“All You Need is Kill” is directed by Ken’ichirô Akimoto and co-directed by Yukinori Nakamura, making this their first official directing credits. This film stars Natsuki Nanae (Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train, Goodbye, Don Glees!), Ai Makami (Kokuho, Chastity High), Mô Chûgakusei, and Kana Hanazawa (Suzume, The Night is Short, Walk on Girl). This film is based on a light novel of the same name, which also inspired the 2014 live-action film “Edge of Tomorrow.” The film follows a young woman who has relive the same day over and over while dealing with an alien invasion. She crosses paths with a young man, and together, they fight to break the cycle.
I saw the trailer for “All You Need Is Kill” last month and was genuinely shocked I had not heard this movie was going to be coming out. Granted, I should not be too shocked, given how I have not read the light novel or the manga series. That said, I did recall the name “All You Need Is Kill” as soon as it popped up, and that is because I am a fan of “Edge of Tomorrow.” For those who do not know, “Edge of Tomorrow” is a film starring Tom Cruise as an American public relations officer who is forced into battle against aliens by his superiors. He quickly comes to realize that each time he dies, he reverts back to a specific point in his life that he has to relive over and over.
When I first saw “Edge of Tomorrow,” I thought of it as “Groundhog Day” with a sci-fi twist. While that is technically accurate, the film was actually inspired by “All You Need Is Kill,” which was written by a Japanese author and made with a Japanese mindset, so “Edge of Tomorrow” is in a sense, the Americanized version of “All You Need is Kill.”
…Although, now that I think about it… “Groundhog Day” did release before all of these… So, there is that.
As a fan of “Edge of Tomorrow,” I was looking forward to seeing what could be done with a movie that would likely end up feeling closer to the source material that inspired it. Now that I have seen “All You Need is Kill,” I have to say the film is quite solid. It is definitely worth watching if you are looking for a dazzling spectacle in addition to an admirable character piece.
While the characters in “All You Need Is Kill” are identical to those in the light novel, one difference that should be noted is that the roles in the story’s center are reversed. Instead of centering around Keiji, who this time around serves as a supporting character, the film’s protagonist is Rita. I have no problems with this change, mainly because I found both characters to be well written and each one seems to the serve the other in a way that benefits the story overall.
Both of these main characters have excellent chemistry and are not only fun to watch as a team, but it is nice to see how each character allows the other to realize what they are missing. One thing I noticed throughout the movie is Rita’s tendency to become overly emotional and cry on certain occasions. I have no idea how such a thing would play out for certain viewers, but I thought it was a great way to balance Rita out from Keiji, who tends to be a bit more reserved with his presence. By the end of the movie, this allows for some really good dialogue between the two.
I also really like seeing Rita learn how exactly her time loop works. Throughout the movie, we see Rita wake up in the same time and place, and do almost the exact same things each time, but she learns something during each go. She remembers what other characters say, whether they are directed specifically towards her or simply uttered in the background. Each time she dies, she tries a different move to avoid perishing, only to realize that she sometimes ends up doing so moments later in another way.
While the film is not a comedy, the constant cycle of death does allow for a funny moment or two. Every time Rita dies, she is reverted back to her bedroom where she is woken up by the sound of her alarm clock. When this happens, another character in the background yells from the other room, telling Rita her alarm is sounding off. At one point, Rita becomes so familiar with the same old song and dance that she tells the other character to shut up before they could finish reminding her about the alarm. Moments like that, and a couple others, did get a chuckle out of me.
The other standout to me in this film is the animation, which is almost ironic the more I think about it. Because this is a film where characters die on repeat, and yet, it is absolutely gorgeous and picturesque. The alien creatures in this film are presented in a vibrant color palette. They are incredibly easy on the eyes, almost to the point where it works in their favor. If I were in battle against them, I would be so distracted by their glitz to the point where I would die instantly. If you ever watch certain movies, you would notice that the villains would present themselves in a darker costume or a more “negative” color. Look at the “Star Wars” villains over the years like Darth Vader or Kylo Ren. This is not the case with “All You Need Is Kill.” While the aliens may look pretty, there is more to them than meets the eye.
This film is not even an hour and a half. Yet by no means is it rushed. I think the runtime is almost perfect given the story that has been told. I have no complaints about the pacing at all. In fact, it might be one of the best things about this film. It is, no pun intended, all killer, no filler. We come to realize the main character dies hundreds of times. The film does not show each death, but it makes time for ones that are arguably more important to the story and allow the final product to have a more compelling impact. The film gets to the point with each and every scene. Not every scene is presented in a TikTok-pace, but there are no moments that overly draw themselves out. This movie hits the Goldilocks zone in terms of engagement.
In the end, “All You Need Is Kill” is a fun movie. Rita and Keiji are an admirable duo and their journey throughout the film makes for quite the story. The animation is well done and emits a weird sense of peace in what is ultimately a dark world. The musical score in this film is also really good. I have no idea if I will listen to it down the line, but I dug it while watching the movie. Also, the soundwork is amazing. Every time the aliens make noise, it is not only easy on the ears, but also rather ominous. Technically, the film is a beast. I am going to give “All You Need Is Kill” a 7/10.
Again, I did not read the light novel, nor have I read the manga. The best comparison I have to this film is “Edge of Tomorrow.” In preparation for “All You Need Is Kill,” I rewatched “Edge of Tomorrow,” and I think both stories are equally engaging. The styles, while different, each serve their movie’s vibe perfectly. I think “Edge of Tomorrow” is an immersive ride that puts you in the middle of a futuristic war. Its darker color palette tends to serve its tone well. I also like William Cage as a character. That said, I also think “All You Need Is Kill” stands out for its more unique technical presentation and I find it to be the superior character piece. I am not saying one film trumps the other. If anything, both are great for their own reasons. I think certain things stand out in one film more than the other, but if it were a Friday night and I were to pick between either movie to watch, it would be like going to Ben & Jerry’s for ice cream and having to choose between Ameri’Cone Dream or chocolate chip cookie dough. Both choices, in the end, are winners, for their own reasons.
“All You Need Is Kill” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “Song Sung Blue,” “Mercy,” and “Send Help.” Stay tuned!
Also, if you missed it, be sure to check out the teaser trailer for Celebrity Movie Requests, the all new series where I review movies requested by your favorite stars, coming to Scene Before, and my YouTube channel! And while you are here, please watch the trailer, give it a like, and subscribe to my YouTube channel, hit the notification bell, that way you are up to date on the latest info Celebrity Movie Requests has to offer! If you want to see all of this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “All You Need Is Kill?” What did you think about it? Have you read any of the prior source material? Is it good? And lastly, if you have seen “Edge of Tomorrow,” tell me your thoughts on that movie! Let me know down below! Scene Before is your click to the flicks!
“Scarlet” is directed by Mamoru Hosoda (Belle, Mirai) and stars Mana Ashida (Pacific Rim, Mother), Masaki Okada (Drive My Car, Confessions), and Koji Yakusho (Babel, Perfect Days). In this film, the titular princess, who lives in Medieval Times, is out to get revenge against her father’s killer. Unfortunately for her, the mission does not go according to plan, because she dies before completing it. Her quest continues in the afterlife, where the killer also happens to reside. In the meantime, she runs into a medical worker from the present day, whose views on violence and revenge strongly conflict with hers.
“Scarlet’s” wide U.S. release does not take place until 2026, but I had the unique opportunity to watch the film in 2025, as it received a very limited engagement in select IMAX theaters. One of those theaters happened to be 20 minutes from home, and given how much I was chomping at the bit to see “Scarlet,” I bought a ticket lickety split. That said, even if “Scarlet” were only playing one, two, three, or even four hours away from where I was, I would have still bought a ticket because the film is from someone who has become a favorite filmmaker of mine in recent years, specifically, Mamoru Hosoda.
If you have read this blog in 2022, or sometime after, you may have discovered that I have a very unhealthy obsession for Hosoda’s movie “Belle,” which I have made multiple posts about, and watched countless times. Since then, I have gone back to watch Hosoda’s other films including “The Girl Who Leapt Through Time,” which was clever and fun. “Summer Wars,” which is creative and full of likable characters. “Wolf Children,” which by the end, triggered all kinds of emotions for me. “The Boy and the Beast,” which I found to be an entertaining journey with a likable duo. And “Mirai,” which I think is the weakest of Hosoda’s filmography, but still charming and neatly animated. Even with his inferior films, Hosoda boasts an incredible resume, and I am proud to say that “Scarlet” just the latest success from the masterclass storyteller.
Every once in a while, there comes in a film that makes people say that such a story is something we need right now, and I would argue “Scarlet” is not just a story we need right now, it is story that we will probably continue to need for years to come. This is not so much a movie as much as it is a message about being kind. A message reminding people of the horrors of violence. A message concerning the importance of the human condition. I really enjoyed seeing the major differences between the film’s two main characters, Scarlet, a princess from medieval times, and Hijiri, a first responder from modern times. Both characters end up dying, meet up in the afterlife, and come to realize each other’s differences.
“Scarlet” is not the only afterlife-centric film I reviewed this year. If you have followed Scene Before recently, you would know I reviewed “Eternity.” Both of these films have clever interpretations on what happens after you die, but both films are likely to hit certain audiences differently. “Eternity” takes a more comedic approach to dealing with the concept of death and the uncertainty of what happens after one ceases to exist. “Scarlet” on the other hand, while it occasionally has a funny moment, is grittier, bloodier, and more violent. If you dig this more dramatic approach, this movie could work for you. One indication of how dramatic this movie can get at times is its messaging about war.
Technically speaking, this film sings. The sound mixing in this film blew me away. There are some lightning claps in this movie that shook me as soon as they emitted. Granted, I saw this film in IMAX, so it is not much a surprise that a lot of the sound effects end up packing a punch. Not surprisingly, like most of Hosoda’s work, this film looks beautiful. Granted, I will say unlike some of his past work like “Summer Wars” or “Wolf Children,” there is a lot less emphasis on color. The film is not only rugged in terms of its vibe, but it is often matched by its color choices, or lack thereof. Though I will note, between this film and “Belle,” Hosoda seems to like focusing on protagonists with pink hair. The animation style is not the easiest to explain in layman’s terms. It is almost “Spider-Verse“-esque considering the film’s mix of 2D and 3D elements. It is not quite on the same level, but at times “Scarlet” does remind me of those films.
The music in this film is also fantastic. There is one song that is original to the film called “A Celebration Song.” I thought it was perfectly timed and utilized around the story’s midpoint. The score, whose percussion elements stood out to me in particular, is composed by Taisei Iwasaki. While I do not think this is as memorable as his “Belle” score, his efforts here result in some chilling tracks.
