles to fight the darkness within. The series is rounded off nicely afterwards as Usagi is reunited with Mamoru and recounts the voice-over thay we were so used to from the first season when she introduces herself as the original theme song plays. Despite the Sailor Stars anime differing hugely from the manga, I think the ending ties everything up perfectly combining the more mature Usagi that has developed through the seasons with the more nostalgic and innocent Usagi we were first introduced to in episode 1.

2) “Death of the Sailor Guardians: The Tragic Final Battle”, Sailor Moon

The penultimate episode of the first season definitely comes as a shock to those who watch the show from the beginning. The Inner Senshi venture to the North Pole where Queen Beryl resides with her minions in a bid to end her plans once and for all. What happens next is a sequence that threatens to shatter the foundations of Sailor Moon’s strength that she has been building since the very first episode. One by one, the Sailor Senshi are taken out by minions until Sailor Moon is the last one left. It’s not so much that is alone that is sad, it’s the explicitly and way that the other four are killed. As the others are more mature than Sailor Moon, they understand and acknowledge the sacrifice that they must make to save the world and particularly when Rei is killed in a huge blaze, we see vacancy in Sailor Moon’s eyes. The hopelessness she feels as she staggers on threatens to undo all of the hard work that she has achieved making it one of the most intense sequences in the entire anime’s run.

1) “The Death of Uranus and Neptune: The Talisman Appears”, Sailor Moon S

By far my favourite Sailor Moon episode from my favourite season, the structure and execution of this midpoint episode is so unique and brilliant. Following the Witches 5’s failing search for the talismans, the story climaxes with the revelation of two of the three mysterious items. In a shocking twist, the two talismans are found in the hearts of none other than Sailor Uranus and Neptune and this episode is as heartbreaking as it gets. We see the Sailor Scouts in their most iconic scene in the anime as they hold hands and reflect on their mission and its importance. What follows is them agreeing to meet Death Buster, Eudial, who lures them to a cathedral where the showdown begins. The scene in which Neptune escapes a trap and tries to save Uranus who has a gun pointed to her heart is fantastically drawn. What is unique about this episode compared to other episodes is that the main focus is on Uranus and Neptune but also the structure differs. Rather than delving straight into the action, the first half is more of a character study into how Uranus and Neptune are outside of the Senshi. It’s a rare insight into their relationship that is slower paced and then the second half deals with that fast paced action sequence in the cathedral.

So that’s my episode ranking! As you can see, none of my favourite episodes are from Sailor Moon SuperS. It is my least favourite season due to its focus on Chibiusa and the absence of the Outer Senshi but there are a few good episodes in there, particularly “Mirrors on Dreams: The Amazon’s Last Stage”. I think the show thrives when it explores those moments of hopelessness and showing the characters pushing themselves past their limits. Overall, Sailor Moon S is my favourite season because it pushes the envelope with the introduction of Sailor Neptune and Uranus as well as seeing Usagi mature.

What do you think of my choices? Which Sailor Moon episode is your favourite? Let me know in the comments below!

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Hayao Miyazaki: Film Ranking

It’s hard not to think about Hayao Miyazaki when choosing what anime film to watch. Known as one of the founders of the Japanese animation powerhouse Studio Ghibli, Miyazaki has established a name among critics and audiences alike as an important figure in helping Japanese cinema reach a global audience with films that are suitable for all ages. So far, Studio Ghibli has only won one film in the Best Animated Feature category which is for Miyazaki’s masterpiece Spirited Away (2001) which, in my opinion, remains the best overall winner in this category. I do think there are times when a Ghibli production should have walked away with the award but sadly, releases directly from Disney Studios tend to dominate the category almost every year.

Ghibli is reliable and consistent, bringing out films that challenge our perceptions on the society we live in by incorporating more mature issues such as loss, mankind’s treatment of nature and identity. There are other directors who have also helped to bring Ghibli the reputation it has today such as Isao Takahata who I will also be writing a separate ranking for but in the meantime, let’s delve into the films of the one and only Hayao Miyazaki.

