The Secret of NIMH (1982)

The Secret of NIMH (1982)

8/10

Starring the voices of

Elizabeth Hartman

Hermione Baddeley

John Carradine

Dom DeLuise

Derek Jacobi

Directed by Don Bluth

The Secret of NIMH is a very deep tale of a secret society of rats and their connection to a certain Jonathan Brisby, a mouse. For an animation, I have to be honest, this is very surreal. The whole plot is deep, strange, and the tiny thread of the challenge faced by Mrs. Brisby concerning her son Timmy is what ties the whole story together. What we’re watching is a mother trying to save her son.

Based on Mrs. Frisby and the Rats of NIMH by Robert C. O'Brien, a children's book written in 1971, the movie is a wonderful project by Don Bluth, his first full-length film, which he wrote, directed, and produced.

This animated adventure starts with a brief tale of Mrs. Brisby’s son, who is ill with pneumonia. The whole movie then grows into something with many characters, secrets, and an adventure, all centered around this main issue: Timmy being sick. Mrs. Brisby’s need to find a way to save her son is the tether of this animated film, as we explore many things and get to know more about NIMH, the rats, and The Great Owl.

I can say, even though this was not done by Disney, it really trumps some of the works done by the Mouse House to date when it comes to the plot. As for the animation, it’s first class for any animated film done in the 80s. The great plus for me in this animated masterpiece is the way the story is captivating, secretive, and genuinely mysterious, especially about what NIMH is and why the rats acted so strangely. That powerful writing makes this something an adult will enjoy viewing, while the comic aspects and the adventure are gentle enough for children to enjoy.

Mrs. Brisby’s need for a solution, other than listening to the wise mouse Mr. Ages, who told her to let Timmy rest and give him some medicine, comes from the fact that the farm she lives on is being ploughed. We learn from the film that ploughing has come early, and Mrs. Brisby can no longer wait for Timmy to get well before moving. She has to move immediately. The problem is, Timmy’s illness could lead to his death if she tries to move him. Mrs. Brisby’s courage and her love for her son are the inspiration for this adventure, and the movie never stops unveiling things, even when you think it’s done and there’s nothing more to know.

Tokyo Godfathers (2003)

Tokyo Godfathers (2003)

7/10

Starring the voices of

Tōru Emori

Yoshiaki Umegaki

Aya Okamoto

Directed by Satoshi Kon

Tokyo Godfathers felt more like I was watching a movie than an animation. I loved how this film had some loose strings, almost like it didn’t care where everything was going. Then, as the story unfolds, you see how everyone’s lives intertwine, forming a complete ball of strings. This makes it one of the best anime movies you can watch. The script was co-written (with the director) by Keiko Nobumoto, a notable screenwriter behind Cowboy Bebop, Samurai Champloo, Space Dandy, and more. So, you already know you’re getting a quality screenplay.

The take it had on life on the streets—following two grown men and a young woman—was realistically scary. These three homeless characters survive by scavenging through other people’s garbage and selling what they can at recycling plants. You’ll also find them at shelters trying to get some food before heading back to their “homes,” which are cardboard boxes.

As we dive into the lives of these three (an alcoholic named Gin, a former drag queen named Hana, and a teenage runaway girl named Miyuki), their world is turned upside down when they hear a baby crying in a pile of garbage. Knowing they can’t just ignore it, Hana picks up the baby and believes fortune has smiled on him, giving him the chance to finally be a mother. Hana is gay, by the way, and is ready to do whatever it takes to save this child’s life.

The other two try to convince Hana to take the child to the police, but Hana, afraid the baby will get lost in the system, decides to either find the mother or raise the child himself. Using the clues they find with the baby, and with the help of Gin’s past parenting experience, they manage to care for the baby while searching for its parents. One of the clues leads them to a picture of a couple, which they believe must be the child’s parents.

