Thoughts on (Naoki Urasawa's) Monster (2004)

Finished first watch on 04/09/2018


-How did Eva get the picture of Johan?
-How did Johan end up running all of these massive criminal organisations?
-What was the objective of the experiments, what were the experiments themselves? All we get told is the wine incident at RRM and the Welcome Home incident at Tri Zaba.
-What was Johan's objective before wanting to commit this mass suicide?
-Why did he want to commit this suicide? To erase his existence from the world?
-Why was Tenma subjected to so much abuse?
-Did people have monsters inside of them? I get that Grimmer found out it was just his inner rage, but why did Johan write that the monster inside him was going to explode?
-What was the aim of Franz Bonaparta/Klaus Poppe's books?
-What caused the riot at 511?




Criticisms
Way too many tangents. These are not plot twists, just useless, random tangents: the guy who lived in the mansion with the pool, tbh the whole story of the university students. Thinking about it, Karl isn't actually that useful for the story but adds depth with Margot Langer, but to go in depth to see that classmate of his getting asked to dance at the disco and stuff - completely useless.
Did we need to know anything about Suk? What was the point of having him so deeply involved and have him on the run etc. Did we need to see so much of Martin?

Dieter was essentially copied and pasted like 4 times. Every town they visited had an outcast, energetic, mischievous but righteous 10 year old boy. Just kinda poor writing.

Lunge did fucking nothing through the entire series. He's introduced as if he's going to be this imposing antagonist but is really pretty useless throughout. I like the fact he came round and ended up being a good guy-ish, but he really achieved very little with his investigations.

The Sea Beast (2022)

Director:Chris Williams
Writers: Chris Williams, Nell Banjamin
Studio: Netflix Animation, Sony Pictures Imageworks

Watched on: 22/01/2023

Review contains ***SPOILERS*** for The Sea Beast

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
66675


A pretty predictable family film that adjusts the formula just enough in terms of looking at society correctly but doesn't really deliver much in terms of story. It's cute and has some pretty impressive animation but overall, wouldn't say this is one anyone needs to rush to watch, nor do I imagine anyone considers it a classic. It's calm.

For me, the best thing about the story is its concept. It encourages us to question why we we wage wars, reflect on the harm we cause to animals and overall focus more on living a great life than dying a great death, as glorious and noble as it sounds. So it's a win on that front. But otherwise, the story is pretty boring and doesn't bring a lot of new stuff with it. I'd even say that its themes and settings are way too close to How to Train Your Dragon for it to even really be considered novel. I will say it starts off strong but kinda falls off from the fight with the Bluster onwards.

The story is a good one in principal but feels like it's missing its own story beats. Even for key parts of the story. Like Jacob and Maisie become the typical unlikely family but there aren't any moments when they really bond; you basically just get familiar with seeing them together because of sheer screentime. Practically nothing happens to convince Sarah Sharpe to act any differently to how she has for the last (presumably) 40+ years. Same thing for all the people in the fancy shmancy royal town. Why did they suddenly believe the word of this completely random kid instead of a lifetime's worth of propaganda? It would have been way more convincing if the beast had done something really extraordinary (and no, simply not attacking Captain Crow isn't extraordinary enough - not in nature and not even by significance on screen). With all of these significant events missing, it seems even stranger to have included the weird blood oath with the shaman lady, which had absolutely no impact on the story. Not the price to pay, not even the poison, really. Could have cut that out and actually shown all the other stuff.

The characters are pretty meh. Even the main characters seem to switch up with no real life-changing events. The side cast seems pretty cool but doesn't have much depth to it. Although I will give the film props for making the King and Queen look as ridiculous and pompous as they possibly could. Otherwise, even character designs are pretty standard. Nothing super distinctive or revolutionary going on and even the design for Red itself looked like it was a draft design yet to get the last touches. Legitly even made it hard to connect with the beast at times. Although the other beasts were pretty cool looking.

Animation was definitely very high quality in this film. The odd shot here or there seemed a bit uncanny but otherwise, from start to finish it's impressive. The ocean, complete with waves and foam, was so skillfully done! It even had the perfect level of transparency for you to be able to see the beasts beneath the surface or for them to do an over- and under-water shot in the same scene. Plus they had loads of different hair textures on all the human characters (Maisie's coils especially must have taken a lot of time and attention, because they had multiple shots of it dry and wet) and the various moving body parts of a handful of beasts. They even occasionally threw in a fight scene, which was nice and they were perfectly weighty and believable.

Storytelling is another one that was pretty good throughout. Nice clear shots with solid framing, sharp angles to emphasize size or force and lots of clear articulation of the many massive ocean encounters. Can't say they did anything revolutionary either but it was definitely good.

So yeah, happy to see Netflix pumping out animated features and not shying away from encouraging its audience to question those in power. But truthfully, not an amazing film by any means.

