Hromino

If you were already impressed by the subject matter of Ishida's first movie, Fumiko no kokuhaku (Fumiko’s Confession), but would like to watch something more serious, you may find your wishes granted with this movie. Once again, Ishida serves up a movie featuring two little schoolboys who blush a lot, go through dramatic emotional outbursts, embarrassing declarations of love, frantically running away from stuff, and flying through the air. However, this time it is much more serious and somewhat more poetic than before. I would say, however, personally that Ishida's poetics again somewhat passed me by. Although the movie is audiovisually well-done, and many might say that in its simplicity it is actually a real beauty to listen to and look at, I simply cannot squeeze more than a slightly better 2 stars out of myself, because the movie would have to appeal to me in some way, and that just did not happen. In the field of short films considerably shorter than 18 minutes, I have seen much more imaginative, interesting, and engaging works that were also free of unnecessary pathos, and yet we do not even have to go very far to find them – see for example Ishida's previous movie Rain Town. However, if, unlike me, you are into expressive outpourings of emotion, screaming, and pathetic scenes, you might like Sonny Boy and Dewdrop Girl.

If I were to somehow examine the level of originality of Seraph of the End in relation to other shonen, (not just Attack on Titan, which it is probably most often compared to), I am convinced that I would not only hit the number zero, but perhaps even go into minus figures; one could say that the series does not excel at anything, and actually stands out as the only one of its type in that way in the end. There are metrosexual vampires, the humanity is fucked up, there is a resistance army of little shits there to save the world, an impulsively idiotic main hero, whiny baggage to go with it, some female dominatrix, a charismatic leader, an unexpected power-up, weapons in the form of demons, random fateful encounters... nothing we have not seen a hundred times before, which makes it hard to recommend this to anyone other than an avid shonen fanatic who does not mind the fact that they are seeing the same thing over and over again, and of course, some undemanding otaku who only needs some nicely drawn characters to be satisfied. However, if you do not fall into either of those categories, and somehow found yourself watching Seraph of the End, know that it is certainly not going to be a terrible ordeal, more likely just a somewhat forgettable experience. In fact, despite the aforementioned downsides, I certainly did not find the main characters as irritating as I found the heroes in Attack on Titan, for example, and I would almost go so far as to say that I took a liking to them. The atmosphere and suspense over the season, despite the heavily palpable recycled nature, is not completely lacking, and the plot holes, along with the most irritating shonen tropes, were relatively avoided by the production team. The artwork and character designs are well-done, the level of animation lags in places with the occasional static image, and the soundtrack, including the opening and closing theme songs, is very successful by Hiroyuki Sawano’s standards. Overall, then, this is an anime that is easily confused for other anime of its kind, and that very few will likely remember in a few years, albeit one that does not cause any undue suffering watching it. I shall watch the second season on principle, to see if by chance there might be any originality. A solid 2 stars.

The biggest pitfall of the new Durarara!!x2, as it has been since the second half of the first season, is that all the subsequent stories and storylines are nowhere near the quality of the treatment of the initial story regarding the founding of Dollars. Although the audience’s hearts will flutter with nostalgia when they see the old familiar characters in old familiar situations after having waited for five years, they will gradually discover that the new endeavors of Takahiro Omori and co. in creating another complex story, have missed the mark yet again. While the amount of new characters has considerably increased, and plot lines are present in abundance, compared to the first season, I was not too impressed with the sheer tangle of storylines, and the faster pace of the narrative, which rather damaged the season as a whole, and gave me the impression that the creative team behind it have not managed to keep their work so tidy this time around. Some of the storylines and characters are somewhat underused (like Kida), so some of their significance fades away a bit in retrospect (Ruri for example), other characters have a lot of screen-time but the audience never really gets to know them, (e.g. Aoba, Izaya’s sisters), and this, as well as the poorer quality of the animation and artwork, is somewhat disappointing. I did not notice any new songs in the already good and well-known soundtrack, the opening did not impress me much, the ending, on the contrary, was very interesting.  Nevertheless, overall, it is an anime that I enjoyed despite the aforementioned shortcomings, and I was happy enough to laugh with my favorite characters again, although not nearly to the same extent as in the case of the first season. I am therefore curious to see how the July episodes build on this first run, and whether it will somehow make me reassess my overall opinion of the second season. So far, an average 3 stars.

When reviewing some anime, I sometimes think about introducing the term "one-hit wonder" in my comments, along the lines of "one-episode wonder". In my eyes, such a term would describe many anime, for example; Punch Line. The first episode offers the audience a crazy rollercoaster ride with a comedic touch, and an interesting premise that suggests the season might focus on parodying irritating, especially shonen, tropes. The hilarious opening and ending also successfully deceived the foolish Hromino into thinking that he could enjoy the rest of the season. However, by the second episode Hromino discovered that this was indeed an illusion, seeing how the focus, instead of being on the perverted cat and the main hero with his quest for a mysterious book that has the power to restore his body, is on the utterly trivial and unremarkable problems of the young female residents of the house, which are neither funny nor interesting. Of course, it is not until he saw the fifth episode that Hromino's patience finally ran out. From an insane, imaginative beginning, he had then reached the point where the producer’s antics had ceased to amuse him. In retrospect, it looks like a completely superficial and ill-conceived project, because the audience is clearly meant to take the girls' emotional outbursts and mood swings deadly seriously. After the fifth episode, Hromino ends up not really caring what kind of punch line the producers have come up with at the end, because he was severely disappointed and bored on the way to it.

