Cosmic Princess Kaguya!

 Cosmic Princess Kaguya! has been hanging around Netflix ever since January, but I didn’t have time for it then. Better late than never, I suppose.

Iroha Sakayori is a high-schooler living by herself in Tokyo. Between her schoolwork and odd jobs, she’s running on fumes by the time she finds a baby inside a utility pole. The guest ages rapidly into Iroha’s peer within a matter of days. It turns out she’s from the moon, much like Princess Kaguya from the ancient fairytale The Tale of the Bamboo Cutter. And Kaguya is what Iroha names her.

To keep Kaguya busy, Iroha introduces her to her favorite virtual world, Tsukuyomi. Its virtual administrator, Yachiyo Runami, announces that the most popular streamers will get to perform a concert with her. Kaguya gets Iroha team up as a streaming duo to win that contest. Overtime, Kaguya and Iroha become besties, perhaps more.

Meanwhile, Kaguya’s fellow Lunarians want to take her away, which is how the fairytale ended. This Kaguya doesn’t want her story to end like that. But will her friends be able to defy her destiny? There’s also much more to Yachiyo than meets the eye…

The main draw of Shingo Yamashita’s directorial debut is Iroha and Kaguya’s relationship. I’m sure you’ve probably seen a Manic Pixie Dream Girl relationship before. But how many of them are based on ancient folklore? Seriously, they have great chemistry, even when Kaguya indirectly irritates Iroha. They spend most of the movie hanging out together, sometimes with Iroha's gal pals, Roka & Mami, which is pretty fun. Deep into the film, when they start holding hands, you’ll be hoping their tale ends differently. Without this endearing relationship, the film’s needlessly massive 142-minute runtime would have been unendurable.

So, why else the long runtime? There are a few epic online battles, most notably one set in a tower-defense game called Kassen and one against the Lunarians during Kaguya’s last concert, which go on for quite a while. The latter battle, which adapts the fairytale’s climax, results in the most viciously convincing fake-out ending I’ve ever seen. Just when it makes you think it's over … turns out there’s a half-hour left! It then runs on fumes for the final stretch, as we get stuff like a timey-wimey ball thrown in. They really should've been folded in earlier. That said, Yachiyo's big secret makes some decent sense.

Our heroines' streaming rivals are a trio called Black OnyX, whose leader, Akira Mikado, is Iroha's IRL brother. He's pretty important to the plot, but his buddies - the brothers Rai and Noi Komazawa - are mostly just there. We don't even get to see the Komazawas IRL until the epilogue! They're still pretty decent guys, though. Iroha and Mikado's mother is fine, though we also don't get to see much of her. The same goes for Kaguya and Yachiyo's virtual buddies, InuDOGE & Fuji - there's a reason why I grouped them together. I think I've covered all the characters.

Composer Hiroaki "Conisch" Konishi gives us a nifty techno-traditional score. I must point to the intro, when we're introduced to Tsukuyomi, as a major highlight. The numerous songwriters are all associated with Vocaloid, which are personified voice synthesizers/virtual pop stars (they had a movie last year - Colorful Stage! - which I skipped.). I probably would gravitate to these peppy songs more if I wasn't too old. I still liked the production design for Tsukuyomi, with its futuristic feudal Japan aesthetics and animal-esque avatars. The Lunarians are so unearthly, in more ways than one, that they own their limited screentime. Much more appealing are the film's bright color palette, as well as our heroines exaggerated facial expressions. 

Cosmic Princess Kaguya! is a long sit, so I hope you make yourself comfy. Just focus on its two heroines and you'll be fine. Nobody is detestable, not even the Lunarians, so there's that. With Colorful Stage! now on home media, maybe I might review it this year, too. But I think I have another musical extravaganza on the docket. I'll give you a hint - it's not an anime.

That's it for now.

Scarlet

 You know, I didn't want Mamoru Hosoda's latest anime epic, Scarlet, to straggle on my review calendar. I was hoping to review it last December, when Sony promised it would come out on the twelfth. But then ...

1. Its wide release went to February 6th.

2. When that day came, it was only available in one theater with two showings a day. One in the afternoon, the other late at night. Said theater is nearly an hour's bus ride, and my local bus system doesn't run all day.

3. On the following week - its actual, for real, wide release date - it still didn't play near me. And that one theater? It didn't have it anymore!

4. Which leads me once again to Amazon, which finally knocked down the rental price after a month.

The Review

In this take on Hamlet, Princess Scarlet (Erin Yvette in the dub) of Denmark lived a happy life with her father, the Good King Amleth (Fred Tatasciore). How good is he? When his evil brother, Claudius (David Kaye), has him executed on treason, nobody buys the charges. Scarlet then bides her time to avenge her father's foul and most unnatural murder. Unfortunately, when she finally gets the chance, Claudius hoists her by her own poisoned cup. 