The story does have elements that are familiar. In fact, “Scarlet” takes a bit from William Shakespeare’s “Hamlet,” but it does not mean it is not its own animal. Scarlet and Hijiri come from different times, different places, different backgrounds. But both note that they are no strangers to war and violence. Scarlet wants to get revenge on the person who killed her father. And Hijiri suggests that people like him are trying to keep the concept of war in the rear-view mirror, despite the difficulty of doing so. He also establishes that his very profession involves saving people from death, and that he has never become used to the idea of people dying despite what his job entails. Scarlet mocks Hijiri, calling him a do-gooder, but he simply wants there to be world peace. As these two navigate the afterlife together, it becomes clear that in a sense, this movie is practically a near two hour plea for pacifism.
I also found the ending quite satisfying. Granted, it does require some suspension of disbelief. But if you can get past the logic leap, then it might hit you in the same way it hit me. Then again, as I say that, I realize how much this film made me suspend my own disbelief. I have no clue what the afterlife is going to be like, but most of my interpretations of the afterlife over the years have a timeline that is almost parallel to the one we experience in “real life.” When someone dies, I sometimes think of them “looking down” at me, or somebody else. The thought has never crossed my mind that there could be another version of me that has already died, or that if I die, I would travel to a time so to speak long before the people I know are born. The afterlife in this film is undoubtedly creative, but it is kind of mind-numbing to think about, and if I did end up there after I died, I would be a bit bewildered. The afterlife feels very specific to the movie’s universe in order to tell its specific story, and it works here. But it does not feel like a place in which people would truly end up after death if you ask me.
I cannot stop thinking about this film’s afterlife, which is in part a good thing because it is clever, but also a bad thing because I sometimes question its logic. But that is not all that is on my mind upon leaving “Scarlet,” because the film reminds me of how I sometimes think about some of the bad things in my life and how I could at one point say to myself, “This is the worst timeline,” or “This is the worst time in history.” But in actuality, my time in history is probably as not as bad as some others. In fact, it is very likely that as I look back in the past, so many people felt that their specific time had an overwhelming amount of negativity attached to it. I look at our world today and there is so much war going on across the planet, but this film reminds me that even though war exists, my generation did not invent it. In fact, many people in my generation are trying to stop it. This film made me wonder what life would be like if I were born at a different time, all the while making me appreciate the good that we have in this current time. I need time to marinate, but “Scarlet” is likely my favorite animated film of the year. It looks pretty, has likable characters, and is also a bit of a thinker.
In the end, “Scarlet” is, to me, in the middle tier of Mamoru Hosoda’s filmography, which is another way of suggesting that I really dug this movie. Hosoda tells a fast-paced, riveting, emotionally satisfying story with a couple of fleshed out main characters. I liked getting to know about both of them. On top of that, the film is beautifully animated and has tons of great music. I am going to give “Scarlet” an 8/10.
“Scarlet” arrives in theatres Feburary 6th, 2026.
Thanks for reading this review! My next review is going to be for “The Secret Agent!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Hamnet” and “Avatar: Fire and Ash.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Scarlet?” What did you think about it? Or, what is your favorite film from Mamoru Hosoda? Let me know down below! Scene Before is your click to the flicks!
“The Colors Within” is directed by Naoko Yamada (A Silent Voice: The Movie, K-On!) and stars Akari Takaishi (Watashi no Ichiban Saiakuna Tomodachi, Baby Assassins), Sayu Suzukawa (Cool Doji Danshi, Falling high school girl and Irresponsible teacher), Taisei Kido (First Love, Yuria-sensei no Akai Ito), and Yui Aragaki (Digimon Data Squad, Mixed Doubles). This film centers around a girl named Totsuko. She is in a band and can see the colors of other people.
January has been a very slow month for me in terms of movies. Granted, it is typically a slow month for movies in general. There really is not a lot coming out this month that caught my genuine interest. Although “The Colors Within” was an exception. The concept sounded rather intriguing, particularly in regards to how the movie seems to handle its protagonist. While the protagonist’s life could be ordinary, their extraordinary trait certainly stood out to me, particularly their ability to see color. Or, more accurately, to see color in a way that most people do not. I think that could make for not only an interesting story, but one that is visually inviting.
As expected, the animation style for “The Colors Within” is pleasant to the naked eye. Is it the best I have ever seen? No. However, it is still a style that pops and maintains a consistent bright palette to it. It is a welcoming look considering the movie, despite having occasional drama, always maintains a sense of lightheartedness. By the end of this movie, I left with a smile, and part of it may have been due to looking at something that appeared rather heavenly at times.
Color-wise, the movie tends to live up to its name, but I have to be frank. If I were to judge “The Colors Within” by its cover so to speak, I have to say that the concept at times feels gimmicky. When the movie tells its audience about its main character’s ability to see color, it sounds intriguing. But I feel like the movie minimizes its chances to show such an aspect in a visually stunning manner. Granted, I enjoyed seeing our main character use her unique trait as a point of inspiration in making music. In fact, if I had to name a favorite part of the movie, it would be getting to see a few artists coming together to get creative. “The Colors Within” reminds me of “Sing Sing,” which, spoiler, I think is a better movie. It is a movie about a bunch of people expressing themselves through art, and how art lets people forget their troubles. Again, going back to the animation of the film, I do think it looks nice. But I think the film’s animation barely enhances the story. Looking back, it barely feels different than if I were to see something more traditional within the anime medium. Does the film effectively convey the protagonist’s “power” so to speak? You could say that, yes. But it really does not add much to the overall experience if you ask me.
The film also features a list of original songs, all of which are at minimum, fun to listen to. There is one in particular that is repeated during the film that became rather catchy by the end. Also, as a piece of music, it was nice to see this one song evolve from a simple idea to something much bigger. It reminds me of some of my own projects. There was a short film that I created in college that I thought of based on one of my own weird interests. I made it with a couple other people who had their own ideas that they built on top of it. It was amazing to see this small idea develop. Seeing Totsuko brainstorm her own song and have it come to life kind of reminded me of the process of creating my own art.
This film mainly revolves around three main characters. Totsuko, Kimi, and Rui. The three come together to make music. I love seeing them all in the same room. Not only do they come off as genuine friends, but seeing them together allows each one to unleash the deepest part of themselves. That is when they are most honest about how they feel, what is going on in their lives. It allows for some of the film’s most emotionally hypnotic scenes. We find out not only do they enjoy making music, but how such a passion interferes with their personal lives.
We find out Rui loves making music, but his family expects him to become a doctor and take the next step in the family business. I think a good amount of people can relate to Rui’s dilemma. Rui seems so concerned with impressing his parents that he is having trouble accepting what he really wants to do. I am all the more invested in a character knowing not only is he having fun doing what he is doing, but he is feeling perhaps the freest he has felt in his life.
Kimi also has a problem where if she were to be honest about it, she could end up disappointing her own family. We find out Kimi dropped out of school and has yet to tell her grandmother about it. The film’s characters seem to share the commonality of holding something back, hiding their true thoughts, and maybe not being their full selves. When we see them make music however, that changes. We see them at their happiest, their liveliest. That happiness leaps off the screen to the point where I too am smiling.
To be real with you, while most of the movie revolves around Totsuko, I admittedly found myself latching more to the supporting characters in terms of their backstory. I found their presence to be more compelling. This is not to say Totsuko is a horribly written character. I do not hate her. Again, I think the “colors” aspect was not as well established as it could have been. It had potential, but I do not think all of it was unleashed properly. But I think Totsuko is a pleasant center to the film as she sees her two bandmates flesh themselves out.
In the end, “The Colors Within” is just plain fun. It took me awhile to take the anime medium seriously as someone who watches a lot of movies. While I never outright hated it, it was always hard to find a gateway to watching more of it. I am glad watching films like “Belle” a few years back have opened my eyes because it has allowed me to seek out great projects like this. If you are a creative individual, I highly recommend this film. I will be real, 2025 is off to a crazy start between the Los Angeles wildfires, the political division, the recent plane and helicopter collision in Washington, DC… I said earlier that this film highlights art’s abilities to make you forget your troubles. I think there is a case to be made that while “The Colors Within” will not make your problems in life disappear, they will be left in the background for sometime. I left this movie feeling giddy, and excited to watch it again at some point. I think some of you reading this review will feel the same way if you were to seek this movie out. I already watched this film in the Japanese language, and I am eager to check out the English dub when I get the chance. I am going to give “The Colors Within” a 7/10.
“The Colors Within” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “Dog Man” and “Love Me.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Colors Within?” What did you think about it? Or, what is a movie that you enjoy about artistic expression? Let me know down below! Scene Before is your click to the flicks!
“Look Back” is directed by Kiyotaka Oshiyama (Devilman: Crybaby, The Boy and the Heron) and is based on a manga of the same name. This film adaptation is about two girls who could not be more different. Fujino (Yumi Kawai) is a confident student who goes to school every day and Kyomoto (Mizuki Yoshida) is a shut-in, but the two end up sharing a connection through their love for manga and form an unlikely bond.
I am not exactly what one would call famous for my last minute purchases, but I can confirm that I have a history of making them. And this even goes for some of the movies I watch. I had not even heard of “Brian and Charles” until maybe an hour before watching the film when I popped on the first trailer from my home. But I found it to be a solid movie, and therefore a good use of my time even if I did not take much of it to consider watching the film. I remember going to see “Captain America: The Winter Soldier” on opening Thursday because my party and I had tickets to see “Noah” around the same time, but the showtime was canceled. Moments later, one thing led to another and we ended up seeing “Captain America: The Winter Soldier,” which continues to reign as one of my top titles in the MCU. While not as last minute as those two, I was prompted to check out “Look Back” after seeing something something about it online. I booked a showtime the same day on the AMC app, and took my car to the mall to go watch the movie. I did not watch a trailer, or any other marketing. I knew almost nothing about the movie other than it being of the anime medium and the project being connected to someone who also created “Chainsaw Man,” which for the record is a property to which I have personally not given any of my time.
I am proud to say that not only is this one of the best last minute, barely researched purchases I have ever made, but this is one of the best films of the year. And I say this knowing about a chunk of this year’s animated slate. I know that “Inside Out 2” is getting tons of praise and making lots of money. I know that just a couple weeks ago, I have come onto this blog to sing praises about “The Wild Robot,” which is now in my top 5 DreamWorks animated projects. Despite seeing this film a couple weeks back, part of me still needs time to marinate and decide if I like this movie or “The Wild Robot” more. To be completely honest, those two are neck and neck for different reasons. While I think “The Wild Robot” is uniquely animated and offers an excellent take on parenting through the unlikely bond of a robot and a goose, I love this film for different reasons, and you could argue these reasons have bias attached to them. But while you could argue there is bias, it could also indicate that the people making the movie enormously understand their audience.