Here is a mini write up for each in chronological order followed by my ranking at the end of the article:

The Castle of Cagliostro (1979)

Miyazaki’s debut comes in the form of this action packed adventure based on the Lupin III manga series following thief Lupin and his partner Jigen after they successfully rob the Monte Carlo Casino only to find that the money is counterfeit. They travel to Cagliostro, the rumoured source of the counterfeit enterprise in a bid to put an end to the ordeal. The film is credited with being an inspiration to the likes of Raiders of the Lost Ark and The Great Mouse Detective. It’s clearly not completely controlled by Miyazaki himself as it was made before Ghibli’s inception but there are some signature Miyazaki traits that are noticable in hindsight such as the exaggerated expressions and the mix of humour and drama. It’s a faster-paced film than the usual Miyazaki action films but it doesn’t feel rushed. Lupin is a great character and the writing ensures the audience is gripped. Another highlight in this film is the score by Yuji Ohno which has Pink Panther vibes and really helps to elevate the film-watching experience. I think that this film marks a very strong start to what was evidently the beginning of one of the most exciting film careers in Japanese cinema history.

Nausicaä of the Valley of the Wind (1984)

The first film created by the founders of Studio Ghibli comes in the form of this brilliant dystopic epic set in a world where the Toxic Jungle, a forest filled with giant, poisonous insects threatens to eliminate the last of the human race. Though released before Ghibli was officially founded, Nausicaä of the Valley of the Wind is commonly considered a Ghibli and has been re-released under the Ghibli banner. The film follows the titular character as she strives to find a way for the insects and humans to co-exist. Based on the manga series of the same name by Miyazaki, who also adapted it into a screenplay, Nausicaä isn’t afraid to delve into deep issues and question its younger audience. Focusing on the themes of mankind vs nature which would prove to be an underlying topic in subsequent Miyazaki features, the film is also unafraid to showcase loss and fractured relationships. It’s also refreshing to see a female protagonist whose strength is never questioned and is accepted for what it is, another trait that Miyazaki showcases in each of his Ghibli produced films.

Castle in the Sky (1986)

The first official feature to be released under the Studio Ghibli is the action-adventure Castle in the Sky. The film follows Pazu, a young boy who works in the mine of his local village who comes across a girl, Sheeta, who floats down from the sky. They are soon chased by pirates and government agents in a bid to track down the secret locating the mysterious floating island, Laputa, that Sheeta may hold the key to find. I have written a fuller review on this film that you can read here but it is truly a dazzling achievement. The scope and detail in the animation is remarkable and the score by Joe Hisaishi feels timeless. Although it is not as popular as Miyazaki’s later films, I think that Castle in the Sky is such a thrilling and impactful film that has a lot to say on mankind’s relationship with nature, the importance of the environment and people’s relationships with each other. Both protagonists work together to find a peaceful solution against the people who want to use Laputa and its materials for weaponary and world domination.

My Neighbor Totoro (1988)

Arguably the most iconic Studio Ghibli film, My Neighbor Totoro follows sisters Mei and Satsuki as they move into an old house with their father so they can be closer to their mother who is recovering in hospital from a long-term illness. The two girls eventually encounter an array of spirits, including one that lives in the nearby forest who Mei names Totoro and the enigmatic Catbus that provides transport for the spirits. It’s a wonderful film that provides the perfect introduction for younger children to Studio Ghibli. Unlike its predecessors, My Neighbor Totoro is a lot more innocent and childlike in its design and message. This doesn’t prevent it from being a brilliant film, however, as it does a great job on touching on family dynamics, childhood and loss. It has a lighter feel and very striking design, particularly the Catbus who conveys the tone of the film without even saying anything. What is brilliant about Miyazaki’s world is how he integrates traditional Japanese folklore with his own imagination and artistry and My Neighbor Totoro is a beautiful example of this.

