Coming to the series cold, the connection to the game Dota 2 had no positive or negative impact for me – it was just a fact about the anime, and so I enjoyed having no preconceptions going in.
I know that animation produced by non-Japanese studios can get some flak from the community but I don’t really care – DOTA Dragon’s Blood looks great and it was a lot of fun to watch a fantasy/action animation with all the classic creatures.
Plenty of humour, plenty of really ace action-sequences and even the fan-service tended to actually make sense here. There was also lots of lovely imagery and striking use of colour to further keep me watching and without spoilers, the story probably isn’t full of curve-balls but it’s satisfying.
I have a few fav characters from the large(ish) cast, but Marci is a stand out – I also don’t recall dozens of mute characters appearing in other animated works I’ve seen, so that was really interesting. (There were even Australian voice actors too, which is another rare thing).
Toward the end, I will say that it seemed that the pacing picked up a little too much. Important events outpaced the running time, and once again, it felt like modern production choices (esp those favoured by Netflix) meant the team at Studio Mir had to squeeze in a 13-episode portion of a big story into an 8-episode run.
Maybe that was just my impression?
But with more episodes on the way, I’m definitely tuning in whenever more of the story is ready.
Back Arrow is bursting at the seams with exuberance and I enjoyed that a lot.
Back Arrow (Bakku Arō) 2021
For me, it’s wildly over the top and dead sincere at the same time, leaping between those two contrasting extremes. In that way I guess you could say that there’s a mix of aspects from shows like TTGL and Gun x Sword, among others.
A while back, Lita and I did a ‘first reactions‘ kinda collab and I’m happy to say my response to the show remained quite favourable indeed.
Now, in other reviews I’ve definitely criticised stuff that hops between extremes (or wildly contrasting tones) but obviously I don’t always have a problem with it. I thought Back Arrow shifted in such a way that I was expecting things to be a bit off-the-wall from the beginning, and so it didn’t bother me.
All the shounen tropes and clichés (and bizarre humour) are out in full force in Back Arrow (the choir! the wine bottles!), declarations shouted with clenched fists, escalating battles and a huge finish.
It was hard to believe in a way, but as the last few episodes unveiled new and more gigantic surprises in terms of that escalation, I was swept up in the sense of fun – all the amps go up to 11 here.
In terms of fav characters, Shu stands out for me, since he forges his own path, though I will say that his key betrayal actually seems poorly handled in respect to another character, considering the supposed importance of a certain flashback. That’s probably pretty vague if you haven’t seen Back Arrow but I was hoping to avoid spoilers.
So I’ve written a few paragraphs now without mentioning the plot but it includes some of the big stakes I’m looking for: save the world and know thyself, along with a big enough cast that a few folks get to live out different aspects of each.
I can see how this show might fail to meet the needs of some audiences – some of the key anime that Back Arrow is channelling across its 24 episodes were now released generations ago.
And to be honest, there is a strangely childish part of me that really enjoys the fact that Back Arrow seems to be almost a cult show already.
That’s actually a bad thing, though – I want Back Arrow to be more popular so that more shows like it get made.
I tend to be a little disappointed in romance anime that hold back on the developing the relationship onscreen – especially when it comes to homosexual relationships, but that’s probably not always fair.
Heaven Official’s Blessing (Tiān Guān Cì Fú) 2020
And I say ‘not fair’ not in terms of a discussion between chaste vs lewd content, but more a case that I wish the industry would treat the relationships of gay characters the same as heterosexual ones, though it feels like that’s changing slowly.
Having said that, I think I should also add – I hope things continue to change in so long as it’s safe for the creators, that is. (Obviously, country of production has an impact).
But until things change, there’s still somewhat sweet shows like Heaven Official’s Blessing, based on the novel by Mo Xiang Tong Xiu and animated by Haoliners Animation League. I hadn’t seen many works from China at all, but this looks fantastic, with whimsical and menacing settings, fluid action and memorable leads.