This film is about two young, passionate manga artists. They are not famous professionals. In fact, they are still in school. But they knew about each other sometime before having an encounter that goes in an unexpected direction. These characters have a common interest, but their personalities and lifestyles are not a match. Despite that, they find themselves in a situation where they end up bonding further and even working together. As someone who dedicates myself so heavily into various crafts such as this blog, my short films over the years, or some of my more professional endeavors. I found traits from both of these characters that I also have seen in myself over the years.
Fujino represents me by highlighting one of my personal flaws. That being perfectionism. In a way, perfectionism should be a good thing. After all, I am dedicating myself so heavily to doing something so well that such efforts should be rewarded. Only problem is, perfectionism is not great when you want to keep your mind sane. This leads me to another aspect that comes into play for this character, particularly jealousy. Fujino starts off the film as the best manga artist of her peers. Her works are published in the school paper on a weekly basis. Everything is going great until she has competition in said paper. She sees the work of Kyomoto, a student who does not leave her home. This pushes Fujino to work harder and create something better than she feels she has donw previously. But we also see moments where Fujino’s envy gets the best of her. It prompts her to take a certain action that some would say is uncalled for.
Kyomoto is representative of myself as an introvert. Do I leave my house? Oh, of course. But I do not have many close friends. And I often go to events alone, many times with the most absolute of intentions. If any of my friends are reading this, I love you, but sometimes I need to be alone. It is nothing against you, I just like my space. I also sort of feel that way as an artist and a storyteller. Through my time working at a news station and making short films, I understand that projects like those often require collaboration and teamwork. But I also love making art because there are times where said art is directly based on something I came up with. Something I have imagined. I will start making something from scratch and finish it in a similar fashion all by myself.
This film also reminded me of another anime, Mamoru Hosoda’s “Belle,” because that film dives deep into how we see other people. But whereas “Belle” dives deep into the mystery of how people represent themselves online, we see the story throw a curveball of sorts when our main duo first meet. While we see Fujino channel her envy against Kyomoto, we find out Kyomoto is obsessed with Fujino’s work. It is quite poetic to be frank, because yes, Fujino may have doubted herself as an artist because of how she viewed Kyomoto’s work, but the moments leading up to the duo’s first encounter shows that Fujino’s work paid off. Not only was she flattered that someone appreciates her material, but that flattery came from her own rival.
Seeing these two together was one of this film’s many highlights. Every scene between them was believable and played a part in the film’s overall emotional touch. I enjoy stories where we see two different people somehow click by the slightest of miracles. But of course, the two people have to emit chemistry, and these two have it in spades. I watched the film in Japanese, and both voice actors play off each other perfectly. I believed every exchange.
The movie is also a beast when it comes to its technical aspects. It gets rather creative with its animation style. While the animation style takes a traditional 2D approach, it contains moments that have a manga feel to them. You can tell that there was some love dedicated to the medium in this film’s story. In fact, one of my favorite sequences of the movie from a technical standpoint is where we see Fujino draw a yonkoma, or a four-cell manga for those not in the know. We see the sequence play out from one cell to the next in a limited color spectrum. I thought the way that was done was clever. It kind of reminded me of the “Diary of a Wimpy Kid” movies, where we see the footage transition from live-action to the diary drawings. It is a nice visual despite its limited effort.
By the way, I listened to the film’s soundtrack while making this review. It is excellent. Haruka Nakamura’s score is quite powerful. If “Look Back” is in a theater near you, I would by a ticket just to hear the music in all its glory. It was definitely a standout.
That said, if you are looking for an animated film to watch that can make you jump for joy, this is probably where I would instead recommend “The Wild Robot.” That film too has its teary moments, but perhaps not to the degree of this one. “Look Back” takes a riveting turn in the second half. I do not want to get into spoilers, but there is a moment that I could have not have predicted coming even from a mile away. The more I think about it, the more I look at the title of this film, “Look Back,” the more I maybe should have foreseen an emotional gut punch at such a point. But regardless, when this moment comes, the rest of the film is something that I cannot say made me sob my eyes out, but it is pretty sad to watch at times. Some could argue “Look Back” is an easy watch because of its short runtime, quick pace, and likable characters. But I will warn you that if you are someone who easily cries during more emotional films and wants to resist that feeling, then “Look Back” might not be your first choice. But if you can handle some tears, you are in for a film that pays tribute to the love of art, why people dedicate themselves to their passions, and explores an unlikely friendship between two characters who I came to adore by the film’s conclusion.
In the end, “Look Back” is one of those movies that reminds me of my love of art, my dedication to creativity, and how important it is to have other people by your side. It shows that we all have a story to tell, and sometimes those stories have their challenges. “Look Back” is one of my biggest surprises of the year. I had no idea this movie was coming out. And unfortunately, right now, it is only playing in one theater near me. But if it is playing somewhere near you, give it a chance sometime. This film is near perfect. I am going to give “Look Back” a 9/10.
“Look Back” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next review is for another animated movie, “Piece by Piece,” an all new documentary entirely presented in a LEGO artstyle. Is it a gimmick? Is it creative? You will find out soon enough. Also coming soon, I will be sharing my thoughts on “Saturday Night” and “Megalopolis.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Look Back?” What did you think about it? Or, what are some of your creative passions? Let me know down below! Scene Before is your click to the flicks!
“The Boy and the Heron” is directed by Hayao Miyazaki (Spirited Away, Howl’s Moving Castle) and stars Soma Santoki (Koko wa Ima kara Rinri Desu, Idatan: Tokyo Olympics Story) Masaki Suda (The Great War of Archimedes, Death Note: Light Up the New World) Aimyon, Yoshino Kimura (Boku no yabai tsuma, Confessions) Shōhei Hino (My Happy Marriage, Emperor) Ko Shibasaki (47 Ronin, Dororo), and Takuya Kimura (Space Battleship Yamato, Howl’s Moving Castle). This semi-autobiographical fantasy film is about a young boy who longs to see his mother one more time. After discovering an abandoned tower, the young boy ventures into a world shared by the living and dead.
My earliest memory of watching a full piece of anime from start to finish goes back as early as 2011. I was attending summer school and we ended up watching a movie that I would long forget the name of, only to realize years later that movie would end up being “Howl’s Moving Castle.” I have since rewatched the film and continue to think it is really good, but it goes to show how much of an impact Miyazaki has had on the craft. He is a well known individual in this industry, even across the world. And yes, I heard of “DragonBall” like a lot of other kids growing up probably did. But even today I never got around to it. That said, when it comes to my limited knowledge of anime, Hayao Miyazaki and Studio Ghibli have a notable presence in my mind. I have seen most of the Studio Ghibli features, many of which include Miyazaki’s work. The recently mentioned “Howl’s Moving Castle” is an imaginative adventure. “Spirited Away” is an otherworldly ride. “My Neighbor Totoro” is a cute little tale. “Ponyo” is a simple, but incredibly well done story. “The Wind Rises” is an emotionally charged piece of animation. Miyazaki is not my favorite filmmaker, but having seen most of his work, he has a remarkable batting average that puts him up there with the greats.
When it comes to the 2023 roster of films, I would often get excited for “Oppenheimer” and sometimes refer to it as “the next Christopher Nolan movie” to show my fanaticism for the director. I acted similarly when it came to “The Boy and the Heron.” Despite knowing the title of the movie, I would often talk about my anticipation for the film and not even use the title, I would just call it “the new Hayao Miyazaki movie.” That is how excited I was to see one of his films come to life. There is also a novelty that comes with a film like this because it is the director’s first in a decade. But with an extended break, has Miyazaki lost his touch? Absolutely not. If anything, this movie goes to show how good of a filmmaker he is. Watching this film made me realize Miyazaki may be one of the most imaginative minds alive right now.
“The Boy and the Heron” is a layered, beautifully animated, and charming time. All the characters are likable, the journey itself is quite fun, and it successfully does what I ask many movies to do. Have me escape from my own reality. The movie also has its fair share of funny moments, which I was delighted to see.
When it comes to the main character of Mahito, I could not help but root for him once we are first introduced to him. Now I cannot say I followed a similar path to him as his primary motivation is to see his late mother one more time. But I very much liked the character conceptually. I think his primary motivation that we see throughout the film made for quite his journey all the more compelling.
Sadly though, I think the big problem with this film is that there happens to be little impact from most of these characters once I left the auditorium. On the surface, I liked everyone, but some characters either felt surface level, or their substance or backstory could not match their stunning design. Yes, I enjoyed Miyazaki’s other films because of how spellbound I became upon seeing the animation. But I also enjoyed “Kiki’s Delivery Service” because the titular character had my attention the entire time. While not my favorite of his movies, part of why I liked “My Neighbor Totoro” is because of the chemistry between Satsuki and Mei, the two young sisters. I cannot really name too many character relationships in “The Boy and the Heron” that had me in as much of a trance as those. But even with these thoughts in mind, “The Boy and the Heron” is one of 2023’s best film experiences. Everytime I watch a Hayao Miyazaki movie, it is like going on vacation to somewhere fantastical. Everything feels nice and serene, even if there are adventures along the way. This film is no exception. The locations are beautiful, the effects are eye-popping, the story has quite a solid progression to keep me hooked, and of course like many other stories from Miyazaki, it is wildly imaginative.
I say Miyazaki’s imagination is as vivid as the sun. One small part of that has to do with how he handles a particular set of characters in the movie. Specifically the parakeets. First off, these parakeets, while mostly interchangeable to a degree, are fantastically drawn. They’re all colorful and match the palette of the film at hand. Not to mention, these parakeets are the definition of cute but not cuddly. These creatures are kind of like the Ewoks from “Return of the Jedi,” who may look innocent, but if you ran into a couple, chances are they will proudly murder you. I am not going to pretend I own any Studio Ghibli merchandise, but if I saw one of these parakeets in my travels, maybe I’ll pick one up. I don’t know. In terms of world-building and establishing the environment, the film does a great job with that. In fact, one of the minor flaws with this movie is that it does such a good job at building its world to the point where I am more focused on the background as opposed to the characters. And maybe that is part of why I have my previously mentioned character complaints. This is probably where a second viewing would come in handy. But of course, one would be warranted if I like the film enough the first time around. Thankfully, my initial watch of this film provided for a glorious experience.
If I have any real flaws with the movie, portions of the story were inferior to others. I think the film takes a bit to get going. There are a fair share of decent moments when the movie begins, but I think everything from the second to third act had more of my attention compared to select moments in the first act. This is not me ragging on the movie, this is just me stating my personal preferences. I like everything in it. But certain things appealed to me just a bit more.