Their journey takes them through a series of wild encounters: they meet a mob boss, Miyuki gets kidnapped while holding the baby, and we learn more about the backstories of all three characters and why they left home. The most shocking revelation is about Gin, which causes a rift between him and Hana after the group discovers the lies he’s been telling. In the climax, the trio encounters a mentally unstable woman who puts the baby’s life at risk, leading to a dramatic and heroic rescue.

The movie dives deep into the themes of dysfunctional families and how people sometimes form new families with strangers to escape the issues they face with their real ones.

Let Him Go (2020)

Let Him Go (2020)

6/10

Starring

Diane Lane

Kevin Costner

Lesley Manville

Directed by Thomas Bezucha

Let Him Go is a tragedy that doesn’t spare any souls. This western drama starts off strong with a captivating opening, but it dives into a prolonged and somewhat lackluster portrayal of the struggle to save someone from an abusive relationship. While the theme is important, the movie’s execution feels dull at times. The ending, though surprising, still feels like the only logical path the story could take.

The movie is based on Larry Watson’s 2013 western drama novel of the same name.

Set in the 1960s, the story begins with the introduction of the Blackledge family: Grandpa George (Kevin Costner), Grandma Margaret (Diane Lane), their son James, his wife Lorna, and their young son Jimmy. In a matter of minutes, we see James’s tragic death, Lorna becoming a widow, and then, three years later, remarrying a man named Donnie Weboy.

George and Margaret are not fond of Donnie, but Lorna has her own life to live. Soon, however, Margaret witnesses Donnie abusing both Jimmy and Lorna on the street. Unable to ignore what she’s seen, she tries to visit them, only to discover that they’ve left town without leaving a word about their whereabouts.

Determined to find her grandson, Margaret convinces George to accompany her on a search for Jimmy and Lorna. They use George’s connections as a retired sheriff to help track down Donnie and his family.

This is where the movie begins to lose its momentum, dragging into a slow and uneven pace. The excitement set up in the beginning, with Margaret refusing to let Donnie’s behavior slide, gets bogged down by the unnecessary and exaggerated portrayal of the Weboy family as irredeemable villains. Perhaps this stems from the book or the screenplay adaptation, but it feels overdone and tedious. Along the way, they also meet a young man trying to stay under the radar, but even this encounter is stretched out longer than needed.

When we finally meet the Weboy family, the movie paints them as people deeply entrenched in a warped ideology, struggling to distinguish right from wrong. They come across as a clan that’s beyond redemption, almost caricature-like in their moral failings.

The ending takes a tragic turn, bringing the story to its inevitable conclusion. While the finale is emotional, the pacing issues in the middle of the movie weigh it down. Overall, I’d rate Let Him Go a six out of ten. It’s worth a watch, but keep a remote handy to skip over the slower bits—unfortunately, those dull moments are scattered throughout the midpoint of the film.

Run (2020)

Run (2020)

7/10

Starring

Sarah Paulson

Kiera Allen

Directed by Aneesh Chaganty

Here’s a fine psychological thriller to check out. Sarah Paulson (as Diane) delivers a performance that’s nothing short of legendary, as expected. The movie masterfully builds tension, steadily increasing the viewer’s pulse rate as everything escalates toward a gripping climax. With just two main actors carrying most of the film, Run makes the best use of its small cast and likely modest budget, creating a memorable and intense experience.

Contains Spoilers

The stakes are high for the two central characters as they battle in a life-or-death scenario, leaving viewers on edge as they wonder who will come out on top. Run is a fun and thrilling watch. While I wasn’t completely hooked at first, the subtle discrepancies in Diane’s actions began to draw me in. The film carries a familiar sense of déjà vu for fans of similar thrillers, so I wasn’t entirely surprised when Diane’s condition, factitious disorder imposed on another (FDIA), was revealed. However, the extreme lengths Diane goes to and Chloe’s determination to outsmart her kept me fully engaged.

The movie begins with a heartbreaking scene of Diane crying, presumably over the death of her child. We then jump 17 years into the future, where Diane is attending a support group for mothers. This scene subtly sets the tone that something is off with Diane. Although she puts on a composed façade, claiming she’s confident in her daughter Chloe’s ability to become independent, hints of instability peek through her words.