Heaven Official’s Blessing feels like a balanced mix between supernatural action and almost cute romance, (with lead Xie Lian even taking on the clumsy ‘damsel’ role at times) and I enjoyed the mythological aspects as much as the character interplay across the 13 episodes, and I’m definitely hoping there’s another season one day.
I saw HOB on the soon to be defunct Animelab, and while the subtitles were far too small for my eyes, I’m glad they were there because without them I would not have been able to watch the show at all. (There were mythological elements and context that I missed too, especially those last few episodes I suspect).
The ending to episode 12 kinda demanded an OVA or a ‘special’ because while it wrapped the action plot, the relationship between Xie Lian and San Lang needed more screen time, which did happen with #13 thankfully.
Definitely recommended for fans of the above-mentioned genres.
Greetings! It’s collaboration time again, in this one Curtis from Iridium Eye Reviews and I are going to chat about 2019 portal fantasy Ni no Kuni – a film we both enjoyed without being blown away, perhaps.
(You can see one of our previous reviews in Satoshi Kon’s Tokyo Godfathersright here) Before we start, I have to say thanks to Curtis for some pretty impressive patience on this one, as it took me a bit longer than I’d hoped to get everything together 😀
Ashley: To kick things off I wanted to ask if you came to the film sort of ‘cold’ or whether you’d had a chance to play any games from the Ni No Kuni franchise?
For me, I played Ni no Kuni: Wrath of the White Witch (2011) and was excited that Studio Ghibli did the cut scenes in that game, and so I went into the film expecting a certain aesthetic (which I definitely got, and really enjoyed). Having that little bit of background also took care of some world-building for me as a viewer too. I wondered if your first impressions of the film were influenced by the franchise or whether you had a more ‘clean slate’ viewing experience?
Ospreyshire/Curtis : I came into this movie cold. I have never played any of the games. All I knew was that Ghibli helped out in animating the game series, but that was pretty much it.
That’s cool with you having experience in playing this game. Studio Ghibli helping with a video game series is really cool as their skills could help a video game with the aesthetics as well as that animation company expanding their horizons in using their skills. This was purely a clean slate experience in going into this movie blind. As someone who has never played a game nor knowing anything about the world-building or exposition, I did feel like I was learning about the world much like the main characters.
I thought Ghibli was involved in the Ni no Kuni movie perhaps in a co-production or consulting role, but I was shocked to find out that OLM of all companies animated this film adaptation. Could’ve fooled me because it could pass as a Ghibli work (especially with the art, character designs, and Joe Hisaishi handling the music) instead of the same studio responsible for Gunsmith Cats, Yo-Kai Watch, and several installments of Pokemon of all things.
A: Wow, Gunsmith Cats and Ni no Kuni is a contrast 🙂
I feel the same, especially with Joe Hisaishi involved, yeah – it definitely feels like a Ghibli production in many ways, perhaps an industry they could have expanded even further into?
Here’s one of my fav questions – what jumped out for you in Ni no Kuni?
O: I know, right? I would’ve never guessed in a million years that they would’ve animated both.
I thought it was a Ghibli project going in with Joe Hisaishi and the character designs. This isn’t the first time I’ve had that feeling watching some anime projects this year. Maybe they could’ve expanded especially since they haven’t done that much in the late 2010s.
The animation and having a more mature story compared to most Ghibli works were interesting. Okay, I know this would still count as an isekai work, but it wasn’t a boring example of that genre. I legitimately wanted to know more about the world and the connections between there and earth. The alliances shifting in the second half did feel a bit intriguing.
A: I felt the same re: the changing alliances and the far less typical approach to the isekai formula.
I was interested in the way that the characters were tied to their world of origin, that vital storytelling notion of ‘cost’. An action taken by the characters has a consequence and I liked how the film resolved those issues.