Vivo (2021)

Director: Kirk DeMicco
Writers: Quiara Alegría Hudes, Peter Barsocchini
Studio: Sony Pictures Animation

Watched on: 21/12/2021

Review contains ***SPOILERS*** for Vivo

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
65774


This film was a pleasant surprise. Not only did I have low expectations of it, I also paused it at about 10 minutes in (to go and do something) and was actually happy to just leave it at that. I was off for Christmas that week, so had plenty of time on my hands, so I did go back to it the next day and within the next 10 minutes, I was genuinely hooked back in. The rest of the film was then a bit underwhelming but all-in-all, a pretty solid family film.

The very first thing I noticed when I put this on was how the film achieved the effect of making the setting (in Havana) really feel like it was alive. It's something I noticed when I watched Coco and conversely, something I felt was lacking when I watched Glen Keane's 'Over the Moon' recently. The backgrounds and background characters moved and behaved in a way that felt settlingly real, as opposed to the kind of stagnant movement that reminds you that you're watching something that had to be animated piece by piece. Overall, the animation was fun and expressive and I'd say Sony did a really good job on the details and textures - I can't imagine generating kinkajou fur was an easy feat!

The majority of that pleasant surprise I mentioned earlier was in the directing. Lots of simple frames with basic symmetry etc. made the film pleasant to watch but the film also had a few really visually powerful moments, e.g. the fountain representing Vivo's tears at Andrés's death, the Florida swamps being used to make us feel lost and uncertain (any viewer with access to Netflix is likely far more comfortable in a City) and the music and background going completely silent and only Vivo's footsteps (not visual but still great directing). There were also some really great little visual comedy moments, like the bridge jump with the bike and also the set-up and let-down of them making the leap to the boat, which they brilliantly diffused by just making Gabi laugh about it. Also loved the little King Kong reference!

The story and characters were generally very surface-level, it has to be said. The plot (after those first 20 minutes) is literally just "need to do this thing", "have now done thing", with some pretty frivolous tasks in between. Like what was the point of the birds (spoonbills, Platalea ajaja) and the snake? If you took them out of the story, it still would have gone exactly the same. Ultimately, the end goal didn't move or change based on the events of the story. Maybe Gabi got closer to her mum a bit but even she didn't grow or change at all throughout the film, really. And again with Vivo himself, most his growth was done up front. And the whole lyrics vs. melody thing was pretttttty weak for me. I liked the last scene, which showed how they all live now and what they get up to after the move (which is all I ask from a lot of other movies). I did really like that Vivo got to carry on what he did with Andrés with his kin.

One thing I really really noticed, was along with my usual dislike of Lin-Manuel Miranda's approach to hip hop (which is blatantly that of an outsider to the genre in my opinion), I also noticed the guy really can't sing that well. I'd say he didn't even sing well enough for his part in this; at certain points you could hear he was out of his range. The songs were mostly not great but I think there were 1 or 2 I did like. The big song around which the entire story hinges was thoroughly underwhelming. I do also have to say, Coco did the whole song for a final memory thing and of course did it infinitely better.

All in all, a pleasant surprise but not much better than that. Animation was very nice though.

Encanto (2021)

Directors: Jared Bush, Byron Howard
Writers: Jared Bush, Byron Howard,Charise Castro Smith, Jason Hand, Nancy Kruse, Lin-Manuel Miranda
Studio: Walt Disney Pictures Walt Disney Animation Studios

First watch: 15/01/2022

Review contains ***SPOILERS*** for Encanto

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
76786


Such a great film with so many great messages and magical moments. I had so much fun (and cried a whole lot) watching it and it was visually incredible but it still has areas it could imporove in.

So yeah, visually it was so amazing. Walt Disney animation studios is never going to struggle in this department but like I always seem to notice in these 3D animated features, all the environments felt so alive, with extras and animals who all seemed to have truth in their movements and seemed to live and breathe completely independently of this story taking place. And of course, the magic, the decoration and the scenery in the settings made it feel super vibrant and made the whole film an incredibly pleasant experience. Colour does a lot. Also that super high Disney quality was there, to the point that you could see the baby hairs on Luisa's back when she flexed; those animators must have worked their arses off! One of my favourite bits to get completely lost in was the discovery of Antonio's room; what an absolute dream.

The visual storytelling also adds to the visual impact of the film. They did so many amazing things on screen to get points and feelings across. I really enjoyed moment's like the engagement dinner, where they did the Dwarves Thing: they had Camilo react to the news by shapeshifting into Mirabel then Bruno, then Félix (who has no powers) finds out and spits out his drink, then Pepa finds out and her expression drops as a thundercloud forms above her head. They also used a lot of that Golde Age super imagery for the songs (think 'I Just Can't Wait to Be King', with the cutaways to crazy scenes that are just for show). There was also a lot of visual metaphors, like cracks appearing and cacti amongst flowers.