Chloe, Diane’s daughter, is portrayed as a severely ill teenager. She has asthma, diabetes, and is paralyzed from the waist down. Despite her health challenges, Chloe is technically skilled and has applied to universities, eagerly awaiting her acceptance letter. However, Diane micromanages Chloe’s life to an extreme degree. Chloe is homeschooled, isolated from the outside world, and doesn’t have a phone or friends.

The turning point comes when Chloe, trying to sneak some chocolates, notices that one of her pills is labeled with her mother’s name. Her questions about it are dismissed by Diane, but Chloe’s suspicion grows. Determined to uncover the truth, Chloe investigates the pills and, in doing so, begins unraveling a dark and sinister reality about her mother’s actions.

Once Chloe discovers the horrifying truth about what Diane has been doing to her, the movie takes a sharp and chilling turn. The tension escalates as Chloe fights back, trying to escape the twisted web her mother has spun around her.

We Can Be Heroes (2020)

We Can Be Heroes (2020)

 5/10

 

Starring

Priyanka Chopra

Yaya Gosselin

Andy Walken

Hala Finley

 

Directed by Robert Rodriguez

 

I made a mistake taking the time to watch this movie because I thought it would be worth seeing, but Robert Rodriguez’s superhero film is clearly made solely for children. As an adult, I found myself disliking almost every moment. The theme of power transfer and the way it happens feels like something straight out of a Nickelodeon kids’ show.

The only reason I gave it a shot was Pedro Pascal’s presence (yes, The Mandalorian himself), but even then, he played a very small role as Missy’s father.

The movie’s plot starts off promising, but as it unfolds, it feels like it was written by a child. The ending, which attempts to tie everything together, only makes it worse—it comes across as a time-waster. The CGI is unimpressive, and honestly, it doesn’t even seem like they tried. For a film borrowing heavily from Sky High and Spy Kids, you’d think they’d put in more effort. Sky High handled similar ideas far better, with enough appeal for both kids and adults.

You can’t even argue this was made for really young kids, considering the plot involves alien attacks, a planned escape, and fight scenes. But the fight choreography was so bad it was almost painful to watch. They could have done a better job casting the child actors too—seriously, come on.

The movie is set in a world where humans with powers are the norm. The main character, Missy, lives with her father, who has vowed never to be a hero again due to an incident in their past. Strangely, the heroes in this world all seem selfish and unwilling to work together.

One fateful day, aliens attack Earth and capture all the heroes. Their children are kept safe in the heroes’ headquarters, where Missy meets the other kids and learns about their individual powers. However, Missy herself has not discovered—or may not even have—any powers.

Among the children is Ojo, who doesn’t speak but has the ability to see the future and draw it on a pad. When Missy notices that one of Ojo’s drawings predicts an alien attack on their safe house, she mobilizes the other kids to escape. They’re pursued by men from the heroes’ HQ as they go on the run.

Now, out on their own, the children must find a way to save their parents—and the world.

This movie is pure Robert Rodriguez; he wrote, directed, produced, edited, and even served as the cinematographer. While that’s impressive in terms of workload, it doesn’t make up for the lackluster result.

The movie is streaming on Netflix, but as I said—this one’s strictly for kids.

Soul (2020)

Soul (2020)

7/10

Starring the voices of

Jamie Foxx

Tina Fey

Questlove

Phylicia Rashad

Daveed Diggs

Angela Bassett

Directed by Pete Docter and Kemp Powers

Disney/Pixar have done magnificent work with emotional movies like Inside Out and Up. While Soul follows a similar emotional journey, it doesn’t quite reach the same heights as those films. That said, I still found my emotional strings pulled, and there was real joy in watching this movie unfold. Seeing the characters Joe and 22 come to realize what living truly means was incredibly satisfying. The whole “walk a mile in my shoes” concept depicted in the film was the standout moment for me.