O: Of course. I didn’t feel like I was watching some by-the-numbers Isekai work and there were some twists that I didn’t expect with the world building or how the characters were able to travel between worlds. It did keep me interested with the entire movie and as someone who didn’t play the games, I didn’t feel lost in any way. I thought the damsel in distress aspect did get avoided with the whole story not being about healing the princess. Even though that plot point did get awkward watching it in current times for obvious reasons, I didn’t think it was hampered by the modern world as much as let’s say (got to be brutally honest even though you know my thoughts on this) Weathering With You for example.
From an animation standpoint, this was one of the better OLM works especially if I legitimately thought it was a Ghibli movie. The animation flowed very well and the fight scenes had the right amount of fluidity to them. It felt like a movie and never felt like they were cutting corners here like they’ve done in previous works even on their best days.
A: Me too – I hadn’t put it together with all their Pokemon work say, but like you mention, the battles looked great and the buildings and cityscapes caught my eye, the sense of movement within or things like the horse charge Haru leads too.
I was a little surprised that it didn’t seem too well-received, many of the criticisms landing on it not delivering anything new. I don’t feel that originality is the most important metric out there.
For me, the film worked in part because it was familiar in terms of settings and tropes, and whatever elements were predictable in the plot didn’t bother me. I wanted to be satisfied more than surprised and while the visuals were beautiful and I was engaged with the characters (especially Yu) I was happy to go along with events.
Maybe there were exposition-heavy moments to drag things down a little but in the end I was probably most forgiving because I was keen to see how Yu and Haru’s friendship would withstand the tests it faces. It felt classic to me 🙂
O: There was certainly a ton of effort with the animation even with the little things shown in this movie.
Really? I’ve been doing my best to not look at other reviews for most of the things I watch unless it’s something I’ve previously seen before, but I wasn’t aware of the overall consensus. Ni no Kuni isn’t the most original anime which I do agree with, but it wasn’t a horrible watch nor did I feel like it was trying to copy others or coast on the Ghibli-affiliation with the video games even if I was mistaken thinking the studio animated the movie.
I certainly do my best to give my flowers when movies and series do something innovative, but there are times where the familiar can work. This wasn’t some avant-garde work, but it certainly wasn’t some genre-by-numbers dreck. I wanted to know who this was going to play out and how they’re able to go to different worlds or how Yu is able to use his abilities.
I agree the exposition got a bit much at times and the friendship between the characters had fascinating contrasts and good development as they’re both conflicted during the final act.
A: Sometimes after I’ve seen something I’ll try to seek (as best I can) a general consensus about how a film or show has been received and I very much find doing so to be a a double-edged sword 🙂
When I’m lucky I get some new insights or I pick up something I missed, but that doesn’t always happen. This time I was curious to see if people were writing about the movie in regard to disability representation. I don’t know how often Ni no Kuni got it ‘right’ when it came to portraying someone in a wheelchair, but I definitely had the sense that Yu was given proper thought and attention, especially in the earth-based scenes.
When I think about something the film didn’t deliver so well perhaps, one thing that comes to mind is maybe the Black Hooded Man, who seems a little inconsistent – or perhaps even constrained by the plot too easily (trying not to spoil certain plot points :D).
Did anything in particular strike you as a weak point?
O: I’ve done that sometimes and it occasionally factors into my reviews. There were a few times (can’t remember which posts at the moment) where I mention the consensus and I compare/contrast with my thoughts against the masses…or at the very least Rotten Tomatoes and/or Metacritic.
You bring up an excellent point. You don’t see that many physically disabled characters in animated works. The only ones I can think of in the context of being wheelchair-bound are Pelswick, Prof. Xavier from the X-Men, and Garrett from Extreme Ghostbusters. I don’t know if I’m the most qualified person to talk about this issue, but from what I saw, Yu was a character who happens to be in a wheelchair instead of a wheelchair-using character. That makes a huge difference in the presentation. Sure, he’s clearly seen using it in the earth scenes, but his personality goes beyond that in both realms, so I do applaud that. I do wonder if Ni No Kuni would get attention from disability activists in portraying a character in that light.