My other big highlight of the movie is that it has one of the better musical scores I have heard this year. And I should not be surprised because not only does Miyazaki make a comeback here, but his longtime composer, Joe Hisaishi also returns here and he fires on all cylinders. Maybe it is recency bias talking, this is one of the better scores I have heard from him. I think when it comes to my favorite work of his, I think “Kiki’s Delivery Service,” “Howl’s Moving Castle,” and now I am probably going to put this up there. There is one particular theme from the film that is still stuck in my head, and it very much matches the sense of adventure this film provides.
In the end, “The Boy and the Heron” comes with minor flaws, but even with them in mind, there are a gargantuan number of positives that make me reflect on this movie being one of my favorites of the year. 2023 has been an excellent year for cinema. Animation especially. From Japan alone we had “Suzume,” which was marvelous. And we had “The First Slam Dunk,” which turned out to be one of this year’s most overwhelming and delightful surprises. Now we have yet another winner from that market and it comes from the man whose mark on this industry is almost unmatched. I like a fair number of his movies, and Studio Ghibli is a remarkable company. Is this Miyazaki’s best movie? No. But it is far from my least favorite. And even when I say that, I do so knowing that I have not seen a bad film from him yet. If anything, the film is worth seeing. I already saw it in Japanese, and you bet I have plans to one day check out the English dub. I am going to give “The Boy and the Heron” an 8/10.
“The Boy and the Heron” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you enjoyed this review and want to see more, good news, there are more coming! My next review is going to be for “Dream Scenario,” starring Nicolas Cage. I just had the chance to see this movie a couple weeks back and I cannot wait to share my thoughts. Also coming soon, I will have reviews for “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Boy and the Heron?” What did you think about it? Or, what is your favorite Hayao Miyazaki movie? Let me know down below! Scene Before is your click to the flicks!
“The Tunnel to Summer, the Exit of Goodbyes” is written and directed by Tomohisa Taguchi (Bleach: Thousand-Year Blood War, Akudama Drive) and stars Oji Suzuka and Marie Iitoyo as Kaoru Tono and Anzu Hanoshiro. The film centers around these two teens who develop a companionship all the while discovering the ins and outs of the mysterious Urashima Tunnel, where the laws of time and space are completely different from reality.
When the first hour or so of the past few years started, I would often scour Internet sources like Wikipedia, IMDb, YouTube, to get a sense of the films that are coming out later on in the year. Often times, most of the confirmed content would come from recognizable names or franchises, therefore a film like “The Tunnel to Summer, the Exit of Goodbyes” was never on my radar. I never knew of the original source material, but I saw that the film had a few shows near me at select theaters, so I thought, “New anime… Never heard of it, what’s it about?” As soon as I saw the premise, I was sold. It sounded borderline existential from the description I read. Having seen the movie, I can tell you upfront that this is easily one of the best times I had at a cinema this year. The film is based on a light novel, which has since sparked a manga series. I am not sure how faithful this material is to its source, therefore I have nothing to compare it to. I am just a third party observer who just wanted to see a good movie. I got a great movie.
My favorite thing about “The Tunnel to Summer, the Exit of Goodbyes” is everything involving the introduction and buildup of the tunnel itself. Some of my favorite films of the past decade like “Arrival” works really well because of how perfectly it sets up its out of the ordinary environment. “The Tunnel to Summer, the Exit of Goodbyes” works to a similar capacity. When it comes to some of the more visual aspects of the story, it allowed for some immersive scenes. When we see the two leads come together, it allows for one of the most inviting and intriguing moments of exploration I can remember seeing in a film. It also helps that the tunnel itself is a cool concept on its own. The fact that staying in there for long periods of time can quickly take you through many years of your own life? That is a killer idea.
But of course, it also helps that the events of the real world are just as exciting and riveting. When we get a sense of Kaoru’s background, there is some family drama we get to explore that helps not only establish the character, but get me to root for him. I also love the background we learn about Anzu, specifically how it ties back to her grandfather. It sort of reminded me of a relationship we saw in one of my favorite films from the past year, “The Fabelmans,” specifically between the titular family and Uncle Boris. While not exactly the same in principle, both relationships tend to stem off the backbone that a character became committed to the arts and their family eventually ended up casting them out to a degree. In this film, it is revealed that Anzu’s grandfather is a rather unsuccessful, but apparently passionate, manga artist. Anzu wants to follow in his footsteps, much to the backlash to her parents. This becomes a bit of a driving force for the character and it is one that I appreciate as someone who is a bit of an artist himself. Ever since I was young I always wanted to work in media or film. Right now I call myself incredibly lucky to be able to do that, and continue to talk about my passion for the industry on this blog. This film makes me appreciate the support I have from my parents for allowing me to set myself into an industry that I admire. I am, and always have been, an artist, and I think if you are either an aspiring, somewhat accomplished, or heavily experienced artist, you will relate to the character of Anzu. She manages to both love what she does but also pack in some hints of imposter syndrome. I share my written work here on a regular basis, but I will not deny that there are times where I have done reviews or other forms of art where I feel like I could have done better or maybe I am not confident in the material or my ability to complete it. I nevertheless push through because I want to see the journey of my progress reach the end, but it goes to show how relatable the character is.
If I have any real gripes with the film, there would be very few. If I had to be real, I would say that the film does feel tonally inconsistent at times. At one moment it is kind of cutesy, at another it is somewhat adventurous, and at another it is a serious drama. Sure, these kind of make for a neat package once the bow is tied, but I will not deny that the movie almost, and I put emphasis on the word almost, misses an identity because of it. Other than that, some of the supporting characters are a tad over the top, which does not really help considering how comparably down to earth much of the movie plays out in its execution, especially with its two leads. And yes, that is a weird thing to say when much of the plot revolves around a mysterious tunnel, but the way that pans out, given the circumstances, feels somewhat grounded when everything unfolds. If anything, this film creates a successful fine line between adventure and gloom, but it does not change how there are moments of the narrative that feel less in line with others.
Sticking with the idea of adventure and gloom, the film perfectly represents that in its visual style. I was not expecting it from the poster I saw prior to entering the cinema, but it nevertheless struck me with a sense of awe I am not accustomed to experiencing. At times the film is fun, at others I am riveted with the drama on screen. The color palette often times looks bleak and depressing, but it does not mean the movie fails to occasionally spark joy. But everything inside the tunnel not only looks otherworldly, but much more wonderous than everything in the real world. The movie does a good job at differentiating the vibes between the characters’ reality and the magic of the tunnel. There are plenty of bright and vivid moments, but the ones that give a greater soap opera feel in the film tend to stand out.
As for other positives, the music in the film is quite good. Everything from start to finish in the narrative had my attention. The movie for the most part is well-paced. The animation is sparkly and pristine. The voice acting is great. And if you must know I did watch the Japanese edition. This film reminded me a lot of flicks like “Arrival” or “Inception” where we have this unique concept to explore and the process of doing so is ever so exciting. I went into this movie curious, and I left the movie hooked by everything in it. I do not regret seeing this film during its short run.
In the end, “The Tunnel to Summer, the Exit of Goodbyes” is the third anime film I have seen in 2023, and of the three, it is the weakest. That said, it is also one of the better films of the year. When I first put the film amongst my rankings so far this year, this actually ended up in my top 10, at least for now. But I put it there for a reason, because it engaged me the entire time. Not once was I tired, uninterested, bored, or agonized by any of it. Sure, it has its flaws, but even when I think about them, they feel totally minor. They almost don’t even exist to a degree. The positives in this film not only stand out, they sparkle like gold. The main characters are both compelling and have phenomenal chemistry. Said chemistry is highlighted by their two talented voice actors. The concept of the film is fantastic. Both on paper and in execution. The tunnel itself is brilliantly designed, nicely colored, and easy on the eyes. Despite some minor tonal inconsistency, this film blends drama and adventure beautifully. I highly recommend you check this out at some point. I am not sure how long this rating is going to stick as I do want to watch it again in the near future and am very curious as to how a second viewing would go, but as for my first viewing, I am going to give “The Tunnel to Summer, the Exit of Goodbyes,” an 8/10.
“The Tunnel to Summer, the Exit of Goodbyes” is currently playing in select theaters. The film is also available to buy on VOD.
Thanks for reading this review! If you enjoyed this review, why not check out my other ones? I mentioned this is the third anime title I reviewed in 2023. If you want to know the other two, check out my reviews for “Suzume” and “The First Slam Dunk.” My next review is going to be for the brand new MCU installment, “The Marvels!” Also coming soon, I will have my thoughts on “Wish” and “Next Goal Wins.” Speaking of anime, this review is a ways out, but I just got my ticket for Hayao Miyazaki’s latest film, “The Boy and the Heron.” If I play my cards right, that review should be up sometime next month. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Tunnel to Summer, the Exit of Goodbyes?” What did you think about it? Or, do you have a favorite anime you have seen this year? I’ll also accept television. Tell me about it! Scene Before is your click to the flicks!
“The First Slam Dunk” is directed by Takehiko Inoue and stars Shugo Nakamura, Jun Kasama, Shin’ichirō Kamio, Subaru Kimura, and Kenta Miyake in a film about Ryota Miyagi, an athlete who tries to achieve the status of basketball star, as he is inspired by the dreams of his late brother. The film is also based on the manga series “Slam Dunk,” written by this film’s director himself.
I used to play sports as a kid. In fact, one of the conveniences of living near an elementary school is having easy access to a basketball court, so I shot a lot of hoops for fun when I had free time. I am not as much of an athlete now, but it does not mean I do not look back at my youth with some fond memories over at the court for instance. But as I have transitioned over the years from athlete to cinephile, I have come across and appreciated numerous sports-related films. A couple of my favorites include “Moneyball,” “Happy Gilmore,” “Ford v Ferrari,” and even though I have not watched it in a long time, the sports film I always think about as the quintessential watch is “The Sandlot.” On the surface, it is a fun little baseball movie. But over the years I continue to appreciate how it handles its characters, coming of age nature, and rivalry between the team and The Beast. Whereas a film like “Rookie of the Year,” another solid movie about baseball, showcases how the game becomes more important with time, “The Sandlot” showcases how a bunch of friends can continue to have fun over a simple game. There are adventures to be had and consequences to avoid, sure, but the stakes over who wins a game of baseball in the film never feel that high, even when it is team vs. team. “The First Slam Dunk” shows the importance of a basketball game, but it does it in a way that I feel is incredibly unique.
And that is part of why I think “The First Slam Dunk” is up there with “The Sandlot” as one of the best sports films. Ever. I say this as someone who has never read the source material or seen any of the televised content. This film not only serves a potential gateway to explore the franchise even more down the road, but it also happens to be one of the best movies I have seen this year. In my limited experience of watching anime, this is an enormous standout. When it comes to anime, as much as I liked “Suzume,” which I saw earlier this year, I think “The First Slam Dunk” might be better.