Soul may not be as emotional or funny (this is true) as Inside Out or Up, but it has its moments. The story is crafted in a way that both children and adults can find meaning in it. It encourages viewers to take a reflective look at what really makes them tick.

As you’d expect from Disney/Pixar, the animation was top-notch. You’ll especially appreciate this when Joe and 22 return to Joe’s body—the visuals, paired with the storytelling, do a lot of the heavy lifting to convey the magic of living.

With an amazing voice cast, Soul takes you on a ride to the world beyond—or maybe the world before. Who knows? The story begins with the introduction of Joe.

Joe is a part-time music teacher at a school, but he dreams of becoming a full-time jazz musician. When the school offers him a full-time teaching job, Joe hesitates. His mother, wanting him to have stability and avoid hardship, encourages him to accept the position. However, Joe is determined to chase his dream. Then, his chance finally comes: he lands a gig to play in a jazz band.

If you’ve seen the trailer, you know what happens next. Joe’s excitement leads to an accident, and suddenly his soul is ascending to the great beyond. But Joe, desperate not to die when his dream is within reach, tries everything he can to escape his fate.

This leads him to meet 22, a soul who hasn’t yet found her “spark”—the thing that will make her ready for life on Earth. Despite being mentored by some of history’s greatest thinkers and heroes, 22 remains uninterested in living. When she and Joe are paired up, and she discovers Joe is faking his role as a mentor to get back to Earth, she reluctantly agrees to help him.

Their partnership leads to unexpected chaos: 22, who never wanted to go to Earth, ends up there—with Joe—but not in the way either of them intended.

The heart of Soul is its journey between life, the great beyond, and back again. While the early parts of the movie felt a bit slow and not as engaging as I’d hoped, everything changes when Joe and 22 return to Earth. From that point on, the animation and storytelling truly take off, making up for the slower moments earlier in the film.

You can watch Soul on Disney+, and while it might not reach the emotional peaks of some of Pixar’s best, it’s still a thoughtful and worthwhile journey.

Laputa: Castle in the Sky (1986)

Laputa: Castle in the Sky (1986)

 8/10

Starring the voices of

Mayumi Tanaka

Keiko Yokozawa

Kotoe Hatsui

Minori Terada

Directed by Hayao Miyazaki

 

Laputa: Castle in the Sky is a beautiful animation with a deep story that has enough twists and turns to keep you glued to the adventure without losing pace. The story is rich and colorful, with brilliant takes on relationships and dedication. I have to commend Hayao Miyazaki, who both wrote and directed the film, because not only is it well-written, but his directorial prowess shines through. This is especially evident in two pivotal moments: the rescue of Sheeta from Dola and the army, and the later rescue of Sheeta from the army after she and Pazu join Dola’s crew. These two incidents show masterclass in writing, championed by awesome direction for them to standout in your mind.

For me, this anime is one of the best things to watch. Its influence is clear in many subsequent anime, video games, and even cartoons. It’s a true classic, largely because of how the drama seamlessly weaves through the fantasy, creating a one-of-a-kind adventure.

The movie begins with pirates attacking an airship carrying a young lady named Sheeta. At first, it seems like a rescue attempt, but as the pirates’ actions unfold, it becomes clear that this is actually a kidnapping attempt. Meanwhile, Sheeta’s behavior hints that she’s being held against her will on the airship.

Sheeta manages to escape from her initial captors and the would-be kidnappers, only to fall from the sky—into the arms of a boy named Pazu, who lives in a mining town. Pazu is astonished by Sheeta’s miraculous fall and soon realizes that her necklace was what saved her, not his efforts. Before long, the town is attacked by the pirates and the army, both searching for Sheeta. Pazu and Sheeta manage to escape together with the help of her necklace, descending into a mining shaft.

From this point, the animation picks up speed. Sheeta is eventually captured by the army, prompting Pazu to team up with the pirates to save her.

The animation maintains a steady pace, with action and developments happening constantly, never dropping off or losing momentum. It is a memorable ride, and it is one that you will want to see again after it is completed to be able to feel the joy of the world again.