The message of the film, I think, is probably more important than the story itself (although the story was authentically driven at all points - a big plus!). The message is what shapes the story and as the film progresses, that message becomes more and more obvious. The story does have a very solid foundation for delivering that message but I think some of the details, some of which might fall more under storytelling, could have been changed to improve the impact of that message (suggestions below). They put too much focus on some bits, not enough on others etc. Even another song or two could have helped shape the story and relationships between the characters a bit better. There were also lots of smaller messages in the film, which I think they executed brilliantly.

The best example of these mini-messages is Luisa basing her value as a person on her ability to provide a service to people. This was a really good way of reframing masculinity and a quite common trait in men; that said, it was maybe lost a litte because Luisa is a woman but on balance, Disney made the best decision they could with her character. With that message, the character needs gift of super strength and it would be all too in line with the current state of damaging gender roles to assign that to a man character. So Disney pretty much got the message across as best it could whilst also swimming against the current; I think they nailed it. Also, I'm glad they made Luisa visually very pretty and 'feminine'. That's another reason I think they nailed the decision of making her a woman, because they also showed that women can be feminine and also be buff. It was great. Other messages like not overextending yourself, understanding each other and not having to fit anyone else's mould were great too.

Characters were cool. I would have loved to have seen more of Luisa and Isabela but their whole character stories were great. More emphasis on their journies would have driven home the respective messages better, because it seemed as though they were of eqal importance to the cousins when story-wise, they weren't. Abuela is a little bit off-the-shelf and I regret to say that Mirabel wasn't exactly groundbreaking. But they all did their part and were relatable in the moments they needed to be. Antonio was a little King! I absolutely fucking loved him and he of course had the coolest gift. His little outfit on his gift day was also adorable. Character design, however, is top drawer. Everyone looks exactly like what their character embodies. Just looking at their character sheets would tell you everything you need to know about them. I think this can be seen the most clearly with hair textures. I don't know how the hell they did it but Isabela's hair literally looked like it was fresh out of a fancy salon, Mirabel's was a little messy and although I'd maybe withold the design=character comment with regards to Félix and his kids, they did a fantastic jobs with the afro hair textures! Also, well done to them for placing Félix into that family to give the film some solid afro latino representation. I'm not an expert on that but I was glad to see it.

Regarding the animation, there isn't much to say. It's Disney, it's the gold standard. Of course it was expressive, weighty and perfectly stylised.

Highly recommend this film to anyone at all but especially people looking for a family film to please a crowd with mixed ages.


Now, things they could have added to make the film even better: -More moments between the sisters before they sing their songs. Their songs are where we only first get to meet them properly in my opinion, but their songs are where they start to develop. Essentially they get development with not enough exposition. Of course we get told about them and shown them using their gifts briefly but that's more just an idea of them, rather than actually who they are. Maybe a song between the 3 sistsers, maybe even some backstory about how close they used to be! That would also clarify that the 3 of them are the drivers of the story. It felt completely random when Bruno's new vision was for Mirabel and Isabela to hug. Because Isabela was just not in the story. -Spending a just a tiny bit longer (literally like 45 seconds) emphasising how the sisters use their gifts now and that the true gifts are each other and themselves. They did do this but it was only about 5 seconds each, which just wasn't enough for me. I wouldn't even have minded if they did a bit of telling here.
-Similarly, we could have had Abuela really clearly showing (or telling) that the real gift is each other. She could have literally put the candle out herself to show it (and there could have been some kind of plot device, like a candle snuffer that we saw but didn't know the purpose of). -They could also have had the Casita and the Candle be gone forever to really drive home the message. As I always say, if outcomes can just be undone, then all the actions that led to them become inconsequential. But it's a family movie, so it's for kids too - I get why they didn't do that. -GIVE MIRABEL A ROOM!! So Brutal we didn't even see that lol. She doesn't get a 'gift', which was really good of them to stick to, but she so could have been given a door. Is she just going to spend the rest of her life in the nursery watching a revolving door of toddlers go by?
-That said, I'd have liked to see what Mirabel's life looks like after the movie. Luisa and Isabela have this renewed outlook on life and now provide for people without compromising on themselves, but what does Mirabel do? Does she just pure chill out?
-Some of the gender roles could have been improved. Like if Mirabel's mum were her dad instead, it would have been nice to see a man who heals people with food and a lovely wife who's super sweet.
-Lastly, the whole way through the film, I though Mirabel's parents didn't back her enough. To the point it felt unsettling. In the context of the film, it really would have made sense for her parents to back her up and believe her and believe in her constantly. Felt wrong to watch and also in my opinion, would have sent Mirabel over the edge actually.