Yeah, the Black Hooded Man came out of nowhere and didn’t have as much development. As I’m also trying to avoid spoilers, I did figure out his true identity by looking at the right signs. They did throw a decoy with that mystery, but I still figured it out even if it wasn’t exactly how I planned it. I could also mention how the revelation does play up a certain cliche with specific occupations, but I don’t want to give away the twist.
Outside of that issue, I did think some of the background characters didn’t get much development. It’s even more glaring in the fantasy world with so many characters of different colors, shapes, sizes, forms, and species around. Even if some had personalities, they were mainly there to show how different it is compared to earth.
One scene that I thought was very awkward was early on where those healers were trying to cure that disease by dancing or singing. Not only did it feel a bit random even if it made sense with the plot at that time, but am I the only person who thought the attire and presentation was a bit racially coded? If they were analogs of those in the East Indian or Middle Eastern communities (granted, the “earth” parallels aren’t bound by this [spoilers minimized]), then the creators should have re-thought things. I’m not saying it’s as bad as the crows in Dumbo or Mr. Popo from Dragon Ball Z for example, but that did make me raise an eyebrow there. Despite some of my issues with the more mainstream Ghibli movies where Hayao Miyazaki would be in the director’s chair, at least he would’ve really gone in detail with the world-building and have a sense of wonder. Ni no Kuni doesn’t feel like a typical Isekai work despite the obvious tropes, but they could’ve done better to stand out more. Those were a few flaws that came to mind. How about you?
A: I know what you mean about the twist and reveal there, I felt the same re: being confident that I knew who but not why precisely.
Those are good points that I’d missed, yeah. Nothing new comes to mind now that I think about it… maybe a touch more on the old man, who is probably meant to be Oliver from the game. On the other hand, maybe it’s more fun to leave open a hint of doubt!
O: Glad I’m not alone in noticing that. Sure, how it played out was a good twist, but the result was quite obvious for me.
Thanks. As someone who wasn’t familiar with the original video games, I will say that it was a decent entry into that series and I’ve certainly seen far worse examples of video game adaptations in film or TV series, so Ni no Kuni has that going for it. This not-Ghibli movie was fine, but certainly not a masterpiece in my opinion. Thanks for collaborating with me again! It’s always a pleasure having someone to team up with to review some anime.
A: My pleasure! (Am already thinking about another collab for the future :D)
-Add 1 point if you like classic hero stories -Add 1-2 points if you’re a fan of fantasy anime.
-Subtract 1 point if you need a truly memorable villain -Subtract 1-2 points if you’re not into isekai plots.
Score: 3.5 out of 5 (Ashley/The Review Heap) 3.5 out of 5 (Ospreyshire/Curtis)
Get ready for fantasy, sci-fi, political intrigue, romance, action, comedy and prominent use of the body swap trope, if you decide to take a look at Murder Princess.
Maybe that seems like bit much for one text – but I definitely liked the mix and thought this was a fun OVA. It’s not the shortest one out there, and it does tell a complete story across only 6 episodes too.
The series was released in 2007 and animated by Bee Train during their heyday and I don’t remember having many complaints re: the visuals or direction, though you won’t see the super-dynamic camera-work common to modern action anime.
As per the title, you can expect regular violence over the course of the betrayal of Princess Alita’s kingdom and her subsequent struggle for vengeance.
She manages to recruit some interesting folks and while there are a lot of familiar story-beats along the way, I was hooked by the body swap aspect which brought in a few fun ‘fish out of water’ moments.
However, one thing I did wish had been given some extra screen time was both Falis and Alita coming to terms with the switch, as it does play second fiddle to the action.
As an example, I imagine it would be pretty disconcerting to look at someone else and see your own face, see ‘you’ doing things from the outside, yet both leads adjust a bit too quickly perhaps.
