A Letter to Momo (2011)

A Letter To Momo is about the title character Momo recovering from her father’s death, and her mother’s decision to move their family from Tokyo to a remote island. That’s about it to be honest. Well, there is also the whole thing revolving around three Yokai/goblins who are tasked to help Momo cope with her lost. If you’re expecting a drama to tackle the themes of lost, and death you’ll be disappointed. It’s leisure pace makes it more of a relaxing slice of a life than a reflection on hard hitting themes. At the cost depth, the movie remains simple with little added to the premise.

Anything supernatural is given the bare minimum development. It’s good enough to make sense within the story, but lacking in the way that it has little importance in the story overall. The three yokai/goblins in the movie primarily joke around causing mischief to Momo dislike. Each of the three yokai/goblins have distinct personalities with an interesting backstory that is touched on. Their responsibilities on the other hand isn’t touched on quite as much. The methods the yokai use to help Momo cope are a mixed in results; one making a point to have fun, and the other mischievous deed feel pointless. There’s also the supporting characters that hardly influence the movie other than Momo having to become brave. Fine for Momo character since she is a properly developed character by the end, but everyone surrounding her feels more like tools in Momo growth.

Yokai with blank stare, he fears nothing.

Being character driven resulted in a story that has the basics down from setting up the conflict, slowly working towards the protagonist improving herself, and eventually overcoming that problem. It’s just the steps of getting from one point to the other feel disconnected. One sequence involves Momo taking two Yokai to look for food resulting in a chase scene of the three running away from wild boars after the Yokai stole their babies. This chase last a long time adding little to the overarching story. Scenes like these are commonplace in A Letter To Momo. While they are amusing they add up to give an overall feeling the film doesn’t much to offer in theme exploration.

The climax is something of a anomaly since the main conflict is Momo having to accept her father death. Everything before it no matter how sloppily done was intended to be part of her growth. An illness pops up irregularly in the movie, and a expectation that Momo will finally be strong enough to move on if someone else important to her dies. That doesn’t happen opting for a happy that kinda makes sense, and on the other hand is confusing. It felt like writer/director Hiroyuki Okiura wanted to be make a light hearted movie while tackling a serious subject matter, but somewhere in the process he lost his clear direction. Hence the fade to black in the climax that comes out of nowhere, and leaves some questions unanswered. That moment best describe the movie in a nutshell; it has an interest in touching on death, and dealing with it, but not directly dancing around the idea occasionally.

The voice acting from both the Japanese, and English dub cast are wonderful. From the two, I would say go with the English subs. I prefer the English voice of Momo played by Amanda Pace perfectly capturing Momo awkwardness, and inner turmoil. However, where the English dub misses where it counts the most are the voices for the three yokais. In the Japanese cast, Cho (yes, that’s his full name), Koichi Yamadera, and Toshiyuki Nishida whom voice the three main yokai enunciate their characters eccentricities. Their performances, much like their characters, feel exaggerated, and out of this world like they should. While in the English dub, the voice actors downplay the yokais in their performance removing their otherworldly personality. Subduing the supernatural beings did the English dub no favors in the long run since what made them stand out from humans was gone.

When not mundane, this movie has some surprisingly good animation

Animated by Production I.G. the animation leans more on the more realistic side. Sparingly using 3D, the cel animation has a nice, clean, smooth movement throughout. The lack of background characters is noticeable whenever Momo walks outside in broad daylight on the island, but other than that the animation has little faults to it. This doesn’t mean it’s a spectacle either since most of the activity in the film are mundane. The few times where the fluid animation gets to shine is either during a chase sequence, or when multiple characters are being hyperactive.

Hiroyuki Okiura shines through more as a director than he does a writer. One instance being his usage of cinematography. There’s a scene early on in the movie perfectly establishing how shy Momo is with her remaining silent for several minutes as family around her joyously talk to each other. Okiura doesn’t draw attentions to his character more subtle traits through dialogue which is appreciated. Characters subtly grow, and change without it being told to you directly. His eye for details creates a realistic backdrop through soft, and dim colors in his environments. Providing lovely scenery shots of the ocean, and the small island town. Also, seeing our characters have a change of clothes throughout the movie, a detail that is ignored by a lot animation, is a nice a touch, even if it’ll go largely unnoticed.

Well this is….strange, and amusing at once.

In terms of animation the standout sequence is easily in the climax with dozen upon dozen of different yokais being animated, meshing together to basically form one giant umbrella, and with multiple moving parts. My description of the sequence can’t do it justice since there’s more to it like the flowing hair in the wind, the raindrops splitting apart when hitting a monster, the different individuals monsters moving around frequently, and other small details that would be difficult to capture through mere text. No other sequence in the entire movie comes close matching this impressive feat of animation. The music is composed by Mina Kubota comprising tracks that are soothing, whimsical, and calm. It’s a nice soundtrack to play with the nice visuals.

If half an hour was cut from A Letter To Momo I would have favored it a bit more. By lingering around too much the intended effect it wanted to have become lost to me. Sure it’s a solid movie with amusing moments, and good character growth, but there’s also not enough meat to the overarching story that made it feel it was worth it’s two hour run time. The final result of the movie isn’t what it could have been. I came out confuse by it execution even though the intent was clear. In the end A Letter To Momo is a solid anime. 

6/10

Cinema-Maniac: The Merciless (2017)

The Merciless tells the crime genre age old tale of young, and spirited undercover cop, in this case being Hyun-soo (Im Siwan) infiltrating a criminal organization to take down Jae-Ho (Sol Kyung-Gu), and his boss empire. It sounds by the number, but when it comes to execution it delivers a pleasant surprise, and only for the first half. I can’t name you another movie in general that opened up with two criminals talking about eating raw fish, and killing people. This unusual opening show traits of the film capabilities to make something fresh out of a generic concept. For half of the movie, it does that perfectly fine. It does the usual plot points of showing the undercover cop infiltrating the prison, the preparation before the operation, and information regarding the criminals the officers are attempting to capture. Moving along in the prison where it also contain scenes you would expect; the undercover cop gaining the powerful criminal trust, rescuing powerful criminal from death, capturing the top criminal attention in a prison brawl, and eventually bonding. Familiarity easily could have been this film biggest enemy, but it turns it around, add its own spin on things, and feels fresh.

For about an hour, it does a superb job sprinkling plot points that could eventually become rewarding the more the film progresses. Showing early on shades of grey on both the officers Hyun-soo works for, and the criminal he’s infiltrating. All the while balancing Hyun-soo ever growing bond with the target, what it does to him mentally, and showing how his loyalty wavered. Another nice approach to the matter is taking a setup that is usually played dead serious, and adding much needed levity to make it stand apart. Giving the prison portion of the movie more charm than one would expect. Providing a host of laughs without tonal whiplash when it goes back to being serious. The fun nature become part of the characters we follow, and makes them likable. While in prison, the story doesn’t forget to thicken the story by providing Jae-Ho his own conflicts. Ensuring even if Hyun-soo isn’t on screen something significant does feel like is happening. It’s unfortunate that once both characters make their eventual exit from prison it’s all a series of bad choices.

Criminals always have to look professional when cracking skulls

A slight twist to liven up a generic set up is the film antagonist knows our protagonist is an undercover cop for half of the movie. This makes the dynamic far more interesting by avoiding the usual pitfall of “the lier reveal” climax movies of this nature tend to heavily rely on. It’s a shame the film decides to do very little with this twist. Hyun-soo plays both sides conflicted about where he belongs, and goes in the direction you expect it too. The police officers begin to doubt his loyalty, and so do some of the criminals. It never becomes a greater of two evil since the decides to remove the shades of grey it set up early on. A singular plot point derails the shades of grey undoing its own fresh take on a generic story.

Another aspect where the film falls apart is the police chief. This character is just here just because the film needs a stubborn chief to keep the undercover cop in check. There’s nothing done with her whereas Jae-Ho is meant to be a surrogate father to our protagonist. With this major flaw it’s impossible for the film to make a good case for why Hyun-soo loyalty should be solely with the law when the film frequently shows Hyun-soo getting berating, and the police chief mistreating him constantly for a job he didn’t want. Jae-Ho on the other hand also suffers from the lone fact him, and Hyun-soo relationship isn’t shown enough on a personal level. When it comes to them doing their criminal deeds there’s no expense of those scenes to find, but showing them interact in non job related activities is virtually absent. Doing a disservice to the viewer for detailing the growth of Hyun-soo, and Jae-Ho relationship.

What The Merciless was trying to go for is also questionable. The first half of the movie attempts to be a crowd pleaser while the second half takes a more arthouse approach both of which aren’t balanced. Instead of weaving a story that handle both style of cinema it went the easy route, and simply separating two vastly different style instead of combining them together. The second half attempts to make the viewer think on the story, and what it’s protagonist has to live with. Problem is, what the viewer is meant to take away from the story largely is unknown. It has a bleak ending, and that doesn’t means much when characters lose their appeal overtime the longer it goes on. Once outside of prison, the movie fails to further develop it leads in engaging ways. Reiterating traits about them already established. If it was trying to be a tragedy than it didn’t provides the characters needed to be worth caring about. Failing as a crowd pleaser since it goes from a fun, and occasionally grim undercover cop movie to a contemplated piece about human nature, and loyalty. It’s a messy movie with clear potential, and it dropped the ball.

Story is a mess, but Sung-hyun Byun eye for visual is perfect

On the acting, and technical side of things it’s well rounded. When it comes to style director Sung-hyun Byun gives the film a sleek, and cinematic look to it. Always finding creative ways to shoot on paper would be mundane scenes. For example, when Sol Kyung-Gu is getting beaten by police officers outside of an office. Byun shows the sequence play out from the inside of the office out the window, and follows it to be more visually interesting. The film biggest set piece in the middle portion of the movie has a huge between two gangs. He doesn’t simply keep the camera in place with a wide view to make everything visible. A few time during this sequence he’ll have a take go on longer than expected to show the chaotic fighting, have the camera follow actor Siwan as he gets tossed across the room, and in a instance he rotates the camera full circle during the brawl. A rotation shot that could been seen as self indulgent, and distracting, but works thanks to his excellent eye for detail.