Let’s go back to the importance of the game, the reason why that importance is handled so well is because whereas some other stories build up to a climax where the team has to play their hearts out at the “big game,” this movie mostly sets itself around the big game and gets you to care about the characters along the way. This is like if they made a story set at the Daytona 500 for example, showed you random bits and pieces of some people’s lives in between, and used those moments to fuel your desire to see someone win as a result. I, as much I cannot stand American football, watch the Super Bowl every year. Sometimes I might get invested in a team based on certain factors. Maybe there is an underdog story. But I can only imagine what it is like for someone who follows the NFL so religiously to see two teams who bust their butts, or a favorite team of theirs, in such a daunting environment where the stakes hit a high. They have to be stoked out of their mind. But that sometimes could take months. “The First Slam Dunk” got me behind not only the team, but its individuals, in just a short amount of time.
The way this film is told reminds me of “Slumdog Millionaire.” If you watch that film and witness Jamal on “Who Wants to Be a Millionaire,” you see him answer each question as it is presented to him, but you also see his thinking process. You see how he answers the questions. You get flashbacks into his life, his memories, his experiences. And as the movie went along, I rooted for him. This movie, despite being rated R, is nowhere near as disturbing as that film, but it is just as effective in its storytelling. As someone who watches lots of game shows, I am happy when anyone does well under hot lights. But that movie gives a ton of visual context to root for someone completely fictional. In same way, when we see moments of Ryoto’s life for example, they get me to care about him more as a player in the big game. Despite watching a number of professional basketball games, I will probably never know the pressure of physically playing in the NBA Finals, but this movie took me to a game perhaps about as dramatic and climactic as one of those. I honestly do not remember the last time watching a sports-related climax and being as on the edge of my seat as I was here. By the end, I cared about the team, its players, and the appreciation is only heightened by the movie’s effective use of flashbacks.
Technically speaking, this film is a goldmine. The music is great, the sound effects are realistically top notch. Going back to the notion that I have played a lot of hoops in my youth, the sound effects, most especially those set around an outdoor court, took me back to my childhood. The shots are spectacularly laid out and executed. A lot of the movement in the film felt fluid and dynamic. It matches the movie’s quick pace at times. There is a visceral feel to “The First Slam Dunk” that put me into the film and never allowed me to leave.
The animation, as it should in 2023, looks fantastic. Never once does it feel completely lifelike, but that does not mean it is not immersive. The big game segments often feel a bit faster, more active. Everything else feels more down to earth. This is a story that probably could be told in live-action, but it has maximized its potential with animation. The angles, the stylization, the neat little tricks in between, all come off as things that are best seen in an animated form. Honestly, if this story were done in live-action, it would not be the same. It would be inferior. And if you need a further example, specifically towards general audiences living in the United States, why animation is not just for kids, show them this movie. This film is not over the top in sex, violence, or gore, but it is simply mature. And that is what makes it great. As for other minor details, the way this film shows the players’ sweat is a nice touch.
Despite its animated flair, the film is a grounded story that can only be described as captivating. The drama does not only extend to the game, as again, the flashbacks do a good job at fleshing out characters. But it does not mean the movie lacks lighter moments. There is a gag I liked in particular about one player bickering about how they are never receiving the ball on the court. The screenplay in the movie’s more present moments is already exciting enough, but it is enhanced with excellent backstory given in every little crevice. “The First Slam Dunk” is not playing in too many places at the moment, but whenever it hits DVD or streaming, you owe it to yourself to check the movie out as soon as you can.
In the end, “The First Slam Dunk” is… I’ll say it, a slam dunk. There are maybe one or two sports films that have been as well-crafted and executed as this one. I cared about the characters, I cared about the team, the animation is exciting and gorgeous to witness in action, and I love the way this story was told. “The First Slam Dunk” is my first exposure to the “Slam Dunk” IP and I think it is a mighty fine introduction. I cannot wait to watch this film a second time just to digest the full story, all the beautiful shots, and see the exciting big game play out one more time. If there are any flaws with this film, they would be hard to come by. It has been a few weeks since I have seen the film, so if there are any flaws I probably would have forgotten them by now. Not that I had any to begin with. “Spider-Man: Across the Spider-Verse” has some competition for this year’s best animated picture, because I have to say “The First Slam Dunk,” from what I can tell you based on my initial watch, has to be a 10/10.
“The First Slam Dunk” is now playing in a few theaters. If you live near one, see the film while you can. Because it has yet to hit VOD, physical media, or streaming.
Thanks for reading this review! My next review is going to be for one of the biggest movies of the year, “Barbie.” So you guys can finally stop wondering why the Movie Reviewing Moron has not reviewed the hot topic of the summer. You’re welcome. Also, I have reviews coming for “Teenage Mutant Ninja Turtles: Mutant Mayhem,” “Talk to Me,” and “Blue Beetle.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The First Slam Dunk?” What did you think about it? Or, what is your favorite movie about sports? Let me know down below! Scene Before is your click to the flicks!
“Suzume,” otherwise known as “Suzume no Tojimari,” is directed by Makoto Shinkai (Your Name, Weathering with You) and stars Nanoka Hara, Hokuto Matsumura, Eri Fukatsu, Shota Sometani, Sairi Ito, Kotone Hanase, Kana Hanazawa, and Matsumoto Hakuō II. This film is about a teenage girl who finds out she must save Japan from various threats by locking a set of doors.
If there is one door that has opened for me in 2022, it is the one that unveils the vast world of anime. When the year started, I did my first anime review, “Belle,” which has now become one of my favorite films of all time regardless of the genre or medium. Since then I have watched other titles such as those from the Studio Ghibli collection, “Akira,” “In This Corner of the World,” and “Inu-Oh,” the last of which I have reviewed. I have not touched much in the television realm, such as the “Dragon Ball” franchise, but that is partially because I am usually more committed to film than television regardless of the genre. Anime has also introduced me to some notable filmmakers such as Hayao Miyazaki, Mamoru Hosoda, and the one of focus in this review, Makoto Shinkai.
In just a short amount of time, a couple of anime titles have risen to the top of my all time favorite films list. The recently mentioned “Belle” is an example, but when it comes to Makoto Shinkai, “Your Name” is another. The chemistry between the two main characters, which is unlike many other films in history, is executed with utter brilliance. It is beautifully animated, fantastically written, and ends on the perfect note. It shows the power of animation at its finest. It is easy to see why the film has become one of the most successful anime titles of all time, making $382 million worldwide. “Suzume” is having similar success. The film has raked in $221 million worldwide and has already passed his last film, “Weathering with You,” even this early into the official U.S. release.
But just because something is successful, does not always make it great. Look at “Jurassic World: Dominion” for example. Is “Suzume” for starters, worth the hype? And also, worth showering with tons of box office revenue?
To answer both of those questions, that is a paramount certainty.
After seeing “John Wick: Chapter 4” and now “Suzume,” I can declare spring 2023 is a great time to go the movies.
“Suzume” is just about everything I wanted and more. It is a beautifully animated triumph of a picture that does everything a movie is supposed to do. The last movie I reviewed, also an animation, specifically “The Super Mario Bros. Movie,” could arguably have placed itself in the same boat. But when I say that, I mean it did the bare minimum to “not suck.” If this were a classroom, “Suzume” is the one student that studies hard, earns extra credit, always raises their hand, and dresses exquisitely as a bonus.
Now that we are in 2023, good animation has basically become a requirement. Thankfully, “Suzume” has unbelievably superb animation. Much like Shinkai’s other films, “Suzume” has this gloss to it that I can only find in one of his features. The colors are out of this world and the palette is both lifelike and imaginative at the same time. This is a film that having seen it, I could never see working in live-action without a couple significant changes.
“Suzume” reminds me of some of the better Pixar movies, because Pixar has a tendency to make films, many of which are phenomenal, where it begs to ask what would happen if certain objects or concepts had emotions. Sure, giving emotions to or personifying things in animation is not unusual. But when it comes to Pixar, it stands out because of the way they go about it. They gave toys emotions. They gave cars emotions. They gave preexisting souls emotions. They gave robots emotions. They gave literal emotions emotions. And this idea has worked every time. I am amazed on how Pixar was able to make a movie centering around a couple of robots and give them more emotional attachment than many films putting PEOPLE in the spotlight that have come out during the past decade. Similarly, the power of “Suzume” was unveiled as soon as I found out how much I cared about a chair. Granted, the chair is also human, but still. The movie made me care about a chair and got me attached to a cat who happens to be a statue. Despite the chair being human, it begs the question… What if chairs had emotions? This movie is the result.
As for the characters, I liked all of them. Sota, who becomes the chair, served well as a prominent sidekick. Daijin, the cat, is utilized perfectly. His lack of dimension, which is usually a deterrent for many characters, actually serves as a benefit with how his lines are delivered. Every moment he was on screen stood out to me. Suzume’s aunt, Tamaki, is perfectly written and executed. I believed every line out of this woman.
As for Suzume herself, I thought she was a great centerpiece to the story. When it comes to her as a main protagonist, she definitely served her purpose. I have no real complaints about the character that had to do with her charm or screen presence. If anything, I loved her ability to stay motivated throughout the film’s progression. Overall, I thought she was a joy to watch. But if I have anything negative to say, it would be this. Despite Suzume’s backstory being fleshed out, my one complaint is that I do not know a ton about her interests or what she does. Yes, she goes to school and has friends, but there is not much about her that separates her in the grand scheme of things. When it comes to Suzume’s depth, we get perhaps somewhere above the bare minimum. Although the movie managed to make a compelling aspect within the story out of the notion that she lost her mom and is raised by her aunt. Therefore, given the film’s significant fleshing out of that aspect, I can forgive the slight lack of personality even though it is an issue the more I think about it.
Despite what I said about Suzume not being fleshed out, one thing I thought was finely detailed throughout the film was Sota and his job, if you will, of being a closer. This film is about closing doors to prevent disasters. Therefore, it should not come as a surprise that Sota calls himself a “closer.” It does not pay the bills, but the movie implies it is important. I like how they gave the occupation of sorts a backstory, it brought some intriguing depth to the table.
When I say I can forgive this movie for its flaws, I mean it. It is perfectly paced. The film clocks in just over 2 hours and not once was I bored. I was smiling the whole time. The first ten minutes of this movie are some of the best I have seen in animation. While this film may not be as good as “Your Name,” the titles rival each other from a technical perspective. The animation style is almost comes off as a lifelike video game. The sound design is hypnotizing. The score is outstanding. Kazuma Jinnouchi and RADWIMPS did such a banger job with all of the music. I can personally claim I have listened to some of it during the making of this review. This movie is such a technical behemoth that the minor story flaws honestly take a bit of a backseat. “Suzume” is a must see for Shinkai loyalists and newcomers alike.