Obviously it wasn’t a huge problem for me, but I do wonder whether the manga does more with that aspect?
Even though the star rating will probably seem a bit low, I still enjoyed Murder Princess – in particular Romi Park* as Falis, and remember the ED as standing out.
As I said before, this anime did leave me curious about the manga – and so maybe one day I’ll seek it out.
*Took me a moment to recognise her as the voice of Edward Elric, actually.
The Daughter of Twenty Faces(Nijū Mensō no Musume)2008
This (loose?) adaptation of Edogawa Ranpo’s ‘Kogoro Akechi’ detective stories really becomes two different shows for me, with the first third being far superior. Not that the last half or ending is poor, but the focus becomes a bit muddled I reckon.
But is any of it outright ‘bad’? Not at all.
And I think if you like adventure stories and heists, then The Daughter of Twenty Faces should do the trick. (It also has plenty of daring escapes and fun action sequences from late 2000s-era Bones too.)
Thinking back, I remember that the first episode almost had me give up on the show – I won’t spoil why, but pay-off is worthwhile, I reckon.
In fact, the anime throws out a few twists and turns as you follow the clever Chizuko through the post-war Shōwa era on her quest to find the truth about the mysterious benefactor who operates as something of a surrogate father.
Twenty Faces and his crew, especially Ken, stand out as co-leads/supporting characters (and so does Tome, perfectly demonstrating heroism without brawn) and as much as I enjoyed the surprises and larger scope of the story, I’ll probably watch this again one day for the characters themselves.
When it comes to a few things that stand out as disappointing, I will say that the decision to simply do away with almost the entire cast after about episode 6… well, I’m still of two minds about it.
Clearly, it works wonderfully to force Chiko to become more independent but it seemed also a way to place her into a generic school setting, to make sure certain manga arcs could be animated?
It really slashed into the tension and introduced tangents that weren’t as interesting to me as the main storyline.
My subtitles were a little hit-and-miss too, so I didn’t quite pick up on the full dialogue toward the final few episodes, but one day a re-issue might sort that out 😀
Despite my grumbling about those issues, I liked The Daughter of Twenty Faces due to the characters and the storytelling, and still find myself wondering how it was received ‘all the way’ back in 2008.
Even as I type this, I’m sick of my own go-to thought being something like ‘compare this one to Ghibli’, because that’s lazy of me.
Moreover, Studio Ghibli hasn’t released a non-CGI feature for six years or so. And nor do they own ‘awe and whimsy’. No studio does, of course! (Having said that, I know Wonderland has been compared to Ghibli and Miyazaki films in particular.)
But it is different in terms of tone and execution.
The Wonderland is an old-school portal fantasy (or ‘Isakei’ to use the anime lingo) where characters are led into a fairy-tale world (rather than a game), which makes sense considering that it’s based on a children’s story from 1988*.
And the world that Akane and her aunt must save is a real draw for me since it’s got plenty of surprises and fun, whimsical settings, characters and moments. There’s also a classic ‘reluctant hero’ plot and it’s nice to see Akane quickly become less selfish as the story progresses.
(Of course, there’s an understandable reluctance – being asked to save a magical world you never knew existed would be worrisome to say the least).
As much as I enjoyed most of the film, there was something missing from the narrative. Perhaps strong ties to the central problem Akane is being asked to solve? Or maybe I wanted more from the villain too?
Still, the art and animation was beautiful and Chii was an interesting addition to the leads, and so I didn’t mind. And there were funny moments to balance the menacing ones too (without spoilers) like with Akane and the cats or Hippocrates’ transformation.
The Wonderland is aimed at younger audiences but it’s not G-rated either, so there’s violence but I don’t actually remember blood. Having noted the target audience, I found it interesting that an adult from the real world was allowed to come along for the adventure, which is kinda rare in YA fiction.
