Ni no Kuni Review [Collaboration with Curtis from Iridium Eye Reviews]

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 Godfathers right 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)

Adjustable points:

Pros/add

-Add 1 point if you like classic hero stories
-Add 1-2 points if you’re a fan of fantasy anime.

Cons/subtract

-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)

Nasu: Summer in Andalusia (Nasu: Andarushia no Natsu)

I end up spoiling the ending to this OVA just below these first pics, and so if Nasu is on your list then maybe read no further! Otherwise, I’m going to mention probably my fav part about this cycling drama, which is something that happens at the end.

Nasu: Summer in Andalusia (Nasu: Andarushia no Natsu) 2003

Nasu follows pro cyclist Pepe over the course of a single race on the day his older brother marries his ex.

The narrative describes this as Angel having ‘stolen’ Carmen, though she seems perfectly happy – but what I enjoyed was the fact that at the end of the anime Pepe obviously hasn’t forgiven either of them.

Is it petty of him? Warranted maybe?

I can’t decide, because in the OVA I suspect we don’t get the full context (compared to the source material perhaps) but I was sort of pleasantly surprised that there was no use of the ‘forgiveness no matter what’ theme in Nasu.

(And apparently I was so surprised that I’ve got another paragraph about it below, lol.)

It’s possible I expected that trope to appear due to the unwavering support Pepe receives from everyone while he races through the hills outside, and eventually through his hometown, in a compelling race featuring multiple threads. But the theme didn’t show up and I thought that was an interesting move, story-wise.

But getting back to the race itself, it’s not just Pepe vs the other riders, it’s Pepe vs the oppressive heat, vs his own limitations, vs his dream of escape, vs his lingering resentment and even the threat of being fired by his sponsor.

At only 45 minutes long I never felt a lag and throughout the OVA, the art and animation both felt top notch with a nice blend of 2D and subtle CGI to keep things dynamic perhaps – especially once the race hits town.

You’ve probably noticed from the screen caps that there’s a fair Studio Ghibli feel to the colours and character designs, and that might be because Kitarō Kōsaka* directs, and aside from that, his experience really shows in every aspect of the anime.

As a bonus, while knowing nothing about pro cycling prior to watching, I learnt a little during the course of the anime, perhaps enough to better understand a real life race were I to watch one.

Having said that, I don’t think you need to be a cycling fan to enjoy this – it’s a great, short drama with a vibrant setting and tension-filled race…

… and yet, is the cat really called Negro?

4 Stars

Arrietty (Kari-gurashi no Arietti)

Arrietty (Kari-gurashi no Arietti) 2010

Before Hiromasa Yonebayashi became a founding member of Studio Ponoc, he was working at Ghibli on a lot of their blockbuster films. Arrietty was his debut as director, with a screenplay that Miyazaki adapted from The Borrowers. (Another example of his interest in storytelling from the UK).

This one is not in my top five Ghibli films, but I do prefer Arrietty to Yonebayashi’s other feature for the studio, When Marnie was There.

Ultimately, what keeps this one from climbing up the ranking in my mind, is the ending, which felt a little flat compared to the rest of the film… but I won’t try to claim that it’s a bad ending, because that’d be an exaggeration, I reckon.

What I loved most was the clear ‘world-within-a-world’ that existed in the film, with the borrowers having not only their own home and cast-off possessions, but that different perspective on human homes.

It’s a warm, intimate world where little is wasted and ‘simple’ tasks take on more epic dimensions – like that first quest for sugar. (Those scenes show the same beautiful attention to detail Ghibli is known for, mirrored in the natural world too, but for me I think of the house most whenever I remember Arrietty.)

I won’t ramble on much longer, but the tension between the Arriety and Sho’s storylines eventually meeting is great, and I always find it sad but sweet when he tries to switch the kitchen around. But of course – in the end, he cannot help Arrietty and her family, as the power of one small boy cannot fully stand up to the cruelty of the adult world.

Still, Arrietty isn’t a tragedy, so there’s an ultimately uplifting ending in store if you’ve never seen this one 🙂

4 Stars

Ocean Waves (Umi ga Kikoeru)

Ocean Waves (Umi ga Kikoeru) 1993

Ocean Waves is a teen romance with a love triangle, which is where much of the drama comes from, though there are a few comedic moments too (like the bathtub-as-bed offer).