Im Si-wan falls into the category of what some viewers familiar with Asian movies would call a pretty boy. Typically this is an in-circle phrase for Asian cinema insistence to cast “pretty boys”, typically pop stars, in leading roles they shouldn’t be in from gangsters, to criminals, serial killers, and so forth that would make it difficult to accept them as the character. Asian cinema isn’t the only film industry guilty of this so I typically pay it no attention. Especially here since the physical appearance of Im Si-wan works in his favor. It’s easy to buy from him that he gets drawn to the allure of the criminal world. He plays his role exceptionally well, especially during his dramatic turns as some of his work in this movie. Combining a certain level of vulnerability, or arrogance within his performance.

Another one of Byun creativity behind the camera coming through

Sol Kyung-Gu is another standout. His role is more complicated to decipher. He’s able to demonstrate a more caring side within his portrayal despite him playing a character aiming to be number one through any means. Expressing his character enjoyment in his dangerous business weather it be beating up criminals, or climbing up the ranks. Displaying a ruthless within him, even when coming off as playful. Yet, he never loses his darker side whenever on screen with Im Si-wan. When together, they both bounce of each other naturally. The only other actor with a noteworthy performance is Kim Hee-Won. A more playful performance to counteract Sol Kyung-Gu subtle performance. Kim Hee-Won gets most of the film jokes, and delivers them perfectly thanks to his comedic timing. Despite being the most lighthearted among the cast, he too is able to dramatic pick up the slack when it comes time to it. Other actors do just as well in their more straight laced role. Jeon Hye-Jin who plays the police chief, and Lee Kyoung-Young who plays the criminal boss play them straight. Despite that, both are given enough time to leave an impression.

The Merciless was a tough watch for the sole reason it’s the kind of movie that could have been more, but didn’t know how to. It’s unfortunate because you have half of a good movie, and the other half that derails it with a misguided direction in writing. It wants to be a movie that appeals to the general crowd, and cinephiles alike, but just end disappointing both. Lavish production values, good performances, and very little, but decently action sequences barely helps it raise above the mediocrity of similar movies. However, when the writing unwillingness to commit to taking risks, and gamble big prevented The Merciless from possibly being another classic piece of crime cinema.

Rating: 6/10

Cinema-Maniac: Mission: Impossible (1996)

The Mission: Impossible franchise is among my favorite film series for many reasons; I like the fact every film director tries to bring something new to the table, and put their own spin on the series. Making each film entry feel distinct from one another preventing the series from becoming stale. Another aspect I enjoy about the Mission: Impossible films is seeing the transformation of the Hollywood blockbuster over the years. Being a rare example where going bigger in a series feels organic instead of a necessity. Surprisingly enough, I’ve always consider the first entry in the franchise to be the weakest. A sentiment that is further cemented with the fact future entries would add levity to their storylines, offers up more action spectacles, and slowly strive to improve the team dynamic which was always a small piece instead of its core that Mission: Impossible – Ghost Protocol (2011) made it. In hindsight, Brian De Palma’s starter entry is the most high brow the series ever gotten with its writing, but also provides the least entertainment having trouble being both a cerebral spy thriller, and a blockbuster.

Jean Reno knows he’s going to be underutilized

Mission: Impossible follows Impossible Mission Force American agent Ethan Hunt (Tom Cruise) attempting to clear his name as the prime murder suspect of a disastrous operation that got his whole team killed. This movie tells a simple story, that is easy to follow, but throws in twists, and loops that make an organic story come off as convoluted when it isn’t. An obvious trick that is attempting to hide the thin plot that has little to go on. Offering little to nothing in the way of characterization for Ethan Hunt, and even less in the form of expressing compassion. Ethan Hunt dwells on his fallen comrades for a bit, and than moves on from it. It’s not a movie about characters, nor the strength of their relationship. Skipping the tradition of most first installments in franchises of being an origin story. Opting to put the viewer in the middle of the story instead. Rarely in the film are characters even allowed to have personalities, and the instances they do are sparse. The most engaging it characters become is when they work as a team to accomplish a task. Seeing the team dynamic trying to pull off a difficult job with various setbacks is eventful more so than the people involved in them.

This movie is more about the chase, the mystery, and solving it by any means. You’ll have plenty of scenes of characters talking about the logistics of their plans, the potential double crosses, and the ever increasing murkiness of everyone surrounding Ethan Hunt. The mystery aspect of the film keep things going, and is easily the best part of the film’s writing. Right from the beginning, the film drops plenty of clues for viewers to pick up on, and connect the dots. While the film does dedicate an entire sequence in the climax explaining everything. Before that point it respected the viewer intelligence by not dumbing down any scenes. Dialogue throughout is often used to reveal snippets of characters over showing it. In most films this would be a negative, but works excellently here in its attempt to make proceeding events murky in their true nature. Always ensuring you can’t entirely trust anyone on screen, even those on Ethan Hunt side, or the intent of the situation.

Now the worst part of the movie is the climax. Beforehand the film did a fine job keeping everything grounded with a few silly things relegated to small stuff like exploding bubblegum, and self detonating cassette tapes. It’s here where the serious tone becomes its own undoing creating a joke of a climax that belongs in a different movie. Seeing the sight of a Helicopter in a tunnel trying not to crash as our main character is attempting to prevent the villains escape doesn’t belong in a cerebral thriller. It’s too simplistic in the way the climax plays out compare to the rest of the movie where Ethan Hunt had to play mind games against two opponents, and his own teammates who he is uncertain he could trust. It’s just a messy climax that simply feels like it is there just to check of the big climax checklist out of a blockbuster. Another problem is Ethan Hunt getting out of some difficult situation through convoluted means. For example, the first time Ethan Hunt uses exploding bubble gum it makes sense since it was set up before he used it, but the second time Hunt uses it there’s setup to it, and comes out of nowhere to resolve the issue of a writer who wrote himself into a corner.

Physics be damned!

Tom Cruise takes the lead, and does a decent job committing to the role that limits him. While the film itself is unable to create paranoia, Tom Cruise actually believes it himself helping to sell the story even more. Believing in his characters, and the story he’s convincing in a serious role. Switching between the sly, and paranoid side with ease. There’s a few sequences where Cruise is allowed to display more of his charisma, but the material doesn’t allow him much opportunity for that. Not allowing Cruise to show off what he’s fully capable off. Despite this restriction, Cruise is able to make you invested in a character that has little going for him simply because he’s that good of an actor. The only other actor who presence is enjoyable is Ving Rhames. Surprisingly playing the most balanced character. He isn’t too serious, but he isn’t just here to purely add levity to the movie. He’s able to be both fun, and be engaging despite only appearing in the second of the movie. In the few scenes he shares with Cruise are easily the best moments since they are the only moment the film nails a balance between high brow spy thriller, and Hollywood blockbuster.

Other cast members don’t come of as good because of the writing. Jon Voight enjoys himself, although he doesn’t do much besides sneer, and smile. Removing a bit of his mystic, and making a plot twist revolving around his character not come off as shocking as it should. Jean Reno is a good choice in as a potential double crosser. However, he only appears second half of the movie, and isn’t given much to do. He’s just here to look the part, and nothing more. Then there’s Emmanuelle Beart who is in a thankless role. What she’s meant to do is uncertain since she hardly appears. When she is in the movie it’s to be mopey, or supporting of Cruise. It’s okay, but not much for her to do. Henry Czerny is the most fortunate who at least is noteworthy as a enjoyable foil in his serious demeanor. As for the rest of the cast they also go forth a similar fate; good choices for the role, but not enough screen time to do anything to liven the material.

Ethan Hunt taking the break up pretty badly

Brian De Palma direction is most unsure about what to be. On one hand he wants create tension, and paranoia with his many dutch angles close up. It has the opposite effect looking awkward instead of uneasy. Resulting in scenes that visually work fine to just being miscalculated. Where Brian De Palma shines  is the film singular best set piece. It’s a sequence involving Cruise attempting to retrieve information from a computer in a room littered with sensing equipment, including pressure sensitive floors, temperature controls and audio sensors. This sequence, played largely without dialogue, and no music. Excellently captures thrills in a single sequence having the viewer wonder if anything will go array. Masterfully directed, edited, and perform this is Brian De Palma best showcase of being master of the camera. It’s not a nail biting sequence, but it is thrilling nonetheless.

When it comes to action sequences there is none. There’s no car chases, gunfights, or fisticuffs one would expect from an action film. It’s not the fault of this movie future installments would fall more in line with what a action movie traditionally is. This entry does offer one action sequence; the climax of the movie which is easily the worst part of the movie. On paper, it’s a cool idea having a helicopter in a subway tunnel, but the terrible mixture of outdated CGI, and blue & green screen effects make the whole thing look like a cartoon. Visually being out of place with everything else that was done through practical means. It’s also boring since not much happens on top of the subway, even in the tunnel it’s just Tom Cruise attempting to prevent someone escaping. Cruise, and antagonist just try to hang on on the subway, and that’s about it. This climax aged horribly, especially the special effects when the Helicopter blows up. Another thing that aged is some of technology used. Instead of coming of as high tech some of it technology, like cellphones with big antennas, are relics of the past. However, the music is quite stellar, and moody. Doing a much better to get across the appropriate mood than the visuals themselves.

Mission: Impossible is a solid piece of spy thriller entertainment, but mixed results in everything it does. The story itself is intriguing to witness thanks to a good mystery, but without characters to get invested it prevents the movie from being engaging. Brian De Palma doesn’t know if he wants a cold, cerebral spy thriller, or a blockbuster opting for a middle ground that often juxtapose each other in bad ways. There’s hardly any action, and levity to satisfy the blockbuster crowd, and too many plot conveniences solution in difficult situations, and silly climax to fully satisfy the cerebral crowd. What comes out unscathed is the casting being decent if nothing else, and a killer theme song that is likely to get stuck in your head. It’s a odd film to see since it kickstarted would become an action franchise juggernaut from such an uneven first film.