Kiki’s Delivery Service (1989)

Following on his successful streak, Miyazaki brings another film geared towards younger children in this lovely tale about a younger witch, Kiki, who sets off to find out what she wants to do with her life. Accompanied by her cat Jiji, Kiki is fascinated by the normal human world and understandably finds it hard to fit in as she is not like them. The film is all about understanding accepting our differences and how we can use them to the our advantage. Kiki is a great protagonist for the younger demographic as she is a strong female who is flawed but she works on those flaws. She is a well-rounded character and it showcases Miyazaki’s strength in being able to create characters that audiences of all age can relate to on some level. It’s not the strongest installment in Miyazaki’s filmography but that doesn’t mean it is a bad film at all. Miyazaki’s work is of such high calibre that it just misses out on the top tier of films for me but it is still an absolute joy to watch.

Porco Rosso (1992)

The last film Miyazaki to be made before he took his first hiatus is a more detailed look into the filmmakers interest with aircraft. Porco Rosso follows the titular character who was a human but was cursed and is now a pig who works as a pilot bounty hunter who catches pirates in the Adriatic Sea. It’s a fun-filled adventure that has inklings of Castle in the Sky with the over the top pirates and allows Miyazaki to go deep on his own family heritage of working in aircraft. Joe Hisaishi’s score is fantastic as always and strikes the right upbeat tone that the film has. For me the film’s highlight comes in the scene in which Rosso sees his dead friends flying in the sky in his own version of heaven. It’s a fantastic scene that lifts the whole standard of the film. It is my least favourite Miyazaki film as it does have some flaws that I cannot overlook particularly the treatment of Fio, a teenage woman who aspires to engineer and make planes. A few jokes and quips made by the pirates are thrown her way that I feel are inappropriate for the younger audience. Fio herself is strongly written and is a brilliantly resilient young woman who is unfazed by working in a strongly male-dominated industry but the comments made by other characters could have been removed and still maintain the toxic masculine environment that Miyazaki was wanting to portray.

Princess Mononoke (1997)

Miyazaki returned after 5 years to make this brilliant epic based on traditional Japanese folklore and spirits. Princess Mononoke is fable on mankind’s takeover of nature and the subsequent consequences that this has. Following Eastern Prince Ashitaka who is cursed by a giant boar god who he kills, he must venture West to Irontown, a place filled with revolutionary industrial technology that threatens to takeover the forest by mining the sources underground. On arrival, he comes across San, a human girl raised by the Wolf gods who violently attacks and attempts to kill the leader of Irontown, Lady Eboshi, any chance she can. The film is by far Miyazaki’s most violent and graphic film thanks to its abundance of blood and graphic injury from the offset. Miyazaki always has a large scope in his imagination but Princess Mononoke has such a richness in detail that I think brings it to another tier. From the larger than life forest spirits to Joe Hisaishi’s spectacular score which is my favourite soundtrack from any Studio Ghibli film. I have written a longer review that you can read here. Despite its Medieval Japanese setting, there is a timelessness in the message that Miyazaki it wanting to convey and I think that that is why it resonates with so many people.

Spirited Away (2001)

The film that finally gave Miyazaki a long-awaited Oscar, Spirited Away is usaully the go-to film that beginners to Ghibli go for and with good reason. Following Chihiro, a young girl forced to move away with her parents and is sad to leave her friends, Spirited Away sees the family accidentally trespass on the land of the spirits. After her parents are turned into pigs, Chihiro must work in the Bathhouse while she figures out a way to get her parents back and return home. This film is nothing short of a masterpiece between the wide array of memorable characters as we venture in the spirit world including Haku, a young man who befriends Chihiro and No-Face, a mysterious spirit who suddenly appears and causes mayhem. Everything about it is iconic and it really is a beautiful film to watch. I have done a longer review which you can read here but words really don’t do this film justice.