Compared to other Ghibli films it’s perhaps a little slight, being a bit shorter (as most TV movies are) and having a fairly narrow focus in terms of its story, but it’s still quite lovely visually.

Usually that’s enough for me to really enjoy an animated work on at least some levels but I can’t help but think of Rikako as a villain in most ways, which marred my enjoyment. Sure, it’s a story about teens and the things that hold them back from being honest… but still, I didn’t end up seeing her as someone Taku or Yutaka should have fallen for.

Having said all that, Ocean Waves is by no means a poor film and many folks regard it as an underappreciated part of the Ghibli catalogue. I guess it is in a way, since fewer people tend to mention it and I don’t believe it’s had a dub just yet. The ‘fathers’ of Ghibli were looking to develop successors in the early and mid 1990s and they had Tomomi Mochizuki in to direct Ocean Waves, and I recently learnt that other studios were involved in the actual production too.

Definitely worth a look for completionists perhaps, or maybe folks interested in 1990s Japan as there’s a bit of slice of life detail too.

3 stars

The Red Turtle (La Tortue Rouge)

The Red Turtle (La Tortue Rouge) 2016

It’s always exciting to see animation helmed by folks from beyond Japan and the US, since those are the two production locations I’ve been most exposed to.

Having said that, Studio Ghibli is a co-producer but the look and feel of this feature film definitely reveals more of Dutch animator Michaël Dudok de Wit’s hand, and an overall European aesthetic. For me, with my limited knowledge of animation in the wider world, I saw hints of Herge in the character designs but that’s not really important.

I’m trying to be brief for a change (hahaha), so instead, let me leap to a bit of plot – this is a fantasy, but chiefly a drama about a man stranded on an island and who encounters a curiously belligerent (it seems) red turtle. (Thematically, it’s more nuanced than that however).

Switching to the tone of the story I think you can’t go wrong by saying that it can be described as a cross between Castaway and a fairy tale. Yet The Red Turtle is ultimately more uplifting than the Tom Hanks film. Still, it’s fairly downbeat – but I remained enthralled by the visuals once a central mystery was resolved perhaps halfway through.

Focusing on the visuals, aside from the ‘line and dot’ look of a lot of the film, it’s an explosion of light and colour without being gaudy; it remains so natural, becoming almost hyper-natural in some ways. From the sand, water and forests, it’s like a work of art. There’s also a lot of dramatic composition too, with wide and sometimes extreme establishing shots to really drive home the idea that humanity is just one part of the world. Yet it’s hardly a preachy film, considering one feature is a lack of dialogue.

Very much worth seeing if you’re a fan of the art of animation.

4 Stars

Grave of the Fireflies (Hotaru no Haka)

Grave of the Fireflies (Hotaru no Haka) 1988

I wanted to watch this again before writing a new review… but I just couldn’t manage it, the story is too harrowing.

And I guess, due to that fact, I believe the film does work as an anti-war statement – despite that not being the intent of the movie. (Director Isao Takahata mentioned that he does not see Grave of the Fireflies that way and I certainly won’t argue that he also succeeded in critiquing the follies of pride so, so well).

5 Stars

The Cat Returns (Neko no Ongaeshi)

The Cat Returns (Neko no Ongaeshi) 2002

After 1995’s Whisper of the Heart I imagine at least a few folks were saying ‘I wish we could read one of Shizuku’s stories about Baron’ and luckily, that’s the premise of The Cat Returns.

It’s a loose sequel to Whisper of the Heart (as the carry-over characters are limited to the Baron and Muta) and it follows more of an adventure/isekai storyline – and those aren’t negative differences for me. The movie is also a little shorter than most Ghibli films but Aoi Hiiragi is still involved with the writing so the Baron is his usual charming self.

As ever, the animation is great. Both the real world and the Cat Kingdom that main character Haru finds herself dragged into are bright and memorable but for me, despite Haru being a good lead, I was mostly thrilled to see Baron get to take (mostly) centre stage. There’s daring rescues, thrilling chases and even a bit of swordplay, and also comedic moments here and there too – not just slapstick, but also things like the neat little pun in the form of the CIA-like tuxedo cats.