Scarlet finds herself in The Otherworld, which is pretty much limbo for souls across time and space. Claudius is here too, and he’s looking for the literal stairway to heaven. But if Scarlet can kill him again beforehand, he’ll fade into literal nothingness. Scarlet sets out to do just that. Along the way, she meets Hijiri (Chris Hackney), a pacifist paramedic from modern day Japan. Scarlet's quest for vengeance is thrown for a loop once she hears her father's last word: "forgive." She'll have to figure out what that means before she fades into nothingness as well.

If there’s any reason to watch it, it’s for the visuals. The technical detail in The Otherworld and its domains is nothing short of awe-inspiring. The infinite desertscape is just as striking as the gateway to infinity. The sky looks like an ocean, where a thunderous, vaguely explained dragon, flies through. The character animation, a blend of 3D and 2D aesthetics, is a bit rough, but it’s easy to get used to it. Meanwhile, the land of the living is animated in a more recognizable and colorful 2D style. Taisei Iwasaki's ethereal - sometimes haunting - score fits right in with the visuals, even if they're often overshadowed by the sound effects. 

Because it has a hard time explaining itself. Why Claudius is suddenly in The Otherworld is a mystery that's somewhat solved in the coda. But how did he build his own Kingdom of the Undead so suddenly? How did Amleth's four executioners wind up in The Otherworld too? On whose side Scarlet & Hijiri on when Claudius' undead army starts storming for Heaven? What's the deal with the old woman (Juanita Jennings) who pops in and out? And what exactly is the Dragon? Hosoda probably wants you to figure them out for yourself. But even the smartest viewers might have a hard time wrapping their heads around the nature of Amleth's last words. After all the glorious fighting and Claudius being such a despot while alive, Scarlet forgiving him is a bit narratively underwhelming. I say a bit, because it leads to an interestingly proactive take on Hamlet Act 3, Scene 3.

It's pretty easy to get behind Scarlet's quest for vengeance. On the one hand, she and Amleth share an endearing father-daughter relationship in the brief screentime they have. On the other hand, Scarlet's quest hasn't diminished her capacity for kindness, as evidenced by her interactions with a refugee girl. She and Hijiri have great chemistry together, even if it's somewhat hobbled by the screenplay. Midway through, Scarlet sees herself dancing with Hijiri in his time in an actual musical number (Aaron Encinas sings for Hijiri). As odd as it is, it's still one of their best moments together, with a close second being their last. Again, a better fleshed out script could have made it perfect.

The film's renditions of Rosencrantz & Guildenstern (Ian Cardoni & Michael Yurchak) are as dopey as they are legitimately creepy. They're responsible for one of the film's biggest gut punches; the other one is the manner of Hijiri's mortal death. Queen Gertrude (Michelle Wong), despite being practically complicit in Claudius's coup, just frowns around for most of the film. It kind of makes it funny when she runs off at the end. Voltemand & Cornelius (Jamieson Price & Tatasciore), the more sympathetic of Amleth's executioners, make for pretty good allies. The other two executioners, Polonius & Laertes (Jason Marnocha & Yuri Lowenthal), are practically unrecognizable from Hamlet, but are still decent bad guys.

Despite its imperfections, I'm at least relieved to have finally seen Scarlet. Sure, it doesn't live up to Mirai or especially Belle, but it still exemplifies Hosoda's technical prowess. It's worth checking out at least once, specifically on the biggest screen you have. You'll understand why once you see The Otherworld. I think I've said enough.

The Drama

 It’s been a few weeks now since The Drama came out, which is probably enough time for its “big twist” to become public knowledge. I guess it’s about as good as time to check it out, so let’s do it.

Kristoffer Borgli (Dream Scenario) introduces us to Charlie (Robert Pattinson) and Emma (Zendaya) as they “meet cute” at a Boston Coffee Shop. A few years later, it’s T-Minus one week before their wedding. Charlie has writers block over his big speech, but that pales in comparison to its big twist. That comes during a night out with fellow couple Rachel (Alana Haim) and Mike (Mamoudou Athie), the maid of honor and best man respectively. Rachel proposes that they all share their worst deeds. 

Mike’s ex provoked a stray dog, so he used her as a human shield. Charlie “might’ve” cyberbullied a classmate out of town. Rachel locked a “slow” neighbor in an abandoned RV for days. Emma planed a school shooting, but ultimately backed out for …

Wait, what?!

The big twist touches a raw nerve for Rachel, whose cousin Sam (Anna Baryshnikov) was paralyzed in an actual attack. Charlie crumbles under the weight of Emma’s potential dark side. Mike is just there, though he's a good guy. Anyway, everyone’s just going to have to get through the week, somehow. But will Charlie and Emma even have a happily wedded life afterwards? Yeah, that twist is a lot to take in, isn't it?

Besides the twist, we also have Borgli & Joshua Raymond Lee’s disorienting editing style to consider. It likes to jump back and forth between time in short bursts. It also likes to make us question if we’re watching reality or proverbial imagination. It’s definitely the latter, for instance, when Charlie imagines the younger Emma (Jordyn Curet) in the present one’s place (I don’t know why). They and the audience are haunted by disturbing hallucinations, including a wedding day shooting. It’s such a chronological frenzy that, when the big day happens, I was briefly unsure if it was for real. Its narrative unease is accentuated by a stellar technical crew, especially composer Daniel Pemberton, cinematographer Arseni Khachaturan and the sound designers.