Rating: 6/10

Anime-Breakdown: Blue Sonnet (1989) OVA

The first thing I think about when the word shojo comes up in the description of anything is Cardcaptor Sakura. It’s one of my favorite anime so the association is natural. To be more specific, I usually associate a shojo for stories that place more emphasis on romance than a shonen, or seinen manga from what little shojo manga I’ve read. The vague definition of what is considered shojo versus its origin can muddles what is properly label a shojo, and what is mislabeled that. Although, I ain’t here to discuss that, but I am here to write about a shojo anime OVA from the late 80s that contains heads exploding, spider robots, huge amount of gushing blood, and eventually disposal unit filled with dead fetuses. Yep, these things that can be found in violent shlock can be found in the five episode OVA Blue Sonnet.

What exactly is Hot Dog Express about? I’m curious.

Storytelling in Blue Sonnet is as straightforwards as they come; good guys live ordinary lives, supernatural intervention occurs on heroes average life, and bad guys attempting to capture heroes. On one corner you have Lan Komatsuzaki, a quiet teenage girl who is thought to be controlled by the rage of the esper Akai Kiba (Crimson Fang), and the cyborg/esper Sonnet tasked to capture her. Both of these leading characters are decently developed in the five episode OVA. Sonnet character arc is the standard human recently turned cyborg rediscovery her humanity. There’s nothing here to spice things up besides the fact that Sonnet is also an esper. I might be someone who constantly harp on a story’s writing on a number of things, but I personally feel execution is more important than the ideas themselves. In Blue Sonnet, the character of Sonnet is handle well having each episode slowly questioning what she’s doing. Her rare interaction with other people also help in getting across these plot points.

Lan Komatsuzaki, as the OVA puts it, is just recently becoming a woman. The OVA partially tackle the matter of Lan growing up, but is mostly focus on her trying to control her powers, and learning about herself. She isn’t as developed as Sonnet since it feels like part of her character arc is incomplete. Only getting some answers to her mysterious background. Other characters in the series get minor development making events in the story slightly more engaging as two dimensional characters. Making the odd sight of seeing a human size cyborg battling spider robots, or a seeing a little kid holding a room filled with adults at gunpoint feel a bit more eventful.

It might be a shojo, but it also offers blood, and gore which it saves up for the final two episodes. Using it’s first three to develop the cast of characters to the best of it ability. Working for the most part to give out details on it cast, including some minor characters who don’t influence the story much. These three episodes also prepare the viewer for the insanity that occurs in the final two episodes which is basically a long rescue mission. These last two episodes is where it combines schlocky entertainment, and shojo convention in a surprisingly good mix. Taking a dark turn in what the villains intend to do with Lan, and eventually getting to a point where she ends up in a disposal unit filled with dead fetuses. It isn’t afraid to contrast the more realistic interaction in earlier episodes with dark moments like these. While nothing else is able to top the dead fetuses bit of grisly writing. What does it a good job at is structuring a buildup in first developing characters in the story earning it’s violent turned in the last two episodes.

Hm, can’t say I disagree young lady.

Now the negatives of Blue Sonnet writing are easy to recognize. Suffering from talking a lot, and saying very little at the same time. Despite it having good pacing it feels like the writing linger on scenes longer than it should. Taking several minutes to establish information the viewer could easily pick up on. There’s also the character of Bird having a unearned importance in the story. Granted, Lan, and Sonnet developing convoluted romantic feelings for Bird is part of its Shojo DNA it in no way comes up naturally. It just appears, and you’re just meant to accept. Unlike the violent turn it takes, the romance aspect isn’t hinted at, or buildup too. There’s also the out of nowhere inclusion of humor after long stretches of being serious. Then there’s Dr. Merikus who is the villain, and the worst written character in the OVA. His motivation to capture Lan is poorly define resulting in him simply doing evil things for world domination. There’s hints in his dialogue he has a greater desire than simply capturing Lan, but that part of the story is poorly gotten across to the viewer.

The biggest downfall of the OVA is the incomplete state it feel it ends on. Being based on a manga that’s 19 volumes long ending it run in 1987. It’s unlikely that the five episode OVA which was released between 1989, and 1990 covered everything from its source material. This is strongly evident in the ending implying there’s between Bird, and Sonnet bond that was meant to build upon, and never did. Another instance of this is Lan herself suddenly being fond of Bird despite them hardly sharing any scenes together. Only in one episode do they share a scene together which is not romantic in the least. While the OVA is structure well it doesn’t use up all of its screen time wisely resulting in something that could have been than it ended up from a story perspective.

When it comes to the voice acting it was simply adequate. Only Hiromi Tsuru who voices Sonnet got a chance to stand out in her performance. The rest of the cast do fine, but only Hiromi stands out because she’s able to hit her dramatic parts successfully. Everyone else don’t add much to their characters in their performances. Also, it has some wonderful Engrish in the first episode which last briefly. The OVA is director by Takeyuki Kanda (director of the first six episodes of Mobile Suit Gundam: The 08Th MS Team) doesn’t impress in handling of the material. For the most part, the story plays out fine, but his inability to transition between tone is awkward. It explains the lack of balance in humor which is why Kanda hardly uses it because when he does it sticks out against the mostly serious tone.

Character designs look something from the early 80s, in particular Sonnet skin tight suit, and grasshopper inspired helmet is very cheesy looking in practice. The animation is done by Tatsunoko Production, and it’s dated. When moving, the animation lacks detail in the background art, and character movements are limited to being blocky. Visually resulting in a boring looking anime half the time. Only time the animation picks up are during the sequences, and the last two episodes where everything results in bloodshed. The same with the music being okay. No tracks stand out besides the opening song “What Is Love” by the band GO!. The music is easily the most forgettable part of the OVA.

Blue Sonnet is enjoyably schlocky entertainment. It might carry the label of shojo, but offers decently developed characters, a well structure story, and a little bit of blood & gore to satisfy an average viewer looking for something outside of what they expect from a shojo. The sums of it parts is better than the bigger picture itself, although it’s those parts that makes it stand out against shojo.

Rating: 6/10

Cinema-Maniac: Massacre Gun (1967)

Massacre Gun follows Kuroda (Jô Shishido) a mob hitman who turns on his employers after being forced to execute his lover. Telling a lightweight story with little to grasp onto. This film is barebones in covering the essentials for competent storytelling; partial characterization, half baked exploration into the themes of brotherhood & the Yakuza code of honor, and proper escalation of story events. At it core it should be a crime thriller, but moves at a leisurely pace it becomes soothing to watch. Unfortunately, it is also attempting to tell a story about Kuroda friendship falling apart because of the ways of the Yakuza. Kuroda, and his best friend both being bound to violently resolve their war through their violent encounters, even if it against their personal intentions. This lays the groundwork for possible in depth characters who remain about the same when they are introduced sadly. Resulting in a storyline that should carry weight to it, but does not due to how little it does to create sympathy for anyone involve. A shame too since the film provide plentiful instances where expansion on character are hinted at. They are simple characters, and remain that way just like the film’s story.

Getting cool shots even if in context it doesn’t make sense.

Familiarity is also an issue with the film, but only if you’re familiar with Yakuza movies. If you’re not, than the film is a good introduction into Nikkatsu’s Yakuza films. Covering the familiar of loyalty, blood brotherhood, unrequited love, not following the same wrong path, loosing oneself, and yep that’s about it. Character archetypes are here make the cast of characters; from the age old veteran wanting who is bound to his boss, the best friend in a rival gang beholden to loyalty over friendship, the partner thinking of calling it quits, and the upcoming youngest member desiring his chance to join the Yakuza. Those familiar with Nikkatsu’s Yakuza films will know what to expect, and Massacre Gun is more than comfortable with itself on that front. For newcomers into this kind of films it’ll serve a good introduction to get familiarize with the basics of Yakuza films in a more grounded state.

The only aspect of the writing that shines is the character of Saburo (Jiro Okazaki). He’s given a history, a dream, and conflict that gets expanded on as the film progresses. It initially starts a story about him being unable to become a boxer, and grows into Saburo finding himself again in life. Unlike the main storyline, Saburo has more to him that the film is more than happy to flesh out leading to him being the most engaging part of the movie. Unfortunately, his part is superfluous in the overarching narrative with his biggest contribution in the movie is having to be rescued twice in order to escalate events. Being a missed opportunity to add something more to the simplistic, and lightweight film.

Another cool shot, but why the burning ships in the background I got no clue.

One aspect that is unquestionable about the film is that it has class to it. Without question, this has to be the classiest presented Yakuza movie I’ve seen unrivaled by any other. Helmed by director Yasuharu Hasebe he surprisingly shows no sign of inexperience despite it being his second directorial effort in his career. Giving the film the qualities of a cinematic experience that enhances what could have a basic film. Through his eye for visuals he is able to create a beautiful looking movie from the first frame. Do except the questionable visuals choices at times; like one where there are burning ships in the background for no reason, but thankfully odd visuals touches like that are sparse in the film.

What isn’t sparse is his careful attention to framing. Several sequences in the movie he’s able to perfectly show turmoil without dialogue. An example of this is during a wide shot scene when Jiro Okazaki is depressed, sitting down at a bar looking down at his bandage hand, and hearing jazz music being played. The elegant usage of lighting in crisp black and white, and atmosphere further empathizes the mood meant to be convey in this scene. Subtle touches like these to convey characters make the sillier moments, like a bomb being strapped to a dead body, be easily overlooked. Another highlight of the film is a sequence where a major character seemingly escapes a hit, and tricking the viewer that he has made a getaway only to realize that he’s trapped up against a wall surrounded by men with gun. Yes, it takes an absurd amounts of bullets before the man is down, but it’s a great sequence that gives cinematic quality to simplistic writing.

When the film numerous actors aren’t wearing suits to class things up the soundtrack composed of Jazz keep things classy. With numerous musical interludes, and (somewhat) erotic dancing splice during the movie makes it come across as elegant. From a technical standpoint, the music used shouldn’t work, but it does. On the violence side there’s not much of it. Same with the body count not being close what a person would consider a massacre, but the action sequences are fine being carried by smart direction. Except for one that takes place on a ship; the sequence is finely crafted, and confined until the two major characters escape from a trap. The characters are corner on all direction, and there seems no way out. This action sequence ends when one of the two major characters shoots the light, and then cuts to the two running out of the ship. Due to how it was framed it’s impossible to tell how exactly they escape a constant barrage of gunfire when surrounded. Aside from this slip up, the old fashion action sequences are pretty well done.