A critical commercial hit for Studio Ghibli, Laputa: Castle in the Sky is an animation you can enjoy with your children—especially older ones who can fully appreciate the rich fantasy.

Rope (1948)

Rope (1948)

 

7/10

Starring

James Stewart

John Dall

Farley Granger

Joan Chandler

Directed by Alfred Hitchcock

Rope is an artwork directed by the late, great Alfred Hitchcock. The movie is set in real time, giving it the feel of being done in one continuous take (though it’s actually composed of several segments filmed this way). Its artistry earns applause not just for Hitchcock but also for editor William H. Ziegler. Rope dives deep into the mind of someone truly rotten to the core. With its brilliant narrative, it stands out as a satisfying crime thriller about two men attempting to commit the perfect murder.

The film is an adaptation of a 1929 play of the same name and is one of Hitchcock’s first to be shot in Technicolor. It features fantastic acting that’s better experienced than described: the overwhelming confidence of Brandon (John Dall), the shakiness of Philip (Farley Granger), and the intellectual assertiveness of Rupert (James Stewart).

The story begins with Brandon and Philip murdering a man named David. You might think they’d dispose of the body or take some reasonable next steps, but instead, Brandon decides to show off while Philip would rather flee. Brandon hides the body in a table, sets up a buffet on top of it, and invites guests over: Janet (David’s girlfriend), Kenneth (Janet’s former boyfriend), Rupert (the housemaster of Brandon, Philip, David, and Kenneth), and two others.

Brandon has a bizarre plan: to survive the evening without anyone discovering David’s body and to impress Rupert. Rupert, known for his philosophical musings about crime, has been noted for saying that murder is a crime for most men but a privilege for the few.

The film focuses on Brandon’s attempt to get away with the “perfect” crime while the body lies hidden right under the noses of David’s acquaintances. Meanwhile, Rupert gradually pieces together what’s going on, guided by his intuition and observations of Brandon and Philip.

The dialogue could use some fine-tuning, and the single-location setting creates a sense of confinement that might feel limiting to some. Still, Hitchcock deserves praise for his ambitious approach. While the editing is impressive for its time, it feels like a modern production could elevate it even further. What truly pushes this film over the top is the acting—both from the leads and the supporting cast. Their performances compensate for many of the movie’s shortcomings and make it a must-watch.

There’s a peculiar, tense sexual dynamic between Brandon and Philip, which feels more intentional than coincidental. Kenneth even comments on how Brandon used to hang on Rupert’s every word. At the time of its release, the movie didn’t attract enough viewers to become a hit.

However, I still believe Rope is one of the lesser-celebrated masterpieces of the storytelling genius, Alfred Hitchcock.

The Croods: A New Age (2020)

The Croods: A New Age (2020)

 

7/10

Starring the voices of

Ryan Reynolds

Emma Stone

Nicholas Cage

Catherine Keener

 

Directed by Joel Crawford

During the pandemic and the curious mishaps of 2020, the last thing you’d think of is that The Croods needed a sequel. Well, one was made, and I have to say, it’s a decent piece of work.

I didn’t particularly enjoy the first The Croods. The roughness of the characters and the whole idea of Guy being portrayed as an upgrade compared to the Croods made me dislike it. This sequel, on the other hand, feels different. Maybe it’s because of the focus of the plot or the added comedy—whatever it is, this sequel is far better than the original.

The voice acting isn’t the standout aspect of this animation, but the story definitely is. The writers tweaked it enough to make the movie as appealing to adults as it is to children. By putting adults in the shoes of the characters—especially Grug and the Bettermans—it becomes easier for them to see some of their own actions reflected in these characters. This approach makes watching the animation a joyride.

One thing I really enjoyed about this movie is its beginning. After a brief glimpse into where Guy is from, the animation picks up right where the last one ended. What I liked about this short backstory is that it didn’t overdo it. Many movies or animations spend too much time adding unnecessary depth that was missing in the original, and then they take even more time ironing out the kinks to build continuity. In this case, the quick look into Guy’s past simply shows why he was on his own when he met the Croods and where he was heading.