FLCL (2000)

Creator & Director: Kazuya Tsurumaki
Writer: Yōji Enokido
Studio: Gainax, Production I.G

Finished first watch: 28/03/2021


Review contains ***SPOILERS*** for FLCL

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
53686


I watched FLCL because I thought it was regarded as a classic (although looking it up now, it's currently ranked #502 on MyAnimeList, so not too sure about that) but after watching it, I'd probably call it a very niche cult classic. It definitely isn't like most things you'll watch but probably isn't what most people would actually want to watch. It's not to my liking but there's tons of very obvious quality in it and with regard to the main thing I don't like about it, the incredibly vague and nonsensical story, you could probably spend all day picking and trying to decode, which is probably what people like about it (and I will probably read other people doing that once I've written this).

The main thing about FLCL for me is its overall feel, which is noisy, messy, and erratic. Through the entire show, there is constant, heavy rock music playing. That includes during dialogue, which just creates this horrible, muddy sensation in my brain - especially when the rock music includes vocals! It also just doesn't have the normal rhythm and flow of most TV/movies you'll watch; no exposition and development, things happen, people pop up, you're in different locations, it's all hapening, no real explanation. This isn't helped by the absolutely rapid dialogue, which is difficult enough to follow audibly but becomes genuinely impossible to keep up with when reading subs. I had to pause and rewind it multiple times in each episode. This was made even worse by all the footnotes to explain the constant cultural references. It'd be incredibly unfair to hold those two points against the show but I just accept that I am not the show's target audience, don't speak its language natively and am unfamiliar with the culture it's set in and as such, I didn't have a great experience watching it.

That said, it was nice to see nods of appreciation to the things I was able to recognise, like Evangelion, Lupin III, and, for some reason, South Park. It really paid its respects to animation that came before it.

The chaos and craziness does, however, translate very well into the visuals. You're still left with the same sense of absolute confusion and disbelief as to what is happeneing but it's so visually pleasing, that it becomes a happy confusion. So for example, a huge, inoccuous bump growing out of someone's head doesn't make much sense but the embarassment and discomfort of the character are incredibly clear, as is the sheer ridiculous size of the bump. I'm tempted to use a word like 'imagery' to describe some scenes, despite this being a literally visual medium, because what you see on screen is somewhat abstract but does its job of communicating feelings, sensations and situations perfectly, like the poems in those GCSE anthologies supposedly did. So that's a win for storytelling but as mentioned, there isn't much story to tell.

Through the very short 6 episodes, events and characters appear with no real explanation. To an extent, I'm happy with no explanation of how these things happen, e.g. how a robot appears out of a bump on someone's head, but what I'm not content with is a lack of explanation or even basic reasoning for the events of the series even happening. For example, why does this housekeeper appear? What is this supposed to mean for the main characters? Are these events real or are they a metaphor? And hy itroduce this space patrol organisation? Are they serious or not? It's generally, just quite incoherent.

Something that's more of a positive (not a huge one, mind) is the characters. The characters are somewhat complex and the series does a job of capturing the pseudo-complexity of teenaged angst. A few of them are slight cop-outs, like the Dad, but others do things that don't make sense but do make you want to understand them, like Mamimi - I thought she was really interesting the whole way through.

A positive that is definitely much stronger is the animation. It was phenomenal throughout. It's all done at quite a low framerate (guessing it's on 2s) and they showcase absolutely perfectly just how to make the most of that. The movement is fluid, because the really understand which kinds of movements can be reflected well and at eactly the right speed. If you broke it down, it would probably be a great example of why animation should be considered as a whole and no single frame can be good or ba in isolation. There are also some cuts where the view pans a full 360 degrees around the characters and they legitimately all jaw-dropping and it's almost unbelieavable that it's all done by hand. Lastly, I'll say that I really enjoyed how FLCL was allowed to just flitter in between genres whenever it fanced, meaning they could show off lots of different art styles and types of actions. All instances had really great, very strong poses too, which were distict but never broke the overall style/design.


Easily the pick of the bunch for those rotating shots. Unbelievably well executed.

Not sure if FLCL was a manga before it was an anime (although I strongly doubt it) but I did like how the early animation also incorporated comic panels and really played around with them as a storytelling mechanism. To be completely fair, with all the quirky things like this (which I still think made it hard to follow), they got their full use out of them nice and quickly, then moved on. They definitely didn't rinse anything until it became stale.

I don't really know what I epected when I sat down to watch FLCL but it isn't what I expected in the slightest. It might be worth watching if you're really interested in alternative styles in animation or maybe if you really do love broody, edgy exporations of unexplained feelings. But for me, it was only just about worth the time it took to watch its 6 episodes. Also I didn't like the music, which a lot of people seem keen on. 5/10.