No one here likes the what the future holds for Nikkatsu studio

The only actor in the film who I felt shine was Jiro Okazaki. It helps that he has the most fleshed out characters, but even without that his screen presence is simply attention grabbing without being commanding. He has all the charm to pull off his character with ease, and the dramatic chops to subtly act out the inner separation of his character. He’s a delight to see on screen, even if his supporting role ensures he’s not given the center attention.

Jo Shishido stars in the film, and delivers a solid performance. His botox cheeks gives him a recognizable look, but in terms of acting here he isn’t allowed much range. Always being bound to restraint any emotion to just being collected. Tatsuya Fiji is a bit more loosed, but has the same problem with the material being too limited. Also, a moment in the film has him slapping a woman several, and having sex with her which the woman complies with. It was a different era, but luckily the direction prevents that moment from being worse than it could have been.

Got to say it again, film is beautifully shot

Hideaki Nitani is the second standout in the film playing Jo Shishido friend in a rival gang. Emoting his characters complex emotions with ease. Takashi Kanda portrayal as a Yakuza boss is simple; just come off as evil, and over controlling which he does. Aside from that, the other remaining in the cast from Yoko Yamamoto, Tamaki Sawa, and the rest of the actress simply act concerned over their men. They don’t get much to do either, much like Ken Sanders who plays the jazz player Chico, but make the most with what they can.

Massacre Gun is an above average movie whose only stand out is Jiro Okazaki performance, and its classy direction from Yasuharu Hasebe elevating what could have been a mediocre Yakuza movie. It’s a evident case of style over substance that for those familiar with Yakuza movies make it worth looking into a little. While for newcomers it serves as a good introduction into Yakuza films having all the traits other Yakuza movie past, and future would retain. It might not offer anything unique besides it’s style, but it still makes for a solid viewing experience.

Rating: 6/10

Cinema-Manic: Savage Dog (2017) Review

There was a time where straight to home video action films were the absolute worst the action genre could provide. Nowadays the notion hasn’t changed, but there’s been a steady rise in quality thanks to talented filmmakers knowing what to provide to its audience, and without it feeling like a cheap cash grab. One actor in the forefront in these straight to home video action movies is Scott Adkins. An actor who appears in some big budget movies in bit roles like Doctor Strange (2016), and The Expendable 2 (2012), but is mostly stuck in lower budget efforts. The trait most of these lower budget efforts share is Scott Adkins always work with competent directors whom also share his desire to make the best possible film despite their limitations. Sometime they work as mindless entertainment like with Ninja 2: Shadow of A Tear (2013), and Close Range (2015), while duds like El Gringo (2012), and Eliminators (2016) being just as common in his filmography. One thing his film can be counted on for is supplying good action sequences, and thankfully Savage Dogs falls into the category of Adkins better films.

Adkins: “They won’t release me until I improve my acting.”

Savage Dog is set in 1959 Indochina, following Martin Tilman (Scott Adkins), who is due for release from Den-Dhin-Chan labor camp run by Vietnamese warlords and European war criminals, but the corrupt forces running the jail will do everything in their power to keep him locked down. Telling a simplistic story in its heart, but aiming higher than it could achieve. The first half of the film focuses more on developing characters, and trying to tell a story about finding a purpose. Using the first half purely as buildup to eventually rein in the carnage the second half of the movie will be dedicated too. While the sentiment is admirable, the execution is simplistic on all front. Characters are typically shady, and money hungry all in the effort to evade consequences for betraying their country. It sounds like these characters have depth to them. In actuality, that’s about as far is it goes for developing most of it characters whom just meant to add to Tilman body count. It easier to root for our ex-British officer whom is hunted down by his own country when one of your villains is a ex-Nazi. Also, characters reiterating multiple time their all ex whatever of a certain country helps too.

In spite of a runtime of 94 minutes, the pacing is generally slow, but works in service of the movie. This does negatively affect some aspect of the story, like Martin Tilman romantic relationship that is meant to be the dramatic core of the film doesn’t work. Most of the bonding between Tilman, and his lover is glossed over. The other aspect of Martin Tilman that is tackle somewhat well is Tilman looking for purpose in his life. Evolving from his introduction into a satisfactory character arc. Aspects of Tilman past are kept limited, and to the point. Supporting characters are fine. Isabelle (Juju Chan) arc revolves around her believing in the good of people, and keeping that belief. She doesn’t grow beyond her introduction, and mostly serves the role of just being the love interest. One other positive could be Isabelle doesn’t become a damsel in distress, but at the same time it means she becomes useless to the story after the first half of the movie is done.

The only other character left to mention is Valentine (Keith David) whom also serves the film narrator whenever needed. Out of everything in the writing, Valentine narration is easily its biggest fault. Whereas the previous faults mention contributed somewhat positively to the bigger picture, Valentine’s narration could have been entirely removed. Sometimes stating the obvious, and sometime summarizing the purpose of a scene in a couple of sentences. For example, when there’s a scene of Isabelle, and Tilman relationship becoming more romantic, Valentine tells the audience exactly what they’re seeing. Same with when Tilman is brutally fighting as a bouncer against some unwelcome guest, and Valentine’s states (paraphrasing) that something savage has awaken within Tilman. Quite insightful in stating the obvious. Most silly of all, is given the fate of Valentine’s character he’s basically narrating from beyond the grave leading to some confusion. Sure, revealing the death of Valentine’s character could be considered a spoiler, but given his only purpose is get to killed, and provide pointless narration it’s better to have you prepare beforehand about that odd narrative choice.

So, this is Colonel Sanders with a clean shave.

Lastly, the second half of the film is where it finally picks up. Seeing Tilman embraces his anger, and seeing him kill a dozen, or so people like a one man army is it biggest strength. Narratively, the first half did a competently enough job to make this action onslaught satisfying. The hero is easy to root for, and the villains are easily detestable. Unfortunately, the first half is a hindrance with very little interesting things happening. Since the material never raises to the level it wants, die hard fans of Scott Adkins movies, or action junkies can endure the rough first half, but the average viewer isn’t as likely to stick around. For those who stick around will receive everything they could want from a lower budget action film starring Scott Adkins, even if it takes a while to get there.

Scott Adkins takes the lead as Martin Tilman. In terms of acting, Adkins takes a wholly serious role. Unlike his usual film, his cockiness that he portrays in some of his roles is absent here. Removing part of his charm that can be found in El Gringo (2012), and Accident Man (2018). When wholly serious, Adkins limited range of acting shows a lot, especially in the first half. Struggling to displays the years of violence, and yearning for a purpose Tilman is meant to have. Some of Adkins weak acting is hidden by having him participate in some fight sequences in the first half where believing Adkins is a expert fighter is easy to accept. Believing Adkins is a lost soul of sort is a pill not as easy to swallow. However, in the second half of the film, Adkins improves as the stunt work, and action sequences he’s good as performing become more prevalent than his dramatic chops. Adkins lack of strong acting chops is forgivable since the second half highlights his strength better.

Supporting cast on the other hand come off as decent. For instant, Juju Chan whom plays Isabelle does good all her dramatic scenes. It’s night, and day how easily Juju Chan can emote in her delivery compare to Adkins. However, she’s also quite a capable actress able to work within Adkin limited dramatic chops to make a scene work better than it should. Just like the rest of the cast, the only issue I have with her acting is it’s mostly one note. Keith David whom plays Valentine delivers a good performance. He’s able to be more loose since his character isn’t as serious compare to everyone else. However, his best part of acting is when he’s narrating, giving some power to his narration, even if it’s ultimately pointless.

Finally, the cast of evildoers themselves. Vladimir Kulich is easily the best actor among them, though because of bad writing he reiterates the same dialogue multiple times throughout the film. He performs the role of a ex-Nazi without hamming it up, or being cartoonish. Marko Zaror plays another one of the baddie, as well as being the only other person, besides Cung Le, who can stand evenly with Adkins. Performance wise, both Zaror, and Cung Le are mostly one note. Cung Le has to come across as intimidating while Zaror somewhat has to give off a similar vibe. They do decently since they aren’t required to express much in their characters like Scott Adkins.

Explosions make Adkins sleepy.

When it comes to action, Savage Dog tries to be more realistic than Adkins usual film. Just a bit so the usual high kicks, and more elaborate martial art fight sequences Adkins is known for are tone down. Yet, don’t become a detriment to the action sequences. What partially makes up for this is sometime seeing gore within the action sequences. There’s isn’t a lot of gore, but when seeing the sight of a man face getting blown off by a shotgun at point blank range in a close up shot, or seeing Adkins decapitate someone’s head what gore it has truly satisfies. Not to forget some of the gore special effects are surprisingly good despite the film obvious, limited resources.

The fight sequences in the film are easily the standout of the film. They make up a majority of the action bits. Fight sequences in the first half are entirely one sided having Adkins easily beat whoever he’s fighting. Adkins fight are more of a bare-knuckle variety mostly punching his opponent with maybe the occasional kick. Just when you think you’re tire of seeing similar looking fight scenes. The second half allows Adkins to fight tougher opponent on two occasion. One of them is against Cung Le who gives Adkins a good beating. Unfortunately, the fight between Cung Le, and Adkins ends anticlimactically. Granted, the way it ends makes sense in context, but it just strange it chooses this moment to go against action movies norms.

The final confrontation between Adkins, and Marko Zaror is also a good one. It’s the only time in the film where Adkins has to overcome a foe whom has the upperhand in a fight. Unlike previous fights, the “realism” is slightly more removed here whenever both Adkins, and Zaror trade blows with knives. It doesn’t end the film on a bang since nothing elaborate is done in the film, but it does provide the film final moment of gore before ending which is probably one of the best moments in Scott Adkins career.

How much get can I get for this head?