The story starts with the Croods searching for a new home. Meanwhile, the romance between Guy and Eep has progressed, and they’re planning to be together—away from the rest of the group. Grug, understandably, is freaking out and trying to convince his wife that Guy and Eep (his daughter) being together is a bad idea. During their journey, they stumble upon the home of the Bettermans, a family of three who happened to be neighbors of Guy’s family when he was younger.

The Bettermans, much like Guy, are inventive and forward-thinking. Their home, an oasis they built for themselves and their daughter Dawn, is as modern as it gets—almost reminiscent of The Flintstones. However, Mr. Betterman seems to be hiding something, particularly when he forbids anyone from eating the bananas growing in their lush, farm-like home. Mrs. Betterman has her own agenda as well. Seeing Guy again, she starts planning how to pair him with their daughter, Dawn, while plotting to get rid of the Croods so Guy will stay behind.

Dawn and Guy grew up together, but here’s where the animation took an unexpected and fun turn. Instead of a typical jealous rivalry between Eep and Dawn, they actually become good friends right from the start. Neither sees the other as a competitor, and they quickly form a close bond.

This is an animation crafted well enough for you and your family to love.

Ponyo (2008)

Ponyo (2008)

 

6/10

 

Starring the voices of

Tomoko Yamaguchi

Kazushige Nagashima

Yūki Amami

George Tokoro

Directed by Hayo Miyazaki

Ponyo is an animation that feels like it’s made solely for children—or at least, that’s how it came across to me. I don’t think the movie appeals to all ages, but I wasn’t completely put off while watching it. Hayao Miyazaki has created better films, but the way the fantasy aspect of this movie unfolds at a steady pace is worth applauding. Written and directed by Miyazaki, Ponyo is inspired by Hans Christian Andersen's The Little Mermaid.

For me, the biggest challenge with the movie was the story. It leaves plenty of gaps for imagination, which children will love, but as an adult, I tend to prefer a story that feels more complete. Disney’s The Little Mermaid did a better job of making its adaptation of Andersen's tale more rounded and cohesive.

That said, Ponyo is still worth watching, especially for Miyazaki fans who are already comfortable with his unique storytelling style. The fantasy elements of the film unfold swiftly, and there are some truly cool moments, like when the magic of the sea becomes untamed and chaotic. One standout scene is when Ponyo runs on wild, large fish surging across the waves to reach Sosuke—it’s a visual treat that’s hard not to enjoy.

The plot begins with a young boy, Sosuke, finding a small fish and taking it with him. When Sosuke gets a cut, the fish jumps out of its container and licks the wound, healing it. He feeds the fish, names it Ponyo, and takes it home. Soon, we meet a wizard, who turns out to be Ponyo’s father. Fearing for his daughter’s safety, he does everything he can to get her back. Without revealing too many spoilers, let’s just say he succeeds, but that’s only the beginning.

Ponyo’s magic starts to take effect. She loves Sosuke and wants to be with him, so she begins to transform into a human. Her father tries to stop the transformation, and we learn more about his character and motivations. Despite being trapped in a bubble cage, Ponyo breaks free and sets out to find Sosuke. The rest of the movie revolves around Ponyo’s relentless drive to be with Sosuke—a drive so powerful it disrupts the balance of nature and threatens to destroy the world.

To fully appreciate this film, I think it helps to focus on the magnificent way Miyazaki handles the plot, adding just enough twists to keep it engaging.

Lupin III: The First (2020)

Lupin III: The First (2020)

6/10

Starring the voice of

Kanichi Kurita

Kiyoshi Kobayashi

Daisuke Namikawa

Miyuki Sawashiro

Kōichi Yamadera

Directed by Takashi Yamazaki

The plot of Lupin III: The First isn’t one of the best introductions to the character, but it does a decent job filling in the gaps for those who’ve never seen or read anything about Lupin III and his crew. As someone like me, who’s never hopped on the Lupin train since its inception in 1967, I’d say the plot makes an effort. At least I didn’t fall asleep while watching it, and Lupin managed to pull off some unexpected heists. While it won’t win many awards for its story, the animation is a fine showcase of 3D CGI artistry.

