Nostalgia is a precious thing for so many people, and Nickelodeon seems to know it all too well. In recent years, the family-oriented TV studio has followed suit with all the other nostalgic cash-ins, and started rebooting their entertainment for those yearning over a simpler decade when VHS tapes were in and cartoons were entertaining; ‘All That’, ‘Hey Arnold’, and now ‘Rocko’s Modern Life’ in the form of a special called ‘Static Cling’. ‘Static Cling’ is an ode to the nostalgic memories we hold dear as well as a commentary on an ever-changing world we are trying to keep up with.
Netflix released a “documentary” on August 5th, 2019 titled, Enter the Anime. The premise is simple enough, “What is anime?” and follows a newcomer to the industry, Alex Burunova, as she doesn’t proceed to do anything for approximately 50 minutes. If it had not been for this review, I would never have touched this film. Even in the first few minutes, it was so repulsive that I would have turned it off altogether. Yet here we are, as promised. Today I’ll be discussing Enter the Anime through the lens of a piece a marketing for Netflex, as it transparently seems to only exist to sell you on their shows (and it can’t even do that).
I’m going to be frank with you all. There is not a single positive thing I could say about this “documentary”. Even when it had something interesting to say, it was often cut off, impossible to decipher due to the hyperactive editing, or drowned in a sea of vapid nothingness. Just wanted to be upfront about that.
The thesis statement of this is to find out what anime is. It’s clear that the target audience is folks who have never seen an anime in their life, but it also expects the viewer to be familiar with the material as well. If I were totally new to anime, this would have turned me off to the medium entirely, and in the next few paragraphs, I’ll explain why.
First, Burunova constantly talks about how “clean” and pristine Japan is as a nation but then says that anime is made by these “deranged” individuals who are the fringe of their society. This is not only extremely offensive, and mindbogglingly baffling that this was ever released, it implies that there is this level of taboo to the medium.
She also takes every moment to be as edgy as possible. I hate the “fellow kids” kind of comments people make about things when people are genuinely trying to connect to multiple generations, but this was exactly that. There is a moment where they say that a character in Baki says, “I don’t give a fuck” and she follows that up by saying, “Unlike Baki, I do give a fuck”. Which I guess is an alright line if it weren’t ruined by things like, “The Instagram royalty of yore” or whatever that stupid line is.
Oh right, guess I was a bit off, like it matters though…
Burunova is like this from minute one. She is a terrible narrator and host.
This is followed up by showing the most graphic content that Netflix anime has to offer. Seriously, nonstop. To the “documentary’s” credit, there is a very brief section on “cute culture” and how “anime is for kids”, but it comes so late in, and is so short, that it may well not even have been included.
Finally, the editing and presentation of any topic is just plain awful. It is so transparent that this is just a giant ad for Netflix anime, especially the CG shows (which is fine), that it goes as far as to undermine its entire premise in the opening minutes.
Let me explain, the first interview is with the Castlevania guy. You know, not a Japanese person or a show even made in Japan. I’m not one of those people who think anime is only something from Japan either, but this really undercut any credibility anyone might have for what’s to come, and not just for this reason.
The guy is a massive weirdo! He starts things off by telling the audience that he is a “time traveler” and wastes almost 12 minutes of the runtime talking about his DOG and Kanye West of all things. What does that have to do with anime?
“Professional” editing…
Even when they do finally talk to some industry people, half of the “interviews” are just… nothing. The worst instance of this was when they left a phone call with Yoko Takahashi’s manager in the “documentary”, instead of talking about NGE (which they never even mention by name for some reason) or showing her performance beyond a few seconds. It was just bad.
Oh yeah! They even recycled footage in this 50 minute piece of garbage. Can you believe that? More than once too! There’s no substance here. One interviewee talked about how many people don’t know him because Netflix lets you skip OP’s and ED’s, but that is given like 2 seconds. Almost all of them laugh about the lack of sleep they get, as if it is some joke you need to “get” about the industry. It was frustrating to watch.
Ok, so what was the point then? Like I said, this is meant to push Netflix shows. I think that’s fine, but they don’t really show much off, and a lot of the things they chose were the edgiest and least accessible titles. Even just choosing from among their “original” properties, they really did not offer variety here. It made anime feel immature, hyper violent, and kind of obnoxious.
Furthermore, they chose almost exclusively CG shows, where much, or even all, of the product was not animated in 2D. Again, this would be fine except that just isn’t what anime is on the whole. Same can be said for the last point.