The other action set pieces typically have Adkins blowing holes into peoples with guns, and barely getting hit with bullets non-stop. Gunplay is more interesting than your average action movie with Adkin seemingly being quick enough to dodge gunfire regardless of what gun is being used against him. Seeing someone get shot is made satisfying when seeing blood squib explode in small amount. Only negative to the action sequence requiring Adkins basically taking out an entire army at their base is the low budget here becomes the most apparent. Throughout the movie, the small budget is concealed well enough, but this particular set piece instead of seeing dozen of men go after Adkins at once you likely see at most 3, or 4 go after Adkins. It doesn’t feel like Adkins took out an entire army. However, that’s a small complaint against it. Jesse V. Johnson knows how to crafts, and capture action satisfactory.

Savage Dog ambition is never met, but is far better than your average straight to home video action film. Offering a refreshing setting, solid acting among the cast, and some good action sequences with the rare moments of gore to enjoy once the carnage kicks in. It’s a not a film I would give a general recommendation since it’s faults easily can ruin the experience for an average viewer. At 94 minutes, for fans of action cinema craving for another solid flick, or fans of Scott Adkins this is recommended to check out.

6/10

Cinema-Maniac: The Admiral: Roaring Currents (2014) Review

The Admiral: Roaring Currents was a film that I never heard off, until I did research, and discovered it’s the highest grossing film in South Korea (as of now), and it the first South Korean film to make over 100 US million dollars internationally. Financially successful The Admiral: Roaring Currents is impressive on a business standpoint. From an artistic standpoint it also caught my attention. Since I live in the US, it’s weird learning that a country highest grossing film is not based on an established property, or an entry in a franchise. After learning this I looked up a trailer, and once again traits of a significant movie showed. It’s international appeal was evidence borrowing traits of a Hollywood blockbuster presenting the idea that this film is epic in emotions, epic in battles, and just historical epic filmmaking. So with my exposure to the film I decided to check it out since everything seemed in its favor. That is until the film start, and you realize beside being a expensive cinematic piece of Korean patriotism. It’s also a film that lacking in evoking epic emotions like what seen on screen.

Stare men! Stare into the readers souls!

The first hour of the film is meant to set up the characters, stakes, and provide context for the massive naval battle that will occupied the second half of the film. Unfortunately, instead of being the grand, historical epic film it desperately wants to be it comes across as a hollow blockbuster with a historical backdrop. One thing that is made immediately clear within the film is that it paints complex political issues into a simple battle of black, and white. Showering itself in national pride proudly portraying Koreans as the good guys, and showing the Japanese they fight as the villains. Given the premise down to the bare minimum is 12 Koreans ship battling 330 Japanese ships which is best comparable to the story of David, and Goliath. It’s quite the underdog setup that if it was presented morally grey could have resonated with any audience regardless of nationality.

In the film, it makes a clear case the Japanese are evil. A Korean character says in the film their enemy (the Japanese) steal their provisions from civilians, and use children for target practice. With this single scene the film throws away any intention of representing both side equally. It would be acceptable if it ended simply by showing Japanese killing children, but the film continues showing Japanese in a negative light. Characters aren’t better off either. You could deduce whatever Japanese character is in the film is going to be presented as evil. However, the Korean characters aren’t compelling either. The film the person is centered on, Admiral Yi Sun-sin (Choi Min-Sik), receives most of his characterization through text in the first two minutes of the film. Yi Sun-sin is touted as a double agent, is tortured, and remove from his position. Afterwards, he gets reinstated because the nation of Korea needs him if they want to lose to the Japanese. With this information being the first thing you learn about Yi Sun-sin where his character could have gone is intriguing alone. As you probably come to expect from me reviewing films of this quality it’s usually not the case. Sun-sin character receives traits like contemplation of his life, national pride, and to engage in the massive battle. These contemplative thoughts aren’t explored to any great depth. They get a mentioned in one scene, and then done.

Remember the Battle of Thermopylae men? Well, they are all cowards compare to me. 

Another character that ends up uneven is Lee Whe (Kwon Yool) who ends being the audience gateway to learn more about his father Yi Sun-sin. The conversations between these two character are the closest the film goes into character exploration. It’s easy characterization painting a clear picture of differing positions between the two. Seeing them interact with each other is interesting due to conflicting feelings on what should be done in the battle. Lee Whe understands his father, but doesn’t see the scenario in the same light he does. Leading to moments where Yi Sun-sin explains his reasoning to put his worries at ease. It display the strong bond between the two character to be able get along no the difference in thoughts in a dire situation. This relationship between father, and son never grows into anything emotionally gripping, nor tell the audience anything about Lee Whe as an individual. All of Lee Whe character is tied to what his father does in this current moment of his life so history between them not in this specific event, and time is not explored.

Finally, the last character worth mentioning is Im Joon-Young who is a spy for Yi Sun-sin (Jin Goon) who sole purpose is to gather intel on the enemy. Aside from showing a small glimpse of the Japanese oppressing the civilians of the land they conquered this is about as far as this character is taken. There’s a subplot of his possible deaf lover which would be something compelling to see, but the first time she appears on screen is to tell her man goodbye. There’s no flashbacks, or a scene where the two interact as a regular couple so it ends up being meaningless in the film narrative.

A major writing issue with the film is the Turtle Ship itself. In the film, it’s established that this ship is essential in Admiral Yi Sun-Shin strategy in fighting against a large vessel of 330 ships with his mere forces of 12 warships. What advantage, and capabilities the Turtle Ship has over a regular warship is never explained. One would think a crucial detail like that would at some point be discuss in the film. It would have been fine if the film mentioned if it had stronger armor, better canons, or anything that explains what it’s better than an average warship. It would have better correlated why Yi Sun-Shin is intent on battling with it, and so crucial in his plan.

During production, the cast, and crew celebrated Burning Men by burning the sets.

The second half of the film consist of a massive naval battle, and yes it is awesome. It’s during this naval battle where the scale, the bombastic soundtrack, and overblown exaggerated drama create the film most engaging material. Becoming easy to lose yourself with the events of the film. Aspects of the naval battle itself are not without criticism. Like mentioned, the overblown drama during the battle is extraordinary. In the film, there’s a romance subplot that doesn’t get much attention so when that subplot conclusion comes narratively it is hollow in feelings. It also breaks character consistency since in one scene this character is shown doing sign language to talk to her lover, but during the naval battle knows what her lover is saying even he’s too far away from land to read his lips, and was presumed to be deaf. Another aspect of the battle is it will test your suspension of disbelief. Admiral Yi Sun-Shin virtually beats more ships then he likely would have as his ship survives one unlikely scenario after another. The most over the top example comes when Admiral Yi Sun-Shin ship is corner from three sides, and Sun-Shin has the idea to use canon fire to propel his ship away from being cornered. Describing this moment is far different from actually seeing it for yourself. Whether or not it’s possible for such a thing to happen I can’t comment on since I’m no physicist.

Despite the numerous issues with the extensive naval battle itself I would still defend it for being the best part of the film. Unlike the previous hour, this naval battle is focus, and gets everything right in creating a thrilling atmosphere. There’s no talk of politics. Just a epic battle that engulfs itself with extreme emotions, and patriotism. It also uses simple moments like citizens witnessing the battle itself, and reacting to it to further get lost in the moments of battle. These moments eventually correlate into an morally uplifting scene for the Koreans, and a boosting excitement for non-Korean viewers. The very lengthy naval battle in this film will go down in film history as one of the best ever filmed. Now I might as well talked what happens after the naval battle since I more or less cover the entire movie story. If it ended with the moment between father, and son, the film rating wouldn’t have changed, but the actual ending will leave some scratching their head as to why that was the closing moment the film ended on. Since nothing was established about the Turtle Ship seeing one in action doesn’t scream excitement unless you know about the Turtle Ship.

I lost count at 54 men killed.

The film stars Choi Min-sik as Admiral Yi Sun-sin who is a terrific actor in general. In this film he puts another top notch performance. He gives his character more complexity than the actual writing itself. A simple gesture of Min-sik delaying an immediate response tells the audience there’s a lot on this person’s mind. Min-sik plays the role seriously embodying his character perfectly inspiring his men with his words to keep fighting, bold in displaying a man hardened by war, and portraying a person who reputation doesn’t make him a larger than life figure. While the film is an extraordinary underdog story Choi Min-sik portrayal of Admiral Yi Sun-sin keeps him as human as possible. So no matter what extreme scenario the character survives Choi Min-sik performance makes it easy to accept. Also, he’s Choi Min-sik, if any Korean actor deserves one film that tells everyone “I’m awesome” it’s him.

Known Yool is decent in the role of Lee Whe. His chemistry with Choi Min-sik is excellent with both actors working great of each other. Known Yool is more varied in his expressions compare to Choi Min-sik because of the material he’s given. While good, Yool doesn’t embodied his character the same way Choi Min-sik does whom he shares many scenes with. Jin Goon is okay in his role as Im Joon-Young. He doesn’t leave much of an impression because of screen time, though his shining moment is during the naval battle. Now I do like to spend time talking about as many actors as possible so they too can get credit even if the contribution is small, though this film does me no favor. Cho Jin-Woong, Ryoo Seung-Ryong, and Kim Myung-Gon are all Korean actors playing Japanese characters speaking in the Japanese language incorrectly. The Korean actors don’t make the proper pronunciation of Japanese words when speaking as sometime within the same pronounce the same words differently. It’s quite jarring, though largely will go unnoticed for those who don’t watch many films from Asia. The remaining important actors includes the likes of Kim Tae-Hoon, No Min-Woo, Ryohei Otani, Park Bo-Gum, and Lee Jung-Hyun whom all give one note performances. One has to be silent, another has to be the concern lover, and another has to be angry. With their simple portrayals they won’t live much of an impression.