I’ve known about Lupin III’s existence for a while, though I’ve never read the manga or watched any of his anime. My friends, however, have helped fill in the gaps over the years.

The characters in this series, created by Monkey Punch in 1967, are led by Lupin III, a master thief. His persona feels like a blend of all the characters from Ocean’s Eleven, Sherlock Holmes, and James Bond. His grandfather, Lupin I, was one of the greatest thieves of his time, and Lupin III is determined to live up to that legacy.

The story revolves around a book called the Bresson Diary, believed to contain directions to an enormous fortune.

The movie begins with an old man giving his son a book and his grandchild a round object. They’re being chased by a group, which leads to tragedy. Fast forward to the present, where the story is set: the book is now on display, and the men guarding it receive a letter warning them that Lupin plans to steal it.

Things take an interesting turn when another lady steals the book—only for Lupin to steal it from her, before it’s stolen again by Fujiko Mine. Fujiko, another master thief, always seems to operate in Lupin’s shadow.

The book eventually ends up in the hands of men trying to restore Nazi power, believing that Hitler is still alive and hiding out in Brazil. The story is set in the 1960s, and among these men is a young woman whose involvement seems more a matter of circumstance than choice. Lupin, of course, refuses to give up and relentlessly pursues the book—all while being chased by the ever-persistent Inspector Zenigata.

The animation is fun to watch, though it’s neither a classic nor a masterpiece. It’s simply an entertaining way to pass the time while waiting for more exciting releases in 2021.

Arrietty the Borrower (2010)

Arrietty the Borrower (2010)

7/10

Starring the voices of

Mirai Shida

Ryunosuke Kamiki

Shinobu Otake

Keiko Takeshita

Directed by Hiromasa Yonebayashi

Arrietty is a heartfelt emotional ride of a movie, with every setting carefully crafted to pull at your heartstrings and immerse you in a plot that leaves you invested in the well-being of all the characters. This Studio Ghibli adaptation of Mary Norton’s 1950s–1980s book series The Borrowers is a standout. My first introduction to The Borrowers was through the 1997 British-American live-action comedy adaptation, which wasn’t nearly as fantastic as this. Under the skilled hand of Hayao Miyazaki, who wrote the screenplay, this fantasy animation is a must-see. While it leans less on comedy, it’s well-suited for adult viewers. Another standout feature of this movie is the musical score, which adds tremendous weight to the drama.

The story introduces us to a world of tiny people called Borrowers. The focus is on a family of three: a father, a mother, and their daughter, Arrietty. About to turn fourteen, Arrietty is ready for her first borrowing adventure.

Borrowers live by “borrowing” items from humans—things like food and small objects they can carry. Since they’re about the size of a human thumb, the things they take are of little significance to humans.

The family’s peaceful life takes a turn when a young, sick boy named Shō comes to stay in the house. Shō is observant, and despite Arrietty and her father’s best efforts to avoid detection, he sees them. Arrietty’s curiosity soon gets the better of her. Ignoring her parents’ warnings to stay away from humans, she approaches Shō. Her visit to him nearly results in disaster, but instead, they become friends. Through their interactions, we learn more about Shō and his struggles, as well as about Arrietty and her family.

The plot revolves around this unusual friendship and the family’s survival, as they fear they may be the last of their kind.

This is one of those Studio Ghibli animations where Hayao Miyazaki was involved in production (writing the screenplay) but didn’t direct. Instead, the movie was directed by Hiromasa Yonebayashi, marking his debut as a director—and what a fantastic job he did. The musical score, composed by French musician Cécile Corbel, is another highlight. Corbel’s work marked the first time a non-Japanese composer collaborated with Studio Ghibli, and her contributions beautifully complement the film’s atmosphere.