And in a way, the film is worth it to see Muta in action too 🙂

During the years of Ghibli powering along and releasing back to back blockbusters, it seemed like maybe there wasn’t much time for the leaders of the studio to support new directors as much as they’d perhaps like… although, I haven’t read deeply on the subject but I’m very curious nevertheless.

Because obviously Miyazaki, Takahata and Suzuki have at times given the reins to other staff members and results have mostly been great, I reckon – especially with the most obvious choice in Yoshifumi Kondō (who directed Whisper of the Heart.) Here, in The Cat Returns, Hiroyuki Morita was given director’s chair. Over the years, he’d been involved in a lot of impressive titles before being given the spotlight, like Akira, Lupin III, Memories, My Neighbors the Yamadas and GITS2 among others.

In the end, I don’t know if The Cat Returns ended up being overall as enchanting for me as Whisper of the Heart but obviously they’re different films by design, and The Cat Returns is still worth watching at least once.

3 Stars

Porco Rosso (Kurenai no Buta)

Porco Rosso (Kurenai no Buta) 1992

Ah, the Crimson Pig – another classic Ghibli film, and another chance for Miyazaki to explore romance and the thrill of flight, along with the planes themselves too.

Having opened with that statement I’ll quickly add that Porco Rosso is still most definitely an action film but there’s a real sense of a sweeping, even war-time Hollywood romance to a lot of the story and setting, which is no surprise given the historical aspects.

Doubtless everyone is aware that this movie was based on a Miyazaki manga and commissioned (at first) as a shorter film for flights upon Japan Airlines. But it quickly grew into a full-length feature and I reckon it’s one of his best, though Porco doesn’t get the same attention as say, Spirited Away, Howls or Totoro.

In brief, Porco Rosso is the story of an Italian ace fighter pilot who has turned his back on humanity and even cursed himself into having a pig’s head. He now works the Adriatic sea as a bounty hunter and struggles to deal with his old life – perhaps chief amongst his worries is former love Gina (voiced in the dub by Susan Egan who you might recognise as Lin from Spirited Aaway).

Again, I’ll skip away from too many details of the plot but there’s a lot of comedy in the movie too, mostly provided by Porco’s rival, the ego maniac (yet somewhat honorable) Curtis.

But there’s plenty of room for slapstick too and some good one-liners, and perhaps most amusingly, Miyazaki gets to expand upon the comical (even silly) fist fight routine he also used in Laputa: Castle in the Sky years earlier.

But I think most of what really enthrals me each time I see the film is the stunning scenery – it’s an idealised but still enchanting version of Europe – even with the fascists. And having Porco’s plane painted red really makes it pop against the sunny blues and greens; I guess it’s an obvious but still effective choice.

Of course, being a visual medium I’m gonna mention the actual plane designs and attention to detail there too, which seems stunning, and the dogfights are always fantastic. I wish I knew more about aviation to really appreciate the work I think Miyazaki and Ghibli put in to those aspects, actually.

But another aspect that stands out to me was the dub – it felt like, post the success of Spirited Away, Disney decided to put a fair bit of money behind the voice acting.

I always feel a little sad when I don’t give the original actors enough credit, since they deserve to be heard, but I’ve grown really accustomed to Michael Keaton as Porco and Cary Elwes as Curtis (in fact, all of Cary’s work for Ghibli feels perfect to me :D). There’s even a gruff Brad Garrett right around the peak of Everybody Loves Raymond in a smaller role.

Aside from the adventure, romance and aerial battles, this might be Miyazaki’s most intertexual film for Ghibli, since it comes jam-packed full of references – I’m sure I’ve missed some but it feels like there are so many: Hollywood-style movie posters, Gina’s lounge-singing scene, the Disney and Betty Boop homages in the cinema, the historical context of course and the haunting Roald Dahl scene to name a few.

I guess there’s also a few in-jokes, and maybe Fio hearkens back to Nausicaa somewhat, in the way that the fist fight looks back to Miyazaki’s earlier work too. In fact, there’s one of his quotes that I found when I went digging:

“When a man becomes middle-aged, he becomes a pig”

And I wonder if middle age (I guess he was around 50 at the time) influenced a lot of the nostalgia found in the movie? (As opposed to Miyazaki claiming that he himself was a pig).