In the end, Makoto Shinkai continues his hot streak. Between “Your Name,” “Weathering with You,” and now this banger of a film, “Suzume” is every bit as awe-inspiring and excellent as I hoped it would be. With this film now in the can, this affirms Shinkai’s status as one of my favorite directors working today. I cannot wait to see what he does next. “Suzume” is beautiful, original, and occasionally jaw-dropping. The characters are great. The animation is some of the best in recent memory alongside “Puss in Boots: The Last Wish.” If it is playing in theaters near you, see it on the biggest screen you can. I saw it in IMAX and it was worth it. I left “Suzume” feeling satisfied. That is how I would want to feel after every movie I end up seeing. Again, it is no “Your Name,” but it comes close. Therefore, I would have to give “Suzume” a 9/10.
“Suzume” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! This week I will be watching the brand new movie “Air,” starring Ben Affleck and Matt Damon. Also stay tuned for my review for “Super Mario Bros.,” the 1993 film, coming sometime soon. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Suzume?” What did you think about it? Or, did you watch any of Makoto Shinkai’s other films? If you have a favorite, list it! I already mentioned this film, “Your Name,” “Weathering with You,” but if I must throw something out, I also saw “The Place Promised in Our Early Days,” which I would recommend. Check it out. Scene Before is your click to the flicks!
“Inu-Oh” is directed by Masaaki Yuasa (Mind Game, The Night Is Short, Walk on Girl) and stars Ava-chan and Mirai Moriyama in a film where a cursed dancer and a musician team up and perform for eager audiences.
If the box office suggests anything, not many people saw “Inu-Oh,” as it has so far only raked in over $300,000. The film released on August 12th and is already out of theatres where I live. Meanwhile, “Spider-Man: No Way Home” is back to do for Sony a second time what “Morbius” could not. I saw “Inu-Oh” at a theater about an hour from home. Usually I only have to travel like, 15, 20 minutes to a local multiplex. So not only was I hoping I would like the movie, I was hoping it would be worth the extra driving time. Especially considering how I got my wisdom teeth out days prior, and this was my first theatrical experience since… Was it worth the drive? Perhaps.
When I think of animation, and this includes anime, I often think of color, I think of vibrancy, I think of heightened aspects that you cannot do in live-action. This is part of what makes 1994’s “The Lion King” a much more attractive feature in comparison to its 2019 live-actionish remake. Even in more adult fare like the current HBO Max series “Harley Quinn,” the frame is often filled with color. It is rare for me to look at an animated product and think, “Wow, that looks dreary. That looks depressing.” “Inu-Oh” is a rare exception, and this works in its favor. Because yes, the movie is about friendship. Yes, the movie is about two guys performing rock music. But in addition to that, there is an important part of the film that has to do with how the songs are to be performed. It kind of reminds me of how some interpret history, and how some prefer to rewrite it for their own benefit.
Although speaking of flashy, colorful, attractive animation, the climactic sequence of the film, while it still manages to have the ongoing dark and dreary color palette, there are moments of color that won me over. I thought the film looked great whether it had a soap opera vibe or a kid’s cartoon feel. There is a great moment with a dragon towards the end of the film that established this movie’s excellence with the latter.
I think on paper, the two main characters, Tomona and Inu-Oh, are a recipe for delightfulness. Through the years, there have been a number of stories of two people who have their differences, no matter how far apart, and somehow they form a bond. “Inu-Oh” is no exception to this rule and the chemistry between the characters is likable. It is in essence, this film’s heart and soul that holds everything together.
Now if you saw the trailers for this movie, you would know that it heavily revolves around music. It centers around two people who share a bond over rock and decide to perform together. Obviously, the music has to be good. And I would say that it was. In fact, part of why I went to see this movie in the first place is because I watched the main trailer for it in advance, and I really liked the song they attached throughout. Safe to say, that song, along with others, did not disappoint. I think even if the Academy Awards were to pay more attention to anime, I don’t know if any of the songs here will win Best Original Song at the Oscars next year, but they are perfectly jammable given the movie at hand. Maybe if I listen to the soundtrack on my own I would appreciate the music more. Because that’s part of what happened with, using another recent anime as an example, “Belle.” I really liked the movie, but then I started listening to the music both in English and Japanese and it won me over. Although at the same time, I had the desire to watch that film a second time (which in addition to the music, was due to a brilliant satire on the Internet). Knowing what I saw in “Inu-Oh” from a story perspective, it feels like a one and done.
I have not watched a ton of anime. I got into the medium this year and have recently gotten into more classics like “Akira,” which despite its popularity, I was not a fan of. In addition, I watched “My Neighbor Totoro.” It felt simple, sweet, but I felt like it was missing something. I also watched “Summer Wars” for the first time recently, which was epic in every way. I also checked out “Your Name,” which blew me away. If I had to give “Inu-Oh” a ranking, “Inu-Oh” falls somewhere in between all these movies. It’s not bad enough to make me hate it, but it is also not solid enough to get me to watch it again. But is well-animated, the characters feel fairly fleshed out, and the soundtrack is quite good. Overall, a fine movie.
Going back to the music in “Inu-Oh,” here are a couple of my specific thoughts about it. The songs overall have good lyrics, decent rhythm, and a couple of them truly sound epic. It is exactly what you could want out of a rock opera. If I had to give one minor problem with the film’s soundtrack, it would be that I wish we had just a tad more variety. I understand that if you are doing a concert, it is almost a priority to “play the hits” or “give the people what they want.” Of course, I understand. If I go to a KISS concert, I would definitely want to hear “Rock N’ Roll All Nite,” but in regards to this movie, I want to see some extra juice in regards to the musical talents of the main characters. I think one or two different songs, or one more song that does not have the exact same pattern as another would have benefited the movie slightly. The soundtrack in general is really good, but hearing the same song or some slight variation of the same song more than once as opposed to hearing what else the duo could have given was slightly disappointing. Another way to compare and contrast is to think of it like AC/DC. If you ask me, I think they are quite talented. I think they have fun, energizing music. But almost every other song from them feels like a copy of another. At least the duo seems to understand what the audience in the movie wants, if there is any positive to all of this.
In the end, “Inu-Oh” is a decent movie, but it is not my favorite animation of the year. It is the first of this year’s anime lineup I saw so I have no films of that medium that I could compare it to, but as far as other animation goes, I would rather watch “Turning Red” again, which coincidentally pays homage to content like “Sailor Moon,” speaking of anime. I think “it is “Inu-Oh” well-directed, the story is intriguing, and of course, the music does not disappoint. I am going to give “Inu-Oh” a 7/10.
“Inu-Oh” is unfortunately mostly done with its U.S. theatrical run. It is seemingly just finishing in Southern California, but there are still more showtimes in New York. But as for other areas, you’d probably have to press your luck at finding a showtime. The film is still playing in select markets, so if you want to check it out, get your tickets now.
Thanks for reading this review! I want to make an announcement in regard to a future event on this blog. This November, “The Fabelmans,” the latest Steven Spielberg movie, is set to hit theaters. In preparation, I am going to be doing a Steven Spielberg month during the span of October! I will be reviewing “Close Encounters of the Third Kind,” “E.T. the Extra Terrestrial,” “The Post,” and some of you may have forgotten that I did not review this film last year, “West Side Story!” I did watch the film in theaters twice, but I just never got around to talking about it! It was even one of the Best Picture nominees during the 4th Annual Jackoff Awards! EIther way, that is coming this October!
As of right now, I am still in California, so my movie-watching schedule is kind of out of the loop, but I will have at least one review to post for next week, so stay alert! If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Inu-Oh?” What did you think about it? Or, what is your favorite rock band? Let me know down below! Scene Before is your click to the flicks!
Hey everyone, Jack Drees here! Throughout my time writing for Scene Before, I have done several reviews that I feel proud of. This even includes earlier years when I continued to develop a writing style and focused maybe more than I should have on immersing the viewer into the review like I am on a camera. Although there are certain movies that I watched for Scene Before, looking back, where I probably should have reconsidered at least a portion of my opinion after writing over a thousand words about them. Some of these include “Suicide Squad,” “Blade Runner 2049,” and “Star Wars: The Last Jedi.” If I were to rewrite my reviews for all of these films, I would add in certain points, redo points that I feel have changed, and perhaps alter the final score. But I am not going to talk about any of these films today. Instead, I am going to be reflecting on a movie I reviewed over the winter that has sort of met the same fate. While my opinions for “Blade Runner 2049” have only changed slightly, this post is about a movie I would claim has gone through a seismic shift kind of like “Suicide Squad.”
That movie by the way, is “Belle” directed by Mamoru Hosoda.
To sum up what has been going on in my life recently, this movie has taken up over ten hours of my screen time alone. Why? Because since its official Blu-ray release, I watched it for five nights in a row. I did watch other movies in addition to this one during the week, specifically “The Graduate,” which was utterly fantastic. Highly recommended. “Rampage,” which is… Well, it is what it is. And I also watched “Friends with Benefits” for the first time, which I thought was humorous and delightful. I watched “Belle” every night for five nights since I bought it on Blu-ray on Tuesday, May 17th. Why did I not watch it for six nights in a row? Because I was going on a short getaway on what could have been the sixth night, and I did not pack the movie to watch in my hotel room. I was more focused on possibly giving my money to Connecticut casinos more than anything else. Since getting back, I watched it two more nights in a row. That said, I cannot recall the last time I have bought a film on Blu-ray and watched it at this constant of a level. Naturally, I have no choice but to talk about it.
I want to make something clear, to say I have a working knowledge of Japanese anime would be like saying that since I am from Boston, I therefore consider the New York Yankees to be my favorite baseball team. “Belle” is one of the couple movies within the Japanese anime medium that I have fully watched. The other one that comes to mind is “Ghost in the Shell.” I believe I also remember seeing “Howl’s Moving Castle” somewhere around a decade ago. That was before I knew what anime happened to be by definition. And I will be real with you, even though I did not mind “Ghost in the Shell,” which I first watched at the age of 17, it did not emit a spark inside me to explore more of what anime has to offer. “Belle” on the other hand, did so dramatically. Although after I watched “Belle” for the first time, I did start watching Adult Swim’s “Blade Runner: Black Lotus,” which technically is an anime series. So since I watched “Belle,” I have gone a tad deeper into the genre, but after many countless revisits to the film “Belle,” I want more anime in my life. With that said, I want to talk about why “Belle” means so much to me as someone who has spent over half of their life on the Internet, including a portion where social media has practically taken over my life in more ways than one. I will let you know, while this is not a full spoiler discussion, I am going to do my best to not ruin the whole the movie, there will be points where I do dive deep into key characters or plot points. So if that is a problem, leave this post now, go watch “Belle,” and come back when you are done. I will be waiting. That said, let’s dive into the many reasons why I cannot stop watching “Belle.”