Directed by Keiichi Hara, (Miss Hokusai), this adaption was only released a few years ago now but I don’t remember hearing about it, not back then and not very often now either. I’m curious if anyone else had a chance to see it?
Maybe 4 Stars is a little generous in terms of a rating but for me, in a visual medium the visuals sometimes make up for other issues 😀
*Chikashitsu Kara no Fushigi na Tabi (Strange Journey from the Basement) by Sachiko Kashiwaba
Oblivion Island: Haruka and the Magic Mirror (Hottarake no Shima: Haruka to Mahō no Kagami) 2009
The success of Toy Story and Skrek are two CGI examples that I think of most when it comes to changing animation in America. Of course, it’s silly to point out only two examples, only two moments or studios (Pixar and DreamWorks here) as being responsible… but I think they are definitely noteworthy 🙂
Across the world in Japan, I kinda see Production IG as one similar driver of CGI integration into anime. Again, they’re obviously not the only studio doing so, but if I think of Ghost in the Shell in the mid-1990s and Innocence (among others) a little later on, I feel like there’s a clear line to 2009 when they released Oblivion Island: Haruka and the Magic Mirror.
Later in the review I do want to return to this rambling train of thought, but I should talk about the film itself sooner or later, huh?
Oblivion Island has a great fairy-tale feel, with perhaps a bit of Alice in Wonderland but a lot more Japanese folklore too, with a specific focus on kitsune. The hook for me was the idea that main character Haruka is drawn into a world of ‘forgotten things’, things which humans have left behind and have then been collected by fox-like creatures over the decades (and doubtless longer).
In fact, the scavengers have a motto: What You Neglect, We Collect, which is a pretty perfect description. When Haruka lands in the new world she is lucky enough to have a (reluctant at first) guide to show her around. And the Island is a pretty amazing place, where pretty much everything has been repurposed, from open books that function as seats on rail cars to gramophones deconstructed into chairs (okay, they’re both chairs :D).
There’s even a hierarchy/currency to the items, with mirrors being prized above all else – exactly the object Haruka needs to recover; her own precious hand mirror.
The story unfolds at a steady pace as the search gets Haruka and Teo (her guide) mixed up with ruler of the island, Baron. Maybe as an adult you won’t find heaps of surprises but I think kids would be delighted in all the right places, and Teo’s a cute little guy too. It’s also cool to see that Haruka is no push-over either.
If I had to single out an issue… it was just the feeling that I didn’t love the movie – I ‘only’ liked it a lot. That’s not much of a criticism, is it? Maybe the climax was actually a little long but it was usually pretty exciting.
Okay, so finally I’m going to creep back toward the visuals – which is what I was slowly, slowly leading up to at the start.
I remember a certain amount of excitement and bold predictions from the media and creators during those changes to the animation world that I mentioned before, discussing the way new technology would revolutionise things (I remember a bit of that around the time of Appleseed for one).
You can still see that excitement in occasional special features included with physical releases, sometimes it’s even the same folks looking back and reflecting on how the predictions turned out a little differently (but not ‘wrong’ either).
So, why have I also wrangled this review around to special features?
Well, I like to use them as one potential marker of the level of success a studio hoped for with a new release and I was curious about Haruka and the Magic Mirror.
Obviously, most ‘extras’ double as marketing materials but when I saw the decent list of special features included with Oblivion Island, I had the impression that Shinsuke Sato and Producton IG wanted the film to be a big hit. And of course! Why shouldn’t they? Success also keeps the studio going and making more great stuff.
So, I guess finally now to a question – did other folks like the film and its blend of traditional animation and CGI?
Oblivion Island was nominated for and won awards but I suppose if I’m interested in more than one marker of success, then I can’t ignore box office either – so, using IMDB, Haruka and the Magic Mirror had a worldwide gross of $3,171,022.