The film’s director, Kim Han-Min, did an excellent job overall. His only major criticism in his direction is misusing composer Tae-Seong Kim bombastic soundtrack in the whole film. When nothing narratively, or visually impactful is happening Kim Han-Min will have Tae-Seong music playing in it. Moments that could have been effective without music lose their impact. However, in the second half the usage of music is spot on. Another aspect of Kim Han-Min direction is spot is the naval battle itself. CG is noticeable, but for the most part keeps the action up close. Despite the large scale of the battle never once does Han-Min makes the audience become confused in what’s going on. He always creative in bringing in new ideas into the naval battle making sure it never becomes boring. This naval battle is probably going to be the technical achievement of his career. Another aspect worth praising is the film stellar cinematography bringing to life some memorable images, and the sets, and costume designs are good as well.

The Admiral: Roaring Currents is an epic film without equally sweeping engagement. As an historical film it simplifies the actual events into good vs evil. There’s no shame in the film hiding patriotism, nor the unequal portrayal of the enemies. Along with with story pieces, and character that don’t have much to them to captivate the viewers before the massive naval battle ensues. These aspects of the film will test audiences forgiveness for its writing shortcomings. If you take it as a piece of entertainment you might find it a decent diversion with the naval battle being the clear highlight of the film. No matter what way you might decide to view the film from there’s no escaping it could have ended up better, though maybe years from now a filmmaker will use this film as a template to make the masterpiece it couldn’t become.

6/10

Cinema-Maniac: Close Range (2015) Movie Review

Straight to video films generally lack in quality so imagining an ocean of action films that are possibly worse than the higher budgeted action films is not far fetched. Action films in general offer a wide range of approach in execution, but unfortunately they also have negative stigmas to overcome. In particular to the ever famous claim that no one watches action movies for the stories which is far from the truth. A great story can make an action movie unforgettable which is proven with Indiana Jones: Raiders of the Lost Ark. However, plotless, and brainless action movies aren’t off the table for enjoyment either as Mad Max: Fury Road is currently the most critically acclaimed of these plotless action films. Sure it has a story, but the spoonfed dialogue, loosely written story, and simple characters results in underwhelming writing. Close Range offers pretty much the same thing; simple characters, a loosely written story, but loads of good action scenes for your entertainment in 81 minutes.

Close Range is about a rogue soldier turned outlaw who is thrust into a fight with a corrupt sheriff, and a dangerous drug cartel in order to protect his sister and her young daughter. That synopsis is about as much as the story evolves, or develop in the course of yes 81 minutes. It’s bare bone storytelling relying on basic character archetypes that can be defined as the good guy, and the bad guy. With its length there’s little room for character development. That includes lead character Colton MacReady (whose last name is what I usually order at McDonald’s) whose characterization is simply to make Scott Adkins (who plays Colton MacReady) look cool. Colton characterization paints him in a good light usually by his family whom only say positive things about him. What is strange about the simplistic storytelling are its intention are clearly too just string together a series of action scenes. This is evident by some leap in logic in the story from the corrupt sheriff who doesn’t call for backup when a dispatcher tells him she heard heavy gunfire from a phone call, to a drug kingpin who only takes a handful of henchman despite the hero killing dozen of his men including his son very early in the film, and if Colton MacReady is on the run why isn’t the military shown to be chasing after him. It’s brought up that Colton put a superior officer in the hospitals, and was meant to be jailed so one would expect the military actually be bother to pursue Colton. This plot point goes nowhere as there isn’t a single character dedicated to represent the military in any way. It’s usage is to make Scott Adkins appear more dangerous, and cool, even though he’s already both of those things.

One aspect of the writing that goes against the simplistic story, and characters is Sheriff Jasper Calloway (Nick Chinlund). Unlike the other characters whom fall under the good, or bad category the film attempted to make Jasper Calloway fall in the middle category. However, the treatment of his character is out place with the rest of the film writing. Jasper Calloway doesn’t have allot of screen time to paint him in a grey zone. He’s given the position of evil, but loving family man without bothering to mention if what he did was due to desperation. It simply comes across that Jasper despite his personal life status did what he did only for money. There’s Colton sister, Angela Reynolds (Caitlin Keats) who is a better representation of the grey zone resorting to shady activities to pay for a home. Unlike Jasper Calloway, Angela Reynolds is given the role of damsel in distress until the latter part of the film. She works in the confined of what the film aims for whereas Jasper Calloway clearly shows signs of wanting to uphold the law, but his character isn’t explored so it ends up going nowhere. Calloway is also purposeless since his second biggest contribution in the story is sending officers to chase Colton for a car chase. By the standard definition the film leaves many things to be desired none more important than tension for a rush of excitement seeing our hero struggle to stay alive. However, the film applies the rule of cool approach to its writing preferring to stylize for entertainment. It doesn’t pretend to be more than more what it wants to be, which is a brainless action movie, and the writing complements it with a length that makes sure it doesn’t drag out it welcome.

In Adkins case fighting a Truck is easier than fighting Jason Bourne.

Scott Adkins takes charge in a leading role that require little in the acting department from him. Adkins only requirement is to look tough, sound angry in most of his line delivery, and perform the action scenes convincingly. He fits the bill of good action star looking right in the role while putting in a solid performance as a tough guy. It’s not showcasing Adkins skill much in the acting department as he is constantly in action hero mode. For the role, Scott Adkins only goal is to convince you he’s awesome, and pulls it off. Having both the look, and skills to perform what required of him in elaborate action scenes he makes enduring through the film lesser moments of excitement worth it.

Unfortunately the same can’t be said for the rest of the cast. Nick Chinlund, Caitlin Keats, Jake La Botz, Tony Perez, and Madison Lawlor deliver one note performances from pure evil (Tony Perez), unlikable douche bag (Jake La Botz), scared child (Madison Lawlor), and so forth. The supporting cast roles are pretty much an afterthought by having little material where they change emotions. Most facial expressions from actors don’t change when they are introduced to when it finally ends. At most, Nick Chinlund is the most dynamic of the supporting cast, but always comes across agitated. Chinlund doesn’t have the skill to make his character come across as sympathetic. Other cast members like Jake La Botz, and Caitlin Keats deliver exposition most of the time. Resulting in tedium when they don’t speak like people. Caitlin Keats at least gets to perform in the action in the last of act of the film, though not for long, and not performing anything that nearly as elaborate as what Scott Adkins has to pull off. She still deserves of praise for making her moment in the action seem convincing.

Fight choreography is credited to Jeremy Marinas who should applauded for his work on Close Range. The film opens quite ambitiously by having Scott Adkins beat up a bunch of goons single handily in a Mexican compound in one take. Despite the limitation that comes with the one take shot the opening action sequence is well filmed, and performed. One aspect in this fight that works in its favor is its in a enclosed area with not many people in the background. Keeping focus on Scott Adkin fighting whoever is in front of him. Another standout sequence is a one sided fight between Scott Adkins, and Jeremy Marinas. There’s no suspension of who will win the fight, but both actors make it entertaining by allowing each to offer blows before the eventual end of it. Switching battle tactics frequently in the fight turn the tide of the fight in their favor. While the action sequences favors a combination of gunfights inter splice with constant bullet dodging in the third act it does contain a good car chase, fight scenes including a climax that combines it with gunplay, and other set pieces to satisfy the checklist of variety in violence. It’s final act is where it begins to stop caring about logic as characters seamlessly fire endless rounds of bullets from a single clip. All of this is made more impressive when a majority of these set pieces take place in a two story house. This house gets filled with bullet holes, broken glass, and eventually having  a few dead bodies. Due to the story, the film doesn’t offer a high body count, but more than makes up for it in quality. It’s an understatement when saying the production team made great use of everything at their disposal.

Close Range is a satisfactory film for action junkies. The story while simple is clear in its intention to string together a series of action scenes which is why it only bothers to make our hero awesome, and our bad guys villainous. With a length of 81 minutes the film never outstays its welcome being capable of filling the quota of viewers looking for popcorn entertainment. Its low budget action filmmaking from the duo of Scott Adkins, and director Isaac Florentine whom keep on pushing the boundaries of what’s capable with a low budget action filmmaking for the better. While the writing won’t leave an impression it will at least entertain while it last.

6/10

Cinema-Maniac: Mad Max: Fury Road

I would best compare this film to another film that came out in 2013 by the name of Gravity. Gravity, much like the film I’m reviewing right now, was a spoon fed, overly praised film that places more value on aesthetics than it does on engaging characters or a worthwhile story to be invested in. Just like Gravity, one bewilderment towards the overwhelming positive reception versus the actual quality of the film shouldn’t be a surprise since if you remove the technical achievement all you’ll have left is superficial entertainment with a two hour car chase. It’s a dumb action film with a high budget, and cool car stunts which is sadly all it has to offer.

Around this portion of my reviews I would provide a synopsis of Mad Max: Fury Road, but any sort of synopsis should be considered a spoiler. There’s very little plot in the film that required three writers to create. To put it in perspective the film without giving away thin specifics is basically like driving a couple miles away from your home to get water while being chased by lunatics, remembering there’s no longer anyone guarding your home for some reason, and returning home the same way you came even though it was blocked after an explosion. That is all that occurred within two hours. Like mentioned before, this took the effort of three writers to create is pretty pathetic not just in writing, but filmmaking as a whole.

It’s titled character, Max, is a man of few words, fewer defining characteristic beside having a tortured past, and less of an engaging character. Max is relegated to a supporting role who just goes with the motion of events. Some attempts are made in providing a backstory to Max, but it is thinly stretched out. All that is told about Max through hallucination is that he failed to protect people. Their importance is never specify almost as if discluding any newcomer in the franchise. If it fails to stand alone as it own entity then it failed before filming began. Nope, instead of providing stronger context it’s better if that time was better spent on very long car chases instead.

More ridiculous than the thinness of the story is the presentation of serious moments. Car chases take up 90% of the film are bombastic, and loud which when applied to a character, Furiousa, talking about redemption can’t be taken seriously. That’s the clear points of these moments, though once again I want emphasize it took three people to write this story. Without much exploration into character backgrounds it further deteriorate into an eye candy spectacle that only manages to hold your attention because of it belief it would lose its audience if there wasn’t a extensive car chase for every few minutes focus on plot.