Amongst the main four, I found Emma to be the most sympathetic. While Rachel was very justified in being upset, Emma was the only one at the table who was remotely remorseful for her actions (everyone else, including Rachel, brushed theirs off with essentially "we were young and stupid."). She ultimately backed out of her plot for a somewhat selfish reason, though a little more narrative tissue could've easily strengthened it. Still, there are some great laughs when an uncooperative computer disrupts her filming her manifesto. She and Charlie also have some great chemistry together, especially during the bittersweet, yet hopeful ending.

What else do we have here? There's a wedding photographer who frames a session with a very unfortunate choice of words. Sam, in her only real scene, shares it with Charlie, and they're pretty good together. Misha (Hailey Gates), Charlie's co-worker, is quite sympathetic when she gets roped into this mess. Her boyfriend, Blake (Michael Abbott Jr.), factors into the wedding's disastrous conclusion. Charlie, by himself, gets his best scene when he atones for another misdeed and defends Emma during his big speech. Yeah, I think that's it.

So, do you want to RSVP to The Drama? It's not an easy film to like, especially with its big twist, but its hopeful finale might make it worth it. Sure, you probably might have other ways to spend 106-minutes, and I'll let you RSVP to those. As for me, I have to get through more reviews. The month is almost done, and this is my second?! Let's get going!

The Super Mario Galaxy Movie

So, I've been thinking.

With this movie being The Super Mario Galaxy Movie, where will they go from here? The Super Mario Land Movie and The Super Mario World Movie are certainly downgrades; maybe The Super Mario Odyssey Movie is next? But you probably want to know about this movie first. Let's a-go!

Mario (Chris Pratt) and Luigi (Charlie Day) are now successful plumbers in the Mushroom Kingdom. During a job, the Marios find Yoshi (Donald Glover), a green dino with quite the story to tell (too bad they don't understand it). After that, they head back for Princess Peach's (Anna Taylor-Joy) birthday party, which is where the plot finds them.

The evil Bowser Jr. (Benny Safdie) wants to break Bowser Sr. (Jack Black) out of his playset prison. He also wants to build a "Boomsday Cannon" to destroy disrespectful planets, for reasons, and he abducts Princess Rosalina (Brie Larson) to power it up. One of Rosalina's adopted star kids, a Luma, asks one Princess to help another, and she accepts. Bowser Jr. gets back his old man, while the Marios & Yoshi join Peach & Toad (Keegan-Michael Key) on their mission to Jr.'s base planet. That's basically it, and it's a lot.

What else do we have? We have some sparks fly between Mario and Peach; it's not much, but they're great together. You'd almost think that Bowser will turn over a new leaf when he saves the Marios & Yoshi from prison (long story). But he snaps back to evil once Bowser Jr. gets him back; but, again, they're great together. We also get King Wart (Luis Guzman) from Super Mario Bros. 2 and his minions. They're not even here for a villain team-up. Worst of all, there's a major revelation between the Princesses which lands with little fanfare. It should have had a bit more time to breathe.

So, is there anything plot related that worked? The Marios have more screentime together, all of it fun; Luigi and Yoshi surprisingly make good pals. Yoshi's recap of his adventures since he hatched in the last film's stinger is a great gag. Some of its best battle scenes include Peach and Toad's battle in Wart's Casino planet, as well as the final battle with the Bowsers. Some of its most amusing cameos include some roboticized Minions, R.O.B. the Robot (Ed Skudder) and even the Pikmin. Standing above them, however, is Fox McCloud (Glen Powell) of Star Fox, whom Peach hires as a pilot. His cool personality, energetic origin scene, and flight prowess is enough to make one want a Star Fox movie. 

The different locales in this movie's Galaxy look great. Besides Wart's planet and The Mushroom Kingdom, we also get the Honeyhive Galaxy (three guesses to why it's called that); Tostarena (where the Marios meet Yoshi); the Gateway Galaxy (a universal hub); and Planet Bowser. Planet Bowser is home to my favorite gag, where Bowser Jr. watches Mario and Peach brave his death traps in 8-Bit form! As with the first movie, it makes great use of game power-ups, sound effects, and Koji Kondo's soundtrack into Brian Tyler's score. The plot may be too busy to make sense, but at least Illumination's technical goodness is still there.

All in all, The Super Mario Galaxy Movie is a harmless time. This is clearly made for younger filmgoers, particularly those who have kept up with newer Mario games. They'll have fun catching the references, while their savvy parents might have fun helping them with others. If they can understand the plot better than me, that's fine. I'll certainly give this another go once it hits home media, especially since my screening's projector gave out when the credits started. I'll be waiting.

GAME OVER (FOR NOW)