Howl’s Moving Castle (2004)

Probably the most accessible Miyazaki film storywise, Howl’s Moving Castle is based on the best-selling book by Diana Wynn Jones and follows SOphie, a young woman discontent with her appearance who is cursed by the Witch of the Waste and turned into an old woman. She is then picked up by the mysterious Moving Castle and agrees to work as a cleaning lady for wizard Howl. The film is gloriously magical and is filled with whimiscal design which has made it a favourite amongst fans. The Wales-inspired landscapes are beautiful and vast and some maintain a very high level of detail that remains captivating long after the first viewing. This world that Sophie lives in differs to that of Howl, who longs for beauty and perfection in a world ridden with darkness and chaos. He refuses to take part in the war that is tearing the country apart and provides a bleak backdrop to the natural beauty where the story takes place. Hisaishi’s score is wonderful as always with the main theme waltz reminiscent of a merry-go-round piece. What Miyazaki does so well that he incorporates into this film particularly is showing how blurred the lines are between good and evil.

Ponyo (2008)

After his second hiatus, Miyazaki returns with another film geared towards the younger audience that follows Brunhilde, a goldfish who lives in the sea with her father and sisters, who escapes and is captured in a glass jar by a young human boy called Sōsuke. Brunhilde develops a desire to become human and changes her name to Ponyo after she is accidentally fed blood after Sōsuke shatters the jar which cuts him. Based on The Little Mermaid by Hans Christian Anderson, Ponyo is a less traditional retelling of the fairytale but still maintains Miyazaki’s vision and charm irregardless. It is an adorable film about friendship and love and despite there being hints towards a negative shift in the balance of nature due to Ponyo’s wishes, it still remains upbeat. Despite her young age, Ponyo is a strong-willed character who knows that she is out of place at the start but doesn’t understand why and makes it her mission to discover where she belongs.

The Wind Rises (2013)

The lastest Miyazaki feature to be released is absolutely astounding and comes in the form of The Wind Rises, which follows protagonist Jiro Horikoshi, an aircraft designer who works for Mitsubishi during World War II. Based on the manga by Miyazaki, it clearly is a project that the director is passionate about and I think this is emphasised by his realistic approach and design. The film tells the story of an aspiring pilot who eventually becomes an aircraft designer due to his poor eyesight and shows him falling in love with a young woman he meets. The Wind Rises is absolutely beautiful and everything about it from its writing and character design to the score by Hisaishi is flawless. Like most of the other Studio Ghibli films released since the inception of the Best Animated feature Award at the Oscars, this was nominated and it expectedly lost to Frozen but I personally would have given my note to this film because the passion that is conveyed goes beyond Miyazaki’s previous projects.

Unlike a lot of directors, there aren’t as many films that Miyazaki has directed in his 40 year career but that is because creating his films is time-consuming due to his insistence that they stick to hand-drawing their images. In the last 3 years, only 36 minutes have been created for his next feature How Do You Live? which Miyazaki has advised is his last film before retiring for the third (or fourth?) time. The calibre of his films is so high so even the ones that rank a bit lower are so strong in quality. Miyazaki has a reputation that many film-makers and lovers dream of and I have seen these films multiple times and will undoubtedly watch them again and again.

Anywho, here is my final ranking:

1) Castle in the Sky (1986)

2) The Wind Rises (2013)

3) Princess Mononoke (1997)

4) Spirited Away (2001)

5) Nausicaä of the Valley of the Wind (1984)

6) Howl’s Moving Castle (2004)

7) Ponyo (2010)

8) My Neighbor Totoro (1988)

9) The Castle of Cagliostro (1979)

10) Kiki’s Delivery Service (1989)

11) Porco Rosso (1992)

So there we have it! What do you think of my list? Which Miyazaki film is your favourite? Let me know in the comments below!