While not necessarily in vogue among anime critics lately, it isn’t hard to find rankings of very specific subjects within the community. “Top 10 Strongest Anime Characters”, “Top Ten Anime Villains”, “Top Ten Anime Couples”, etc. And of course, who could forget the perpetually memed “Top Ten Anime Betrayals,” which I don’t think I’ve ever seen created unironically.
However, while overdone, it has never felt like the kind of thing that anime critics do begrudgingly out of some unspoken tax as per the job. After all, anime has a lot of cool shit and fights are no exception. It’s only obligatory so far as such a thing is relatively easy to create and an ample excuse to ramble about things we like. That’s half the reason people like me become critics anyway.
So in no particular ranked order, here are a few my favorite anime fight scenes.
In 2018, a new trilogy of films set in the Psycho-Pass universe was announced for a 2019 release date called Sinners of the System. The three short films, each about an hour in length, take place at various points throughout the timeline. It would be the first new entry in the series in about four years. In the same year, a third season would be announced and released in the fall.
Psycho-Pass was back, with original director Naoyoshi Shiotani’s involvement being a major selling point. They wanted us to know that the series was returning in good hands. Even so, with such a long delay and the second season still a sore spot for many fans who felt the film didn’t make up for it, how well would this new phase fare?
The only thing worse than a bad show is a bad sequel to a great show.
Last time, I gave a resounding review of Psycho-Pass‘ first season, hailing it as one of the best science-fiction series of the last decade. When I first caught wind of a sequel, it was right after the premiere had aired. I had no idea that it was coming out and suddenly got super hyped to watch it. After all, it hadn’t been that long since the summer when I first binged season one.
I watched week-by-week, admittedly impressed for the most part, before reaching a conclusion that seemed to come far too soon. As time passed, I started looking back on it with more disdain. Psycho-Pass had hit a rough patch and I wondered if it could recover.
Before we begin, YES, Penguin Highway, directed by Hiroyasu Ishida, was released in Japan in 2018. However, seeing as how it was released in the US in 2019, I consider it a worthy candidate befitting of the accolade emblazoned on the title of this review. Plus I’ll use any excuse to talk about this lovely film.
Some of the most acclaimed and beloved anime films from Japan have had an inherent focus on youth and growing up. Most of the studio Ghibli films center around young boys and girls going on harrowing fantastical adventures that mature them, whether they be children or teens.
Often times the films of this nature are enveloped in that fantasy fully, never questioning the logic (and really, what’s the need?). But what happens when you set a similar type of story in a setting that is rather grounded yet slowly descends into fantasy? Furthermore, what happens when the protagonist explores said fantasy through the sheer power of science?
Not only do you get one of the most unique stories of its genre, but you also get the best-animated film of 2019
The 1948 novel Ningen Shikkaku, known in the west as No Longer Human, is considered a masterpiece of literature in Japan. It is considered autobiographical, as the torment of the main character seemed to mirror the demons of author Osamu Dazai. Dazai had completed suicide by the time the final part of this serialized book was released.
After many adaptations across many mediums over the years, Polygon Pictures has produced a new vision of the classic. Re-imagined as a sci-fi dystopian tale, Human Lost by director Funimori Kizaki is a striking film with a lot of ideas. Unfortunately, those ideas are seldom explored to the fullest.
Honestly, I’ve never been too worked up over finding originality. I know that a tried and true story can still be told in over a million ways. Is the setting a fantasy where it used to be sci-fi? Are there comedic beats or is it more series? What sets this apart from others? John Wick‘s concept wasn’t necessarily original, but we never saw a revenge film about a dog being killed, nor did we see one with such elaborate world-building.
Even the most acclaimed creators’ works can be traced back to the maker’s inspirations. Media is all about inspiration and telling old stories in new ways by combining myriad elements in a really creative way. Today, I want to look at a film that in a lot of ways is unoriginal, but that I don’t think has to be discarded because of that. From Studio 3Hz and director Kazuya Nomura comes Black Fox, a new film that just recently released on Crunchyroll.
I’ve discussed previously my disdain for the praise aimed at Trigger in its early days. The whole “savior of anime” meme got old quick with the industry growing larger than ever, and certainly not solely because of Trigger’s work. Funnily enough, as time has gone on, there are now a lot of people who seem to think Trigger is “stagnating,” but that’s kinda bullshit.
With their catalog having built up over the years, Trigger has only been getting more praiseworthy as time has gone on. Kiznaiver was one of the best looking shows of 2016, Gridman was one of my top five from last year, and I don’t think I stopped smiling the entire time I watched Space Patrol Luluco.
Now, director Hiroyuki Imaishi and screenwriter Kazuto Nakashima have reunited for a new project, this time a feature-length film. As I am in Japan currently, I took this rare opportunity to see the film in theaters. Because I am not fluent and didn’t pick up on everything, this is not a formal review, but I couldn’t resist taking the time to give my thoughts.
… I mean, come on. I’ve already reviewed Violet Evergarden and Liz and the Blue Bird within a reasonable time-frame. I’m about two years and TWO US theatrical releases late to this. So this is gonna be a short review of a movie that – SPOILER – is great and you should watch it.
One of the earliest scenes in Liz and the Blue Bird depicted the protagonist, Mizore, waiting for someone at the school gate. One girl comes through the school gate, but Mizore is met with disappointment as it is not who she is waiting for. And then, the music swells from a scarce pluck of the string to a delightful melody, as the tapping of one girl’s steps is heard along the pavement.
But it’s not just any girl. It’s THE girl. Like a wind coming from the distance, Mizore and the audience know that someone important is coming before they even see her face. It’s as if hearing the quickening heartbeat of a shy young girl faced with her crush, translated into song.
At the risk of understating this film’s message, showbusiness sucks. Satoshi Kon’s 1998 thriller by Studio Madhouse, Perfect Blue, was a must-see for me during its re-release in theaters last month. I had always heard about the film and seen glimpses of its iconic moments, but without the full picture, I was still in for a lot of surprises.
Kon’s films have stretched close to the same critical acclaim here in the west from adults as Miyazaki and Ghibli have achieved with… well, everyone. The late and great creator’s films have also inspired many auteurs to take inspiration. Such as the late Mamoru Oshii’s Ghost in the Shell inspired the Matrix, Perfect Blue inspired Darren Aronofsky’s Black Swan from 2010. So it is especially criminal that I had not previously seen any film by the late Mr. Kon before this one. And this was quite the start. Continue reading →