Now, to give some context I’ll try a couple of other similar-ish films released in the same year. First up, Summer Wars, which listed a fair bit more in terms of ticket sales: $18,434,328. Hosada’s film also used CGI but not in the same way as Oblivion Island and he also had a lot of anticipation already built up at that point. Something more CGI-heavy then? I’ll try Astro Boy – it took in $39,886,986 but it’s not precisely an anime film. (It was also considered a flop).
Maybe neither of my examples are totally useful as 1-to-1 comparisons, but I think I can say that audiences were still slow to warm to CGI in anime then. I know some of that reluctance lingers today, and does so within me, but again, I think I mostly complain when it seems like the blend between techniques is not great.
And I reckon Oblivion Island: Haruka and the Magic Mirror brings the two approaches together nicely indeed. Even if the character models have that CGI-smooth look, there’s still a lot of texture and depth to them and the backgrounds and props, and not just courtesy of the lighting either I reckon.
So, finally, I’ve finished all of my tangents – and as it turns out, it took me a really long time to say that I enjoyed this fairy-tale CGI anime and think it’d probably be pretty suitable for kids, just not the really, really young.
[This is another entry in a challenge (that I hope to one day finish), where I have set myself the goal of watching something for each letter of the alphabet – you can see the list over here if curious].
To begin, I thought I should note that this is the Disney film where the team emotionally torments that poor chipmunk character, and also mention that The Sword in the Stone isn’t an exploration of the Arthurian legend.
Instead, I think you can consider it more of a series of fun, loosely connected sequences put together to delight young children with colour and slapstick. Which is not a bad thing at all, and it was a film I watched over and over as a kid on my grandmother’s TV, so I have fond memories indeed!
And it’s always great to see Disney’s love of forests on display too, something I notice and compare each time I watch a Disney film. Most of Arthur’s transformations make for exciting scenes but as an adult, I could feel certain moments starting to drag a little, and others felt a little rushed compared to what I sought from a King Arthur/Merlin tale.
One scene that sticks around a little long for me is obviously the squirrel one, whereas anything in the city tends to be a more rushed. Having Wart’s character voiced by three actors (including two brothers which was cool) made the variance between them quite stark, even too stark at times.
Overall, I don’t want to call The Sword in the Stone a bad film but there are enough better Disney ones to maybe seek out first. I still enjoyed the moat chase and the dueling magicians (when Merlin confronts Madam Mim) but I wasn’t enchanted this time around.
I believe Treasure Planet was at one point among the most expensive animated films ever made, and while that obviously didn’t automatically make it brilliant, I think the movie is still pretty great.
Treasure Planet (2002)
Equally, it’s ‘under-performance’ box-office wise doesn’t automatically make it poor, either.
To me, this early 2000s era of Disney is kind of a push toward making animated films for somewhat older audiences. This one and Atlantis or even Hercules perhaps, seem to point to that (since-abandoned) trend, but most folks consider the time period as a slump for the company.
Still, tweaking Robert Louis Stephenson’s Treasure Island and transferring it into a sci-fi setting definitely let the artists showcase a new world and fun ideas (like the solar surfing) while at the same time holding onto a tried and true storyline.
For me, everything pretty much works great in the change from sea pirates to sky pirates.
There are a few aspects I didn’t love (like poor old Ben), but they were minor. One thing that stood out were the performances, especially Brian Murray as John Silver and David Hyde Pierce as Dr Doppler, though it was impossible not to hear Niles Crane the whole time 😀 (I was also thrilled to recognise Roscoe Lee Browne as Mr Arrow.)
While I’ve hinted at the maybe slightly older audience here, our hero Jim never crosses over into what could be called ‘cold-blooded, weapons-based violence’ – even to save himself. So that’s one reason for me to note that it’s still clearly a PG text, but that’s not a mark against the film either.
There’s a classic, adventure mix of action, suspense, mystery and exploration in Treasure Planet but above all for me, I think it’s the mentor/surrogate father figure relationship that keeps everything together.