Also there was this strange focus on titles that haven’t even come out yet. Some not until 2020. This was really dumb, because when those things were stacked up alongside this train wreck, it didn’t make me want to watch them. Seriously, I have less confidence in some of these shows because they were in this “documentary”.
In a lot of ways, this would have been better as a mini series with proper time given to all its topics. The question of “what is anime?” is answered in a lot of ways: culture, food, style, etc… but ultimately settles on saying it doesn’t matter. It chooses to abandon its core premise to say “it brings people together” and “it gives a voice to the outcasts” but, I just couldn’t help but feel it was pandering. Void of all meaning. A genuine waste of time, and a massive mistake on the part of Netflix.
This is slightly longer than the max character limit of 1,000 words I set for these mini reviews, but this was just that bad. I tried to stay focused on the marketing angle, but I just couldn’t avoid airing grievances. Let me know if you liked this in the comments, please tell me how you managed to do that. Support my stuff via the Ko-fi button below. See ya in the next one folks.
If there is one person I’ve wanted to talk about for some time now, it’s the late Satoshi Kon. I’ve seen nearly all of his work and it is something that is certainly worth talking about, but finding the words hasn’t been easy. However, you guys voted and here we are today to discuss the 2003 film Tokyo Godfathers. If you are here just looking for a recommendation, you have it in full. This is a great movie to watch whenever, but especially around Christmas time. You can find the film pretty easily and legally, so go out and watch it.Continue reading “Anime ABC’s T is for Tokyo Godfathers”→
Despite this being his ninth picture, ‘Once Upon a Time … in Hollywood’ does not feel like a Quentin Tarantino film. It has all the Tarantino touches, fetishes, and obsessions on display (the excessive profanity, graphic violence, and gratuitous shots of bare feet), but it is the director at his most restrained and mellow; relying more on the glitz, glamour, and nostalgia of 60’s culture. Tarantino has crafted a time capsule I could fully immerse myself in, and the style shows. For once, I felt like I was transported back to a time where the Golden Age of Hollywood was ending and the Manson Murders reached infamy (I didn’t say it was all pleasant).
Everyone knows Nicolas Cage as one of the most insane actors who has ever lived; able to give an over-the-top performance in the blink of an eye, which not even John Malkovich can be able to top; which is why the lead role in ‘Mandy’ is perfect for him. Though “Mandy” is not the name of his character, but that of his girlfriend (Andrea Riseborough), an artist whose hobbies include being out in the wilderness and turning into a deep and meaningful book. The character of Mandy is also a motivational tool for Cage’s Red to go out for some good old-fashioned bloody revenge when a group of hippie Jesus freaks, led by a Charles Manson-esque figure named Jeremiah Sand (Linus Roache) mess with him and take her from his life.
You would think that ‘Toy Story 4’ was nothing more than a pointless cash grab, but in the case of this continuation of a sweet conclusion to a trilogy, you would be surprised. ‘Toy Story’ is Pixar’s most beloved and meaningful of its properties. Not only did it put Pixar on the map and pave the way for computer animation to be the new norm, it also manages to appeal to both children and adults. Just the name “Toy Story” alone is enough to bring joy into the hearts of those who hear it being mentioned. To ruin such a beloved trilogy for the sake of money and merchandising is basically a crime against humanity. Thankfully, ‘Toy Story 4’ still has enough heart to keep the franchise alive.
It’s no secret that I’m a pretty big fan of Hosoda’s films. I’ve written about Wolf Children at length (multiple times actually) because it has been my favorite standalone animated film for some time. Having seen all of his works, multiple times no less, I can confidently say that this latest entry was more than competent. Mirai draws a lot from the prior films, and in many ways benefits from that as a result. However, it still didn’t manage to exceed any expectations.
If I had to rank this among all of Hosoda’s other films, I’d say this ranks around 3rd place. The reason for this is mainly pacing, the film has some great moments, but how scenes flow into each other just didn’t quite work. Still, there are a lot of wonderful things to be said about this film, which is what I’d rather focus on.
For this viewing I watched Mirai with my mom as a belated Mother’s Day activity. She had enjoyed Wolf Children when we watched it a few Mother’s Days back and I figured we could probably enjoy this. I’ll include some of her thoughts on the film here-and-there as well.
What was impressive about this film was how Hosoda managed to improve on his prior movies. Nothing in Mirai is really original, it feels like a recycling of the other films, but taking mostly the best parts of each. You have the interesting time travel that The Girl Who Leapt Through Time had, various elements of The Boy and the Beast, and much more of course.