The film opens up with our main character Max being captured, and in an attempt to escape shows to the viewer(s) how insane the world is. This very early scene shows a crowd of people gathering around to get water with the images presenting a clear picture of how important this resource is in the world. Yet, the three writers felt the imagery of this scene wouldn’t be enough to convey the desperation in its world either being water, healthy people, or fertile land which is why lines like “As the world fell, each of us in our ways were broken” is spoon feeding to the definition. Much like the example I use in the opening paragraph, if it was entirely muted (we’re talking about virtually no dialogue) the film would actually be an achievement in storytelling regardless if it needed to use simple caricatures for an action movie. Unfortunately, with spoon fed dialogue like that it’s a blessing and a curse the characters don’t talk as much as they do taking away from the experience.

Characters are simplified to very basic character arcs; most notable examples comes in the form of Nux and Furiousa. Nux wants to be taken to Vahala which loosely can be tied to religion as much as Furiousa search for redemption from an event that’s makes a very loose connection with the antagonist. Nux doesn’t suffer as much as Furiousa in his basic characterization due to his simplistic loyalty painting a clear picture of his arc when he enters the picture. Max goal is to possibly get over past demons and survive without talking much. Now, Max getting over his demons isn’t an issue since it’s what drives his character to be a better person than he was before. However, Max being muted when Furiosa is trying to kill him is idiotic. He’s man of few words, but not very intelligent…or is he? The script can’t decide on that as in one scene Max manages to get a truck out a swampland that got mired in the desert by the use of the only conveniently found tree in that area. So his reluctance to speak in a scene where women are trying to run away from the same lunatics chasing Max, and the leader is attempting to kill Max a simple explanation would have avoided a well choreographed, but rather pointless action scene.

So earlier I made a rough outline of the film general story by making up an example. That outline has serious issues. First, there is an explosion in a canyon with only one entrance way being shown. That entrance gets blocked by rubble of rocks. Yet, when the characters decide to return to where Max was taken seemingly using the same road. Second, we’re in the desert and making further suspend your belief is despite the large locations shown throughout the film Max takes the same route to return to the Citadel (where the film basically starts). Lastly, the antagonist took all of his men when chasing down Max? If not, how come the citizens of the Citadel didn’t kill Immortan Joe (the antagonist) if his power was so limited? It would explain the ending, but if so, even if the antagonist did strike fear in the people’s eyes the numbers of baddies still in the Citadel is larger of that of what the Immortan Joe took with him when chasing down Max and his Five Wives. In context characters finally stop looking for answers in other places that might not exist, but also in context it basically means the outline of the story is unbelievably goofy.

If you’re looking for action, but mostly in the car chases variety Mad Max: Fury Road has impressive stunt work. For starter, the way Mad Max: Fury Road is filmed is done like an expert. The camera in these car chases usually follows the cars without shaking the camera. No matter how many cars are on screen together or if there’s an explosion the camera doesn’t need to shake to emulate the chaotic nature of just occurred in a scene. It does it through visuals favoring long takes with wide shots angle to see every bit of carnage done in the film.

Another aspect of the car chases is the smart uses of wide shots throughout lengthy sequences. A common problem for directors of higher budgeted action movies is that a director would make the mistakes of using many mid-shots instead to be closer to the action instead of pulling the camera further for a better flow. One of the best example is a scene where Max is attempting to break the window of a car from his capturer who’s planning to kill himself in a blaze glory during a desert storm. In the background, Max is seen struggling to hang onto a car and attempting to break the window while in the foreground his capturer is preparing to kill himself. This paints a picture of struggle, and a time limit within the same shot. This also applies to car crashes as when a car gets destroyed the camera shows the entire car as it gets destroyed. However, instead of pausing to display this demolished car it will instead continue to follow the action. One prime example of a George Miller expert direction is in the film there’s tanker that explodes, and how he displays it incorporates many techniques. From this lone scene in a couple of seconds Miller combines CG, shot composition, and editing to seamless effect. As Max is fighting against a Warboy on a pole/ladder that’s very close to touching the ground in motion he successfully kills the Warboy; with the ladder now having less weight Max attempts to get himself onto safety in the foreground on a moving car while the background a tanker is exploding within the same frame of shots. This moment doesn’t last any longer than seven seconds, but seamlessly through expert uses of CG, shot composition, and editing it’s a seamless flow of coherence that Miller often succeed in duplicating throughout the film.

The stunt work is nothing short of amazing. Cars are demolished on screen alongside obtaining a high body count from in the film characters death. In general, the stunt will require a dozen or so cars as well participants to do insane set pieces. Not only do the stunt crew having perform a dangerous stunt on constantly moving vehicles, but also do it with visibly little protection and sometimes with props like spears, pipes, baby bottle, spray can, and anything that can be found in this post apocalyptic film. What’s pulled off successfully is a string of convincing looking stunts that at some point in the film you’ll begin to believe every single stunt was done by actual person. In some scenes a dummies is used, but with an expert stunt crew it blurred the lines between a real person and dummy that it’s not even noticeable even among action aficionados.

CGI is used in virtually every single shot of the film, though it’s mostly use on either filtering colors or enhance the effect of a scene. For instance, going back to the tanker explosion if you removed the CG from that explosion you’ll still have the same explosion and stunt in place. The only thing the CG is adding was enhancing the effect of an explosion to give it more visual finesse by darkening smokes and brightening up the flames. Sometimes CG will add an explosion or make a scene colors pop out. Fury Road usage of CG is smart as it only uses it to add to a larger piece of the film instead of it taking over for an entire scene.

Set design is also detailed with a rough-hewn general look for the clothings. Getting across a clear picture of this dystopia fascination with worshiping cars like a religion. There is no normal looking car in the film as you have muscle cars on top of tanks, vintage cars on top of oil rigs and things that look like killer porcupines with wheels underneath them. There’s a lot to admired from the vehicles including the manic arsonist guitarist surrounded by a wall of amplifiers. The guitarist is also a key feature of the soundtrack, with Junkie XL using the chaotic music to stamp a mark of citizenship upon the particular tribes across the journey, mixing in suspenseful, looming soundbites to show the ever-nearing distance between threats.

The acting I can’t complain about, but that’s mostly because the cast provide a lot more conviction in their portrayals than the script does in providing details. Tom Hardy hardly speaks in the film with most of his performance relegated to simply grunting and facial expressions. Despite the limitation in his performance Tom Hardy sells the image of a broken, desperate man. Everything his character is feeling is received by the viewer properly. Charlize Theron plays Furiousa a cool looking character with a no-nonsense attitude. Playing a complex character whose composure hides a lot of her inner turmoil. Having to display a rough surface while at the same time a character whose holding onto what little hope for a better life there is left. Her chemistry with Hardy is excellent displaying the changes in their relationship through the film going from strangers, to enemies, to partners convincingly.

Nicholas Hoult plays Nux a character heavy on a visual arc. He has the most easily definable character traits utilizing them in his portrayal of Nux. A character that enthusiastically goes into blindly following a belief of the antagonist to a more down to earth person contemplating a new view for life. His changes are among the most evident in the film benefiting from a character whose entire journey unlike the other two characters is seen to the finish line. Hugh Keays-Byrne is a appropriate looking “Obviously Evil Bad Guy” type of antagonist. His costume leaves little imagination for what kind of person he is. Consumed in the role Byrne exudes desire, hatred, and vengeance through his portrayal of the film antagonist. I also must give credit to the casting of largely unknown actor Nathan Jones and playing on his strength by giving him little words to speak and allot to express. This movie was expertly put together needless to say.
Mad Max: Fury Road will make you mad and furious for the wrong reasons. It’s more of an issue of the shallow writing that excuses itself to be a two hour chase scene. Gazing upon it you’ll be in awe at the large scale practical stunt work, and gorgeous cinematography before realizing its product of its time that is only appreciated as such. The biggest drawback to the film is it uncertainty to trust the audience; it’s powerful images tell its story majestically, but due to the spoon fed dialogue the reward that comes with figuring out what occurred in the story yourself diminishes the impact when it does it for two hours. It’s technical achievement on all fronts, but if the spoon fed dialogue was virtually removed than it would have also obtained a storytelling achievement to go along with its wild world.

6/10

Anime-Breakdown: Sword Art Online (2012) Series Review

From the moment I finished the first episode of Sword Art Online all promises of a good show flew out the window. Some problems became immediately clear to me and it first episode failed to capture my attention in any way. Yet, at the same time I stuck with it, hoping it would improve, and in some respect it kinda did. Not enough for me to call it or consider it a good show, but nothing I would consider bad in general either. For all it’s problems it always kept me entertain whenever it did something good or bad. The ideas it had were interesting even if not executed properly most of the time. It’s simply a well produced show that tells a story poorly, but in a very entertaining way.

Synopsis:

In the year 2022, the virtual reality game Sword Art Online is released. Using a Nerve Gear, players can control their characters using their own minds, and experience the world of Aincrad as if it were real. Unfortunately, it becomes all too real when the creator of the game locks everyone out of the real world by hijacking all the Nerve Gear devices so that if you die in the game, you will die in real life. Only by clearing the 100th floor and defeating the final boss can the players win their freedom.

Good: Solid Production Values

A-1 Picture is a studio that I just acknowledge exist. This studio hasn’t made anything that I liked or hated wholeheartedly. However, when it comes to their production values they are consistently solid including the very colorful Sword Art Online. Character designs are simplistic and the locations are diverse. A-1 Pictures take advantage to show off snowy mountains, grassy fields, ancient dungeons, and many more to their advantage. Colors are simple and plain because lightning is rarely a factor to how a scene will look. Don’t expect much shading from this show, let alone gradient. In movement the animation is smooth from beginning to end without any noticeable issues.

One of my two complaints about the animation is Sword Art Online misses depths of perspective. Everything in the show looks flat, making what little use of 3D there is stick out. Another complaint is the action scenes are very weak. The choreography for all of them are simple which would have been fine, but whenever a spell or a weapon makes an impact on a person there is little visual flair or particles effect to add to the action. It’s similar to lighting up a firework and waiting for the true spectacle to occur, but it never comes because it’s a dud. I should add that the first opening intro is very misleading in representing Asuna as an strong component character who is as skilled as Kirito. In the first opening intro it shows Asuna and Kirito beating “The Gleam Eyes” while in the actual show it doesn’t happen. It’s almost as if A-1 Pictures acknowledge in their own way “Yeah, this character sucks. Sorry”.