The richness of the allusions continue to Joe Hisashi’s soundtrack too – which is perhaps not as lush as that of Howl’s Moving Castle, but when I listen to it now I wonder if it isn’t more romantic? So much is beautiful:

But there’s also the moments like this, to circle back to the allusions, where it seems Hisaishi is channeling Flight of the Bumblebee:

And I’m sure there are other aspects I missed there, but since this review ended up being far longer than I first imagined, I think I’ll wrap it up now and just say that I love this movie 😀

5 Stars

Laputa: Castle in the Sky (Tenkū no Shiro Rapyuta)

Laputa: Castle in the Sky (Tenkū no Shiro Rapyuta) 1986

The first official Ghibli film, Laputa: Castle in the Sky is a steampunk adventure that will feel similar in some ways to Miyazaki’s previous epic, Nausicaa of the Valley of the Wind, though Castle in the Sky is overall, a lighter story due to the inclusion of more comedy.

It’s one of the first things I noticed when I originally saw the film actually – the slapstick and wacky characterisation even feels cartoonish this time, as if those aspects were pitched at a younger audience perhaps, but the themes and trials the characters go through are just as serious as in other Miyazaki works.

There’s more than a few echoes of Future Boy Conan too (which shouldn’t be a surprise of course) but the steampunk elements are more grounded, if you can permit me a pun, featuring one key setting of a mining town and the underground.

Of course, the classic Miyazaki delight with the power and nature of flight still features heavily in Castle in the Sky too and the ‘older civilisation with greater tech’ trope is in full force, one I suspect I will never tire of!

There’s plenty of action like chases and fights, along with top notch animation as to be expected, and I still get a bit of a chill when the Robot first comes to life and goes on its rampage.

In fact, I think the most memorable aspect might just be the Robots and the ruins of the flying city – I reckon I was almost transformed into a kid when I first saw those scenes; the sense of wonder is so strong and I suspect, even if people don’t know the film they know what the robots look like.

It was also pretty cool to see what I still think of as the clear inspiration for both Pikachu and Eevee, in the form of the Fox Squirrels from Nausicaa making a cameo in the garden scene.

Actually, I shouldn’t forget Dola and her pirate gang, she’s one of the best Miyazaki characters around – she tends to steal pretty much all the scenes she’s in 🙂

Anyway, on the off chance that you’ve never seen this adventure there’s lots of other aspects to enjoy – for instance, if you’re watching the dub, Mark Hammil is a great villain and whichever audio track you choose you can enjoy more stirring music from Joe Hisaishi – my favourite is the theme:

(It’s actually the second song here – sorry :D)

5 Stars

Pom Poko (Heisei Tanuki Gassen Ponpoko)

Pom Poko (Heisei Tanuki Gassen Ponpoko) 1994

I guess you could say Pom Poko appeared right in the middle of a golden period for Ghibli, and from a production standpoint it’s just as wonderfully animated as any others from the time.

I also think it’s probably just as (or more) imaginative to my eye, in part due to the wealth of mythological creatures featured within.

But even though I still enjoy the movie I don’t think it’s my favourite by Isao Takahata and I wonder if that was due to my expectations upon first viewing, rather than any real deficiency in the film.

For instance, I think I unfairly expected more whimsy from Pom Poko upon first glance, both due to Ghibli’s general history and the animal cast.

Of course – that was always my error, since everyone who has seen Pom Poko is well aware that it’s very much a David vs Goliath story, with the animals fighting against humanity’s quest to conquer wild spaces, and without spoiling the ending, I guess I’ll have to just say the words ‘Grave of the Fireflies’ to offer a general clue.

And so my misconceptions were all my fault and truly, there is whimsy. The tanuki can be just as playful as the kitsune are sly, and there is comedy too but I think of the movie as more of a drama, and one which wears its environmentalism very much upon its sleeve – even including a fourth wall break.

Again, it probably sounds like I don’t enjoy Pom Poko but that’s not true – I wonder if maybe I’m just comparing it unfairly to other works from the studio? Or maybe I wanted a different ending for an underdog story, even if I knew it wasn’t possible all along.

3 Stars