Ladies and gentlemen of Madhouse, you didn’t have to save the best until last! Poor Hromino almost stopped believing, sometime around episode 15, that anything more than the increasingly uninteresting travails of one loser with a Parasite and one severely irritating classmate would be wrung from an initially promising premise. He almost failed to believe in it at all, but with his head held high, he stuck with it and persevered to the end; and ultimately he was very pleasantly surprised on many levels. Shin'ichi's character finally undergoes some real personal development and becomes a likeable character I am not completely indifferent to, as has been the case up to this point (I was terrified that Shin'ichi would remain a poor-man's Kaneki). Murano not only ceases to be dull, irritating and jealous but turns into a likable, mature girl. The plot climax itself is clearly tuned more to the point of intimacy than epic grandiosity, which, in correspondence with the main hero's mental development, results in a sensible decision that deserves my appreciation. I would, however, quibble over the anime being terribly deep and heavily philosophical, as some here have mentioned; there are a few ideas to be pondered, but they are certainly not complex, unfamiliar, or groundbreaking. The predominantly electronic soundtrack is fine and fits the spirit of the season unexpectedly well, the artwork and animation were also quite good, the action sequences were mostly imaginative and interesting (although not always), the key moments were not lacking suspense, but the season was far from being a horror movie. So if, like me, you hesitate when watching it, and wonder whether it is worth persevering to the end, know that despite the weak middle part it is certainly worth it. A strong 3 stars.

I don't believe World Trigger is as much of a disaster as some people claim. It's just incredibly forgettable, and there's hardly anything about it that's surprising. The simple storyline about alien monsters invading our world through an interdimensional gateway in a Japanese city might only excite undemanding and unsophisticated viewers. Those with a discerning eye may question: What sets it apart from other movies and TV series with similar plots? How will the production team bring something new to the table? Unfortunately, this is where the anime falls short. The production team seems to have struggled to come up with anything remotely interesting. They attempted to add depth by explaining the inner workings of Border, the organization fighting against the monsters, and the nature of the characters' supernatural abilities. Perhaps this decision was intended to give the impression of profundity and make the viewers feel like they were witnessing a highly sophisticated work that required significant effort and dedication, similar to what was seen in The Irregular at Magic High School. However, it still feels lacking and fails to make logical sense. The actions of Border members, who often behave like little children, don't align with the importance of the city's safety. Would the inhabitants of any city in any country truly be okay with menacing giant alien creatures randomly attacking them, endangering their safety and lives? I don’t think so. One would hope that the audio-visual experience would at least redeem the show, but once again, it disappoints. The soundtrack is passable, the artwork is unremarkable, the character designs are average, and the animation quality starts off quite poor (for instance, the first episode mainly consists of static shots), only reaching mediocrity later on. Since this show was produced by Toei Animation, a studio known for stretching stories with recaps and flashbacks, viewers might wonder how it would have turned out if a studio like Bones or Madhouse had taken on the project. Perhaps those studios could have at least delivered a more captivating audiovisual experience. Additionally, if the creators had taken bolder steps and approached the adaptation of the original material in the right way, World Trigger could have been more interesting in terms of the story. The only positive aspects I can mention are the absence of ecchi elements and the character of Kuga, the white-haired character who is well-voiced, has a good sense of humor, and exhibits some depth. However, the rest of the show is a repetitive and unremarkable mush that I've seen countless times before. The remaining thirty-five episodes probably won't surprise or impress me. Therefore, after fifteen episodes, I've decided to call it quits and give it a generous one-star rating, perhaps more than it deserves.

After a long search, I finally stumbled upon a lesser-known anime series among the plethora of battle anime from the nineties. What sets it apart is that it doesn't rely on dragged-out fight scenes spanning multiple episodes, nor does it drown in excessive melodrama. The main characters, including two charming young ladies, are instantly likable, and the quality of artwork and animation holds up surprisingly well considering its production era. The soundtrack is solid, humor is plentiful, and it captures that indescribable essence I seek in nineties content, which is fully present here in all its glory. Undoubtedly, the series' greatest strength lies in its sense of humor, largely thanks to the excellently voiced yōkai character, Tora. His hilarious antics stem from his cluelessness about the modern world and his peculiar relationship with Ushio. The action scenes carry momentum and suspense, while the villains exude charisma for the most part. Although there are a few inconsistencies throughout the season (like when Tora's punch creates massive cracks in the ground, but his full force impact on a storefront barely does anything?!), they are easy to overlook and don't significantly detract from the overall impression. Overall, I would rate it a solid four stars, albeit a slightly lower rating. I was somewhat bothered by the episodic nature of the storytelling and the absence of a grand overarching plot, particularly towards the end. However, that doesn't change my opinion that the relatively obscure Ushio and Tora stands at least two notches above the highly acclaimed Yu Yu Hakusho: Ghost Files.