All the music in the anime is a good fit with the show. In particular the closing song “Overfly” by Luna Haruna perfectly fits the romance side of the series. Of course that could be due to the second outro being more visually creative giving bits of the character relationship in pictures where the first outro is just camera panning down two characters doing nothing. The opening themes aren’t impressive. “Crossing Field” sung by LiSA sounds phoned in (especially if compared to Oath and Sign) and Air Eoi “Innocence” is passable. Any piece of music that isn’t the opening or closing themes fits with the show. It’s never distracting, but at the same time hardly noticeable as it never fuels audience’s emotion to create a powerful scene. It simply works in the show.

Voice acting is good, though not a single performance stands out regardless if you see it in Japanese or English. Both versions have a different take on how the voice actors portray the characters. The English dub cast are (mostly) subtle in their delivery, but in Japanese there’s more emotion driven into the performances. If you have to choose, I would recommend seeing it in its original Japanese language if only because the animation doesn’t deliver spectacles worth your attention.

Mixed: Mixture of good ideas that fail to live up to potential

Sword Art Online first arc (episode 1 – 14) suffers from rush pacing. It’s damaging to the point that on episode 13 it finally decides to address a major plot hole established in the pilot episode regarding how the players’ bodies are kept in a stable condition in the real world. If it takes that long to address a gaping plot hole there’s less chances whatever the material tries to tackle will come out better. For example, Asuna is introduced as a player who is on or close to the same skill level as Kirito holding her own in a fight in episode two. That quickly changes when Asuna is pushed to the sideline and given little to do afterwards. Usually involving cooking, cleaning, and needing to be saved. Another drawback to the pacing is skipping around time. You frequently skip months in the story with the anime usually relying on generalizing events than actually showing. Like how did Asuna obtain a high ranking position in the “Knights of the Blood” made further questionable when seeing her contribution when working alongside Kirito.

When out of focus episodes will go off track from the main story. These side stories flesh out the world by showing how the game mechanics work, but all at the cost of being filler. On the other hand, these side stories do keep the story unpredictable, even if the outcome never changes. Some other positive points about the first arc is there is risks of losing inside “Sword Art Online”. Not anything the main cast will suffer because Kirito’s overpowered, but it is established and touched upon in key scenes. While not as explored as the subject of death, it does bring up the mindset of different kind of players. Showing some diversity to offset the goody two shoes the story focuses on. Another positive is the romance doesn’t end with two characters becoming boyfriend and girlfriend. It shows two characters as a couple and runs with it for awhile. Although the downside being the couple aren’t interesting as stand alone characters let alone when they become a couple.

If there’s one thing that can’t be overlooked is how often it contradicts itself. It’s more than willing to break its own rules to make its protagonist come across as being awesome. For example, Kirito said himself it’s much better to be in a guild, but in Episode 8 single handily defeats one of the toughest bosses by himself. This also applies to gamers in the show who don’t know how to play the games. In Episode 2, it’s established to take place an entire month after the first episode and gamers still don’t know how to play the game. Either leading to speculation that most players of SAO are idiots or don’t bother to learn how play the game knowing their lives depending on it.

Now due to the course of the anime I encourage you to avoid the next two paragraphs to avoid spoilers. I won’t go into specifics, but just the mere mention of it will spoil “Sword Art Online” Aincrad Arc (Episode 1 – 14).

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Episodes 15 – 25 make up the Fairy Dance Arc that takes place in Alfheim Online. A noticeable improvement is the pacing is slower. Allowing more of the story to unfold in real time instead of generalizing important events in exposition. However, some issues in the Aincard Arc carry over to the Fairy Dance Arc. Asuna character receives another downgrade and becomes a plot device to move the story forward. Sadly, that’s all of Asuna contributions in the Fairy Dance Arc. It also does away with the consequence of death that the first arc got across. Stakes are smaller and the scope of what it tackles is smaller. Plus going from a setting that has dragons, ghosts, and Santa Claus gets replaced by a setting filled with Fairies. There’s no competition, which arc has the more interesting setting. It might sound like a downgrade, but it improves in one area with it counts.

Since the story becomes more personal there’s no filler in the arc. Everything done is to move the story forward. It still suffers from the same problem of giving supporting characters little to do, but it is not as noticeable since an entire episode won’t be dedicated to helping out a random character who won’t make another appearance. Then there’s Suguha whose characterization is better handled. From her introduction as an important character we see her progress from her conflict from beginning to end. Unfortunately, there’s never a love triangle that arises from her involvement. Just like every other female in the show, Suguha has to rely on Kirito to do everything in the end.

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Mixed: Likeable, but bland characters

Kirigaya Kazuto or Kirito as he commonly referred by is a bland protagonist. Kirito is overpowered to the point that if there is an ever moment of conflict, he’ll make sure to eliminate it. Every battle and every dungeon Kitiro goes in, there is never any doubt about his survival. Even without the “He’s the protagonist, of course he won’t die” invisible tag attached to his character. Diminishing any worthwhile investment since he easily overcomes any obstacles including boss fights. The worst aspect about this trait is the audience doesn’t even get to see Kirito become stronger. If it was another genre of gaming, it would make sense…except Kirito play games specifically designed for multiple people to play together. Yet, somehow with his lone wolf attitude Kirito is able to get to a higher level than any other player that play in a group. Anyone who plays an MMO will tell you how difficult it can be to level up, especially if you’re a solo player. What’s most questionable about him is the way he thinks. For some reason he keeps how strong he is to himself, despite the fact if he played at his full abilities he can prevent more people from dying. His actions are equally harmful to the people trapped in SAO as a antagonist.

Another (lack of) trait is Kirito suffers little eternal conflict that gets explored. At one point the show explains why Kirito is into gaming, but doesn’t expand on it. Instead of adding on Kirito accepting the game he’s trap in as real life. It’s left as an interesting, unexplored characteristic of his character. Everything always seems to work his way sometimes without his involvement in the solution. This kind of character or wish fulfillment can be done correctly. For example, in Persona 3 you take control of a seemingly perfect character (that you could name him/her whatever you want) with a status of the chosen one. Much like Kirito, Persona 3’s Protagonists builds his/her stats until he/she is perfect at everything. The difference with Kirito is his backstory is never a focus at any point in the series. Whereas Persona 3’s Protagonists backstory is given fleshing them out. No longer are the characters simply overpowered, but developed characters that blend with the cast. From beginning to end Kirito remains static with no major difference from where he begins to where he ends up.

Asuna serves as Kirito love interest. She could have been a good character, but beyond episode two the series does everything it can to lessen her importance. Instead of being an equally strong character like Kirito she eventually becomes reliant on Kirito like virtually every female character in the anime. What makes Asuna case different is how she was introduced as an equally skilled player which is not the direction the story took her in. This introduction makes her the most disappointing in the cast especially with what’s done with her in the second half. Another significant female character is Yui whose an AI or little girl ex-machina. Her contributions are similar to Asuna in which she becomes a plot device to move the story forward in the second half, but early on is involved in a side story about family. To get it out of the way it was rather heartless, but at least it contribute to the main story and one of few times character development of Asuna and Kirito as a couple works.

The last significant female character is Kirigaya Suguha. Despite not appearing in the show as much as the series main love interest Suguha gets better character development. Suguha is a sympathetic character all due circumstances from her placement in the story. Her feelings in a situation are rely to the audience properly to understand where she’s coming from. Making her conflict in her feelings for Kirito that she never thought about much. She doesn’t know if her love for Kirito is right or wrong due to circumstances she’s not entirely sure played a part to influence how she feels. Like the other female characters she does end up falling for Kirito, but unlike the rest of female cast Suguha feelings has some depths. As a character she grows in the story for the better not taking steps backwards.

Male supporting characters won’t be as reliant on Kirito since an entire episode is never dedicated to Kirito helping out another male character on a dangerous quest. The most he does for a follow male is teaching them how to play, despite the person spending tons on money to get the equipment to play the game and having waited three days in line to get it. If it’s a male other than Kirito they’ll spend most of their time off screen. This rule changes if the male happens to be an adult than chances increases they’ll be evil. Most of the adversaries Kirito fight against are mostly male, which in itself becomes tedious. Although, that last sentence should be filed under personal pet peeves instead of a flaw in the show.

Personal Enjoyment: Surprisingly, I was never bored

Well you did just read a couple of paragraphs of me favoring the second arc of “Sword Art Online” over the first. Just because I prefer one arc over the other doesn’t mean “Sword Art Online” quality will change. It’s story is never consistent in quality, but it is always entertaining. Whenever there is a bad scene in “Sword Art Online” I find it entertaining. From Kirito gaining the very stupid and non insulting nickname of “Beater”, any scene involving those useless teleportation crystals, and seeing Nicholas The Renegade (Santa Claus) being a few stand out. Thankfully not everything in the series was poorly thought out as there are actually good scenes in “Sword Art Online” I liked. The ending in Episode 14 titled “The End of the World” was satisfying even if the outcome of it was completely due to deus ex machina. Another being episodes 22 & 23 where the scenes between Leefa and Kirito that made me realize I actually cared what happens.

(Likely) Possible Complaints:
Everything I listed
The main character is Kirito
Everything that isn’t on the technical side if you loathe the story and characters
How popular it is (this one’s superficial)
This review if you absolutely hate it or absolutely love it

Rating: 6/10

Production Values (Sound, Animation, etc.): 3/3

Story: 1/3

Characters: 1/3

Personal Enjoyment (Yes, my enjoyment is worth the least amount points): 1/1

Final Thoughts:

When I got to the final episode of Sword Art Online and sat through the closing credits with still images my thoughts on the show were immediately clear. It’s not something I would call a good show with a story that has good ideas that get squandered by poor execution and characters that receive little character development or get pushed to the sideline after a single episode. However, it was consistently entertaining and always had my interest no matter how it turned out. There’s is one thing that is for certain regardless where you stand on Sword Art Online quality. It’ll leave one strong impression on the viewer before and after it ends.

6/10