A MATURE REINVENTION
When I originally reviewed “Belle” for this blog, I compared it to “Beauty and the Beast” because first off, the title character is literally named Belle, well, kind of. Also, much of the movie revolves around her connection to someone who is literally referred to as a Beast. If that is not enough, there is a scene in the film that is not a complete ripoff, but heavily pays homage to Disney’s 1991 “Beauty and the Beast,” which Hosoda himself claims to adore, as the two recently mentioned characters come together in a scene where they slow dance and embrace each other in a large castle. My other claim I made during my review is that this film could potentially become less of a timeless piece than others because of how reminiscent it is of the “Beauty and the Beast” tale. Knowing what I know about “Belle,” the story threads are not quite one in the same. There are some similarities, especially in the one scene where Belle and the Beast dance together, but “Belle” is its own thing. “Beauty and the Beast,” at its core, is more of a love tale than anything else. “Belle” is a mix of cyberpunk, drama, and adventure.
I often talk about the animation genre and how much I appreciate when it understands what I consider to be the assignment. Because a lot of animations are made for kids, and obviously there is content out there that you can tell is specifically made for children, not for adults at all. There is content that is obviously made with the intention of educating kids. This has been revealed with television content like “Dora the Explorer.” But at the same time, there have been multiple instances where we get movies that are meant to give families an excuse to entertain their kids, but not the adults bringing the kids. This is what Pixar has evidently understood with every one of their movies. They do not treat them as children’s fare. There’s a difference between a film that kids can enjoy, and a film that families can enjoy. Even with a more ridiculous script like “Cars 2” or an occasional fart joke from movies like “Incredibles 2,” those movies are ones I continue to watch as an adult because it understands that if the movie is purely made to entertain kids, then it does not have staying power. “Inside Out” is a movie that I think could entertain children if you sat them in front of the television, but as an adult, I am watching the movie and feeling an appreciation for how it handles emotions and growth during adolescence. These are themes and ideas that can connect to anyone from a variety of backgrounds, ages, and life stories.
“Belle,” much like the many Pixar movies I have watched over the years, refuses to treat its audience like they are idiots. In fact, I think in some cases, it tries even harder to avoid doing so. There’s no corny humor, you have incredibly humanized and relatable storylines, and there are also scenes that feel more like they are out of a live-action script than an animated script. There is one moment in a train station where a few characters meet and there are these long pauses between lines that give the audience a moment to breathe, while also letting the characters think for themselves. I occasionally watch Animation Domination cartoons like “Bob’s Burgers” and “Family Guy” and often notice that in their scripts, everything is mile a minute, which can work by keeping the audience on their toes, but it also destroys hints of realism. Granted, it is an animation, which by definition, should be less realistic than live-action, but I also think that sometimes even in animations, you should have some degree of verisimilitude to remind your audience that your world has rules. Not everything has to be within the confines of Murphy’s Law.
A HILARLIOUSLY ACCURATE LOOK AT THE INTERNET, CELEBRITY INFLUENCERS, AND FAN CULTURE
I honestly think “Belle” could not have come out at a better time when it did. The Internet and social media are still young, so who knows how things will turn out in a hundred years, but “Belle” seems to paint an attractive picture of what those two things could look like, while also inserting satire on our modern Internet behavior. Granted, this movie is on the family friendly side, therefore it never dives into concepts like pornography or the darker sides of dating sites like Tinder, although romance is prominent in the film, coincidentally. But I found much of “Belle’s” script unapologetically reflective of how the Internet tends to work. If anything, it is a bang on the money encapsulation of what could equate to cancel culture. Case and point, Peggie Sue.
The role Peggie Sue plays in “Belle” is minimal, but effective and important in every single way. We get our first glimpse of her when the main protagonist, Suzu, has a hesitancy to sing at a party, despite being pressured by her peers. The party space is accompanied with a flat screen television complete with Peggie Sue singing a pop song, perhaps in the form of an expensive music video or a concert. This happens before Suzu enters U and to her surprise, belts out a song with fluency and power. When Suzu, or in this case, her avatar, becomes increasingly noticed by U’s userbase, Peggie Sue herself acknowledges this and does not see anything special in the rising star. At one point, she lashes out against Belle’s popularity on a giant screen, which instantly receives tons of backlash and practically gets her cancelled. There are definitely more dangerous things she could have said. She could have mocked a disability. She could have announced she was giving money to a hate group. She could have said the n-word. But even so, this movie presents an example of the classic “think before you post” scenario, which I think many users, including myself, have probably run into at one point or another through our times on the Internet. Whether we did it ourselves, we observed such an action through someone we know, or some celebrity. But at the same time, this movie tells its audience that even if you say stupid things, it does not mean you cannot be redeemed. You can still be a decent person. There is a scene at the end of the film involving said character where we reveal more about her that brings her down to Earth where such a thing comes into play. It reminds us that we are human and we can take our mistakes and turn them around, learn from them essentially. And if you learn more about someone, sometimes it will get you to understand them, possibly admire them.
Peggie Sue is not the only prominent voice speaking out against Suzu as she rises, because when she starts singing and getting all these followers, we see that she makes a splash. It looks like Suzu, or her avatar, Bell, which is what Suzu means in English, has all the support and fans she could want. But as soon as we are done hearing all the positive feedback, Sue lets her negative thoughts out to the world, therefore spawning even more negative thoughts from ordinary people. They either do not like her voice, they think the songs are lackluster, or she is simply performing for the likes. In a case like this, it takes one higher power to build a following.
FORESEEABLE LOOK AT THE FUTURE, WHILE ALSO FOCUSING ON THE PRESENT
Speaking of Suzu, the main journey of “Belle” is Suzu’s dive into U, which I claim is a sexier version of what Meta is trying to achieve. If anything, it’s like the OASIS from “Ready Player One,” but without extreme emphasis on currency and less reliance on preexisting properties from “Batman” to “Halo.” The world of U is much different from our reality given how it is more colorful, physics are almost ignored altogether, and as the movie reveals, the platform’s trademark is that it reveals a hidden strength of each user. In the beginning of the film, we see that despite Suzu having a history with music, she sometimes struggles when it comes to singing. So of course, when we see Belle enter U, the first thing she does is, to her shock, utter the lyrics of “Gales of Song,” one of the film’s few enchanting originals. We will dive more into those in a second. Suzu’s U debut, as previously mentioned, is met with mixed reception upon first glance, half of the people passing by like her. Half do not. But this is also reflective of several music artists of today where their haters are just as prominent as their fans. You may notice this with artists like Justin Bieber or Kanye West. This also brings up a positive message when Suzu notices she has an influx of followers. When Suzu’s friend, Hiroka Betsuyaku, or Hiro for short, the one who suggested that she should join U in the first place, reminds Suzu that a good portion of the millions of people who have seen her through the platform admire her, she should not forget that. She should not let the hate, trolling, and doubt get to her.
What I love about this movie so much is that in today’s mixed Internet culture, “Belle” is a movie that reminds its audience that the Internet, despite its occasional thorns, can also be a rose of positivity. The Internet has helped me in various ways by letting me discover that I am not alone with some of my weird hobbies like riding elevators. Social media has spawned some of my best companionships. I even met a couple of friends I made on social media in real life, either through chance or by arrangement. I have gained valuable friendships through my time in high school, but I feel like my friendships through social media have helped me define who I am today more than almost any other friendship I have experienced.
Despite taking place in what I would assume happens to be present day, “Belle” also spawns a ton of questions about social media’s future, because it is revealed that in the world of U, you cannot have more than one avatar. You can alter your avatar as we notice Belle wears different outfits at various points of the story, but that avatar is the only one you have. I have gone on YouTube and noticed some people have more than one account, or sometimes on sites like Twitter, people will create different accounts for different aspects of their personality. Will we be seeing less of that if we get closer to U being a reality? That is a thought provoking question if you ask me. This film also reveals that there is still a culture of trolling on the Internet, with the Dragon and Peggie Sue being a couple of the film’s examples if you will. But one thing the film never dives into all that much is bots. The closest thing I can note that U has to bots is the Dragon’s AIs, but that’s about it. My question is, how “bot-proof” is U? Even when there are trolls in U, there is often a soul behind the one doing the trolling. Although there is probably a good reason why bots never appear in U, because the idea of U involves the user immersing themselves by activating a specific device that is meant to project themselves into U, and I am not just talking about their phone. Every U user attaches buds to their ears, bringing them into the digital landscape as their respective avatar. This is done through body-sharing technology, where the user’s biometric information is interlinked with their avatar. And while there are reflective physical traits that are represented in Suzu’s avatar, most specifically freckles, the U platform tends to provide an enhancement, a level up if you will, of one’s mentality, outlook, or experiences. In Suzu’s case, she lost her mom at a young age, which is a fraction of why she is a shadow amongst her peers. In addition, her singing skills are not up to the par she would prefer. This is why she has increased confidence and singing abilities upon entering U.
COMPELLING, POWERFUL ORIGINAL SONGS
And when you have a film like this that heavily revolves around music, chances are that the songs have to be good, otherwise the film would not be as convincing or effective. “Belle” has a few originals, all of which have their own style. The film’s main theme, U, has an incredibly poppy, upbeat, and sexy feel to it to the point where it belongs on a top 40 playlist, but feels different enough that it is not annoying. It is the kind of song you would want to hear when walking into a large nightclub. It is a perfect main theme for the film because it basically just says, “Come join U! We’re all happy here and everyone is having a good time!” It also shows how one platform can change your life in an instant. Much like how Suzu has gone from a nobody to a U diva, we have seen tons of unexpected personalities on platforms like YouTube or TikTok over the years.
“So, linе up, the party’s over here Come one, come all, jump into the fire Step up, we are whatever we wanna be We are free, that’s all we desire When you pass through the veil of fantasy There’s a world with a rhythm for you and me.”
At the same time though, it is a perfect metaphor for the Internet itself. There is a lyric in the song, specifically “I wanna know who you are, I wanna know it all,” which is not only reflective of the developed mystery behind Belle’s identity, but it reminds me of many of my relationships on the Internet. I feel like through the Internet I get to know a certain version of a person, but I would secretly love to meet them in real life to get to know the real them.