Very often I find myself disappointed by the drawn-out and empty plot of an anime series, the lack of character development, and the uninteresting characters. So, it was quite surprising to discover that Rage of Bahamut is the complete opposite in this regard. The plot here rushes along, desperately trying to fit into twelve episodes. However, the season would have greatly benefited from being twice as long, allowing for more room to develop the characters and the captivating fantasy world setting, showcasing their full potential. After watching the twelfth episode, it feels like we've only scratched the surface of a universe with so much more to offer. For comparison, let's take a look at Chaika: The Coffin Princess, which came out the same year. It also features a fantasy world in which it seems like the producers randomly mixed together various ideas and elements, almost as if they had invited the ghost of Tristan Tzara into their creative process. Nevertheless, both series have created interesting worlds, with Chaika: The Coffin Princess being more imaginative and eccentric, while Rage of Bahamut adheres more closely to the fantasy canon and takes itself slightly more seriously. In Rage of Bahamut, all four main heroes have their own unique charm and depth, unlike Chaika: The Coffin Princess, where only Chaika herself stands out as a truly intriguing character. Now, when it comes to the audiovisual experience, Rage of Bahamut takes the imaginary winning prize. I haven't seen better and more visually stunning artwork and animation in a long time. Even the inclusion of CGI characters was executed quite well (except for the forest dragon). Additionally, the soundtrack frequently and successfully enhances the scenes, adding to the overall enjoyment. However, the biggest flaw lies in the rushed nature of the series. It leaves us feeling like we're merely skimming the tip of an iceberg, missing out on the full potential of the story, the fantasy world, and the characters. Viewer is left with the feeling that this fantasy world and its characters have so much more to offer and instead of a strong catharsis at the end, we're left with a sense of something unsaid or incomplete, like the creators didn’t tell us everything they wanted. Nevertheless, this doesn't change the fact that after a long time, I've finally come across a well done fantasy anime that doesn't rely on unnecessary fanservice, ecchi elements, or convoluted plot twists. What this anime offers are genuinely interesting characters and an excellent audiovisual experience. If a sequel were to be released, you can count me in for the watch. I'll give it a solid three-star rating.

Birdman is a prime example of a movie that impressed me with its imaginative and playful cinematography, as well as the excellent performances. However, the content itself completely missed the mark for me. I can imagine the joy Iñárritu must have felt while coming up with the screenplay and all its technicalities, and the even greater pleasure of seeing it brought to life and celebrating with the crew after witnessing the end result. Just like I experienced joy and reveled in delight at the playful cinematography, the skillful and 'lazy' editing, the seamless blending of reality and fantasy, and the impactful use of cacophonic percussion to enhance the atmosphere of each scene in the movie theater. I can also imagine that at least one of the acting nominations will undoubtedly turn into a well-deserved win. However, I believe the Oscars for screenplay and best picture should be given to other films. In contrast to the film's perfect form, the story itself feels like a patchwork of overused and endless themes and tropes that I have grown tired of in recent years. The characters are portrayed through hysterical outbursts, crude language, and repetitive use of explicit words, which I find equally tiresome. To my surprise, the only truly interesting character portrayed by Edward Norton is nearly ignored in the second half of the movie. It's a great shame that Iñárritu didn't take as much care with the content as he did with the form of the movie. If the film had managed to communicate something meaningful to me (even just a little), I would have gladly given it a higher rating without hesitation and with grace. However, as it stands, I can only give it a modest three-star rating.

Oh, if it weren't for that ending... if only the ending had been different, my rating might have been one, maybe even two stars higher. But alas, what can you do? When the creators abruptly conclude a captivating, realistically portrayed, and atmospherically beautiful tale of school bullying, its aftermath, and its resolution with a contrived and overly optimistic ending, it's difficult to overlook. Such an ending causes the main characters to appear foolish, forces emotions onto the audience, and promotes the belief that a collection of tired clichés and a single kiss can miraculously solve all the problems and put an end to bullying. Given these circumstances, it's impossible for me to give it a higher rating. It's truly a shame because, apart from a slightly heavy-handed beginning, the show was quite decent up until that point. The audiovisual experience was well-crafted, enhancing the overall appeal. However, the ending tarnished my overall impression. I can only speculate that the creators encountered a roadblock in the screenplay and simply didn't know how to progress the story. Their solution appeared to be, "Well, we're already over an hour into this, so let's just wrap it up. Let's insert a dramatic scene, pull at the heartstrings, and hope for the best. The audience will forgive us." Unfortunately, it didn't work, and I, for one, cannot forgive them. The inclusion of Ryoko's family background as a backstory felt forced, added more for the sake of it rather than contributing meaningfully to the narrative. The rooftop scene left me incredulous, and the behavior of the class teacher was equally frustrating. The subplot involving the mean-spirited classmates fizzled out without any real resolution, and the overwhelmingly positive ending overshadowed most of the positive aspects I had previously appreciated. It's an immense disappointment, considering the wasted potential of the show. I'll likely lament this for quite some time. Regrettably, I can only give it a strong two-star rating in the end.