This demonstrated Hosoda’s growth in his career and I genuinely believe his next film is gonna be an impressive one if this is any indication. When viewing Mirai from this angle it leaves a better impression than it might otherwise as an isolated film.
The other aspect of the film that was done quiet well was Kun’s character. He is a bratty child who is jealous of his baby sister, the titular Mirai. GKIDS got an actual kid, Jaden Waldman, to voice Kun and that always makes a world of difference. As an audience it is easy to see why Kun behaves the way he does, so you sympathize, but he’s just obnoxious enough that you don’t exactly root for him either.
It’s a good balance that accurately reflects how kids act and think. My mother was pretty impressed with that part but she remarked that he might have been just a little too obnoxious. I can’t disagree, but considering we both have a pretty high tolerance for kids, I can only imagine how others might take to Kun.
Kun being a kid, he blends fantasy and reality together often in this film. It’s neat to see, making everything a kind of metaphysical interaction, but it can cause some parts of the film to feel slightly confusing. Not in a way that you can’t follow it, but in a way that might pull some folks out of the experience.
Both my mom and I were impressed with the time travel concept and how it brought everything together. Kun’s war-era grandpa was easily the best story in the bunch and I low-key wouldn’t have minded watching an entire film about that.
Finally, I just have to mention the train station that nightmares are made of. I saw a review before I picked this up that heavily criticized the depiction of a train station, seeing that this is a kid’s film, and I was puzzled at first. When the film got to that point, I told my mom about it and we both went, “Yeah, not seeing it.” Then… well, we got it. For us, it was very humorous, but it is the only real black mark against the film as something meant for children. It may actually be quite traumatizing for some kids.
All-in-all, Mirai has charm. It’s a solid watch if you are a fan of Hosoda at all, even more so if you are actually. While there were a few times the movie wasn’t at its best, when it wanted to deliver, it absolutely did. As a children’s film, there are a lot of solid messages here, which you ought to know by now I’m all about. You should definitely watch with younger kids, but older ones should be fine. For adults, there are some interesting things to ponder and plenty of spectacle.
Have you seen Mirai? Additionally, what Hosoda film is your favorite? Let me know in the comments! If you want to help me out and support my writing please use my Ko-fi button which you can see below. As always, thanks for reading and I hope to see you back here again soon!
Two decades have passed and Pokémania is still sweeping the nation. Fads come and go, but this phenomenon shows no signs of slowing down, as long as there are new creatures and worlds to expand. Its popularity only seemed to go strong with the rise of an app called ‘Pokémon Go’, causing many a lazy butt to go outside and a generation of millenials to become social, yet never have we had a live-action ‘Pokémon’ movie until now. ‘Pokémon: Detective Pikachu’ is just as fun as a movie set in this world could be; elevated by great effects and the charm of Ryan Reynolds as the voice of the electric-type creature.
Ted Bundy was one of the most notorious serial killers in American history, second to Charles Manson, committing a series of grisly murders of thirty plus women in the states of Washington, Oregon, California, Idaho, Florida, Colorado, and Utah. His crimes were described by Judge Edward Cowart as “Extremely wicked, shockingly evil, vile, and the product of design to inflict a high degree of pain”, and he was executed in the Florida State Prison on January 24, 1989. Though he was a despicable human being with no regard of human life, what sort of separated him from other serial killers was how charismatic he was; no other person could take on the persona of Bundy like Zac Efron, an actor with enough charisma to carry a movie, which is exactly what he does in this scatterbrained biopic based on the memoir ‘The Phantom Prince: My Life with Ted Bundy’ by his former girlfriend Elizabeth Kendall (Portrayed by Lily Collins).
Now that ‘Avengers: Endgame’ has had a good, albeit successful run in theaters for a few weeks, and the spoiler ban has been lifted, I have felt the need to go into detail about ‘Avengers: Endgame’. Being that this review is filled with spoilers, those who still have yet to see this epic conclusion to Marvel’s ‘Infinity Saga’ should turn back and come here afterward; otherwise, you can keep going.
If I had to rank this among all of Hosoda’s other films, I’d say this ranks around 3rd place. The reason for this is mainly pacing, the film has some great moments, but how scenes flow into each other just didn’t quite work. Still, there are a lot of wonderful things to be said about this film, which is what I’d rather focus on.