When Suzu enters U, she first sings a piece titled Gales of Song, which compared to the film’s previously mentioned main theme, perhaps relies significantly less on lyrics. Gales of Song is perfectly executed when first introduced because it is simple enough, and has enough pauses to allow Suzu to adapt to her avatar. It is like when you get inside a car for the first time and you are learning how to drive. It takes Suzu a second to understand all the mechanics, but when she starts getting the hang of things, that is when she gets increased attention from U’s userbase, both positive and negative. Lend Me Your Voice is a song that could have gone wrong because of how the scene it links to sort of pays homage to Disney’s “Beauty and the Beast,” but the orchestral power of the song hits hard, and the lyrics are occasionally on the verge of heart-wrenching. And speaking of heart-wrenching, don’t even get me started on the film’s longest and perhaps most important song, A Million Miles Away, which I previously awarded the Jackoff for Best Original Song during this year’s ceremony. To this day, it is one of the only songs I have heard to make me wipe tears from my face because when you watch the movie, it is THAT powerful.
That last song goes to show this film’s power of silence, because some of its best moments are simply when there is little to no dialogue, we are just watching people doing things. When we first see Suzu and her mother early on in the film, there is this wonderfully edited montage of the two doing things together, which shows Suzu developing a knack for music. There is no spoken dialogue, just a soft variant of A Million Miles Away. I even go back to the moments where characters have specific pauses while talking, allowing for some genuine lifelike reactions. The scene in the train station with a few core characters, Suzu included, comes to mind. But even within these lifelike reactions, we see some heightened emotions or cues that allow animation to shine. I will not go into much detail, but this movie is not short on blushed cheeks or visible tears.
And I am constantly talking about the film’s lyrical songs for good reason, but I should also note that the official score for “Belle” contains one of the best utilizations of stringed instruments I have EVER heard.
STUNNING CINEMATOGRAPHY, ANIMATION
Technically speaking, “Belle” is literally what the name means, beautiful. Many of the film’s wides are ingrained in my memory. The world of U is a place I could imagine myself diving into in the future. Belle’s outfits in U are astoundingly eye-popping. As depressing as the real world may be in comparison, this film has some gorgeously drawn locations. It kind of makes me want to travel to rural Japan to see what it is actually like. My favorite shot in the film however, if not one of my favorite shots, is probably set in U, when we see a closeup of Suzu singing A Million Miles Away, staring into the distance when her surroundings turn dark. It is the simplest shot of all time, but for some reason, Suzu’s concentration on what lies ahead is evident. My reason for liking this shot is potentially because of a certain context, but as much as I may be revealing about this film, there are some things I would rather keep hidden, such as moments of the scene where said shot takes place.
RELATABLE PROTAGONIST
To me, one of the most visible reasons why I adore “Belle” so much is the same basis behind why I loved another recent film, “CODA,” from the moment I saw it. They are two completely different films by several means, and in various ways, their protagonists are significantly unalike. For example, Suzu doesn’t have any deaf family members or friends, as far as we know. And “CODA’s” protagonist, Ruby Rossi, still communicates with her parents on a regular basis. Her mother is still alive, and even though the movie shows some occasional resistance between her parental relationships, Ruby has a steady connection with her father. “Belle” is a movie that allows its main hero to show off what makes them ordinary, and therefore have that mundaneness make them extraordinary. This is especially true in the climax of the film when Suzu sings A Million Miles Away. We learn more about what this song is, and that added dose made the scene go from great to… not to continue the overuse of this word, cinema. Simultaneously, Suzu has millions of followers on U, she barely talks to her dad anymore, and she spends several scenes with a talking dragon. There are some definite differences between the two protagonists, but at the end of the day, Suzu’s normality, what makes her human, what makes Suzu, quite literally Suzu, allows her to persevere later in the film’s runtime. This also highlights a notable trait about the Internet. And this trait is especially true when it comes to the Beast, as many characters have questions about his identity. That trait being how not everyone really knows who you are on the Internet. We constantly build these images of people and what we think they are like. Maybe they are incredibly wealthy. Maybe they are a predator. Maybe they are younger than they advertise themselves to be. We do not know everything about everyone. This is why sometimes I may do research on certain people before talking to them, or if there is a public figure on social media, I make an effort to ensure that they are verified.
Some of my favorite movies in recent years have been animated, because despite their otherworldly nature, they have an attractive down to earth element that sometimes is not as effective in live-action. If we are not talking about “Belle,” the most effective example that comes to mind is “Over the Moon,” which is currently on Netflix. The reason why I found that movie down to earth despite mostly taking place in space is because it is a movie I think my 13, 14, 15-year-old self would have needed to watch at those specific ages. Because I was going through a tough time where my parents were no longer in love, and there were specific story elements or beats that reminded me of that time and felt completely relatable. In the same way, maybe not as much, but nevertheless, I think “Belle” is a movie I would have shown to my 15, 16-year-old self, because I was new to social media at the time. I had an idea of how it worked, but I did not realize how addicted I may have been to it. Sure, there were many positives to it like meeting new people, finding new friends, joining a community. But I also did not realize how much I cared about followers. I cared more than I should have. I thought I was cool when in reality I may have just been desperate for attention. And I am not saying that it is a bad thing to have tons of followers, but I feel like this movie could have been a reminder to myself that maybe I should not have tried as hard to worry about getting followers. It’s like the famous quote in “Field of Dreams,” “If you build it, they will come.” In the same way, Suzu started out as a nobody, and one unexpected turn of events turned her into a somebody, even if that somebody was an alternate version of her.
I think “Belle” is a film that paints a picture of the Internet and shows its strengths. Because by the end of the film, it allows people to come together in a way that delivers a positive impact. It shows how the Internet can change people’s lives and make them better despite some occasional toxicity on a number of sides.
POSSIBLE IMPERFECTIONS WITHIN A FLAWED MASTERPIECE
I think if there are any flaws with “Belle,” it would be three things, but they do not affect my overall enjoyment of the film. There are such things as flawed masterpieces. “Risky Business” is one of my favorite films of all time, but I will tell you that the last scene feels incredibly out of place. “Star Wars: The Force Awakens” is one of my favorite science fiction films of the past decade, but even I will admit that the film owes its success to the original installment it tends to copy. “Once Upon a Time in Hollywood” is one of the most beautifully violent, outrageously balls to the wall movies I have ever watched, but you could quite literally remove Margot Robbie’s character from the script and have little to no effect on the overall plot. That said, let’s dive into my few issues with “Belle,” if you want to call them that. Because in some cases, I also claim they do not bother me that much.
The first issue I have is specifically with the English dub. I do not speak Japanese, but it sounded fine on the Japanese version. When I watched this film at home a few times in English, there was one key line from Justin, or Justian if you watched the Japanese version, it sounded incredibly important, but much of what he said was muffled over all of the music. It was GREAT music, but nevertheless. Who directed this scene? Christopher Nolan?! For all I know, it could be my television, but the sound on it has been pretty good by itself over the years without any external speakers or sound bars, so who knows? The second flaw, and this is perhaps a more important issue that could also be seen as a strength, I think the relationship between Suzu and her father was kind of surface level. Not much was shown to reveal their distance. I think it almost makes me forget sometimes that they are drift apart, mainly because it is such a small part of this two hour movie. But at the same time, you could make an argument that such a thing was kind of the point. The movie wants you to realize that these two individuals barely talk to each other despite living together. And in a way, the movie successfully did that. So that is a tossup. The other, flaw, if you will, is not something that bothered me specifically, but I could see it bothering other people. Not that I have seen anyone bringing it up. There is a character in the film by the name of Shinobu, and despite his best intentions, there are a couple scenes where his connection to Suzu could come off as maybe closer than it should. From his eyes, he kind of sees himself as someone who tries to protect Suzu. This is something he has done for her since her mom died. It’s a friendly gesture, but it could also be overprotective. In a way, since Suzu’s mom died, Shinobu filled said mother’s shoes from time to time. The movie does address this though, and it shows that Suzu realizes this and at one point refuses to let this get in her way. So I would not consider it a big deal, but having seen one or two moments in the film, I could see certain viewers having a particular perception of Shinobu’s character or his connection to Suzu that maybe I did not. The movie is bound to age well if you ask me despite its influence from “Beauty and the Beast,” but I will remind you, this film is not a ripoff of a classic tale, if anything it is a reinvention. It is not a love story, it is a cautionary human drama that warns its viewers to be careful in regard to what they see, do, and say on the Internet. Or in some cases, in real life.
FINAL THOUGHTS
I highly recommend “Belle” to almost anyone, and I kind of mean that because anime was never my genre. I have a history of enjoying animated content, but not much from Japan. Now that I have seen this movie, it has opened my eyes to more of what Japan has to offer, including Mamoru Hosoda’s library, which I hear is incredible. I want to go ahead and check out some of his other movies. This is one of the few animated movies I have seen that I feel like is specifically not made for children. I think kids should watch it if the chance comes around, I think it is an important movie that everyone should watch at least one point in their life, especially now with the Metaverse expanding more than ever. The songs are catchy, well-written, and obnoxiously powerful. I do not often cry during movies, but the scene with A Million Miles Away is a literal tearjerker, so if you cry during movies, prepare yourself. I said that this is not a redo of my review, but if it were, I would be giving the movie a 10/10, because each time I watch the film, the more I realize I like it. I have gotten completely attached to Suzu as a character even though we have our differences. She is a perfect protagonist for this world, and this movie took her in a direction that enhanced its lesson to the audience. Just because someone is popular, it does not mean that they are a narcissist. It does not mean that they are the kind of person some would make them out to be. Heck, I did not even talk about Ruka in this post and that is a whole other topic I could have gotten into. And instead of explaining everything about Ruka, I will let you see for yourself. Because “Belle” is now available on various home video formats including DVD and Blu-ray, if you have not gotten a chance to watch “Belle,” find a chance as soon as possible, because it is worth your time. It is one of my favorite animated movies, and with enough rewatches, it could potentially be in the conversation for one of my favorite movies period.
Thanks for reading this post! If you like this post, be sure to check out some of my other ones, including several of my reviews. One of my reviews is for the new Nicolas Cage film, “The Unbearable Weight of Massive Talent,” or you could even read my most recent review, which is for “The Bob’s Burgers Movie,” which is officially in theaters as of this weekend. If you want to see more non-review posts, please check out my response to movie theaters, and why I think they should play fewer trailers before the feature presentation. To find out my first impression of “Belle,” you can read my review that I posted in January! Hope you like it! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account, also check out the official Facebook page! I want to know, like I asked in my review, did you see “Belle?” What did you think about it? Also, I want to ask a question for the anime fans reading this, because I want to dive further into the genre. What anime products do you recommend? Let me know, because I am always looking for suggestions! Scene Before is your click to the flicks!
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