The movie was both a critical and commercial success, and it’s easy to see why. If you have nor yet seen this animation, please do, it is fun.

Wolfwalkers (2020)

Wolfwalkers (2020)

8/10

 

Starring the voices of

Honor Kneafsey

Eva Whittaker

Sean Bean

Simon McBurney

Directed by Tomm Moore and Ross Stewart

Watching Wolfwalkers is an experience filled with wonder, emotional triumph, and stellar voice work. Its greatest achievement lies in the artistry of its animation. Combine that with a well-directed and perfectly paced adventure, and you’ll find yourself wishing for a sequel to this Celtic tale.

I thoroughly enjoyed the animation and loved the unique werewolf spin. Wolfwalkers leaned into its strengths, delivering a blend of fantasy, suspense, and thrills. The writers crafted a gentler world, making their werewolf concept suitable for children, and the girl-power theme was executed beautifully.

At its core, the story follows two young girls meeting from opposite worlds and becoming friends—a familiar but heartwarming trope. One of the girls, Robyn, is the daughter of a wolf hunter. She dreams of following in her father’s footsteps, but her biggest obstacle is her gender. Set in colonial times, girls were often seen as second-class citizens, expected to cook and clean rather than take on more daring roles.

Robyn’s father works for the English, tasked with killing the wolves that attack villagers and hinder tree-cutting efforts in a Celtic town. Alongside this, we’re introduced to the legend of the Wolfwalkers—beings who can transform into wolves. Robyn’s adventure begins when she sneaks out to follow her father on a wolf hunt and ends up being hunted herself.

This encounter leads her to a wolf who helps her escape her father’s traps. The wolf turns out to be Mebh Óg, a girl who is also a Wolfwalker. After a failed attempt by Robyn to hunt Mebh, the two girls become friends. Through their bond, we learn that Mebh and her mother are Wolfwalkers, and the wolves are looking for a safe place to live. However, they refuse to leave until Mebh’s mother returns with directions to safety.

The story pulls Robyn into the middle of a conflict as she struggles to bring peace between the wolves and the humans, neither of whom is willing to compromise.

The movie shines in its portrayal of the deep friendship between Robyn and Mebh, as well as the unshakable love between Mebh and her mother. Mebh’s unwavering belief that her mother will return for her is another emotional thread that the film explores beautifully.

What sets Wolfwalkers apart is its willingness to invest in a solid plot and build an immersive world around it. The film also tackles the painful effects of colonization with directness and sensitivity.

This is, without a doubt, one of the best animations I’ve ever seen.

You can watch this critically acclaimed movie on Apple TV+.

Howl’s Moving Castle (2004)

Howl’s Moving Castle (2004)

 

5/10

Starring the voices of

Chieko Baisho

Takuya Kimura

Akihiro Miwa

Directed by Hayao Miyazaki

Although the animation in Howl’s Moving Castle is fantastic, the plot leaves much to be desired. It feels as though Hayao Miyazaki either forgot to include key details from the source material or had them edited out. The book (of the same name) upon which this animation is based offers a more coherent and stronger narrative. The first half of the movie stays relatively close to the book, albeit with some differences. However, the second half takes a frustratingly divergent turn that lacks the strength of the original story.

Howl’s Moving Castle feels like two distinct halves awkwardly glued together by a director determined to make disparate ideas work. The brilliance of the first half, with its intricate character development and compelling plot, showcases Miyazaki’s talent. But the second half falters, leaving certain elements introduced earlier in the film feeling irrelevant.

For instance, Sophie is told she cannot reveal her curse to anyone, yet this restriction seems inconsequential by the end of the movie. Why mention it at all if it doesn’t play a significant role?

Another baffling aspect is the Witch of the Waste. Cast as the antagonist in the first half, she later becomes a dependent taken in by Sophie and Howl. Even after causing calamity, she’s allowed to stay. While the message of compassion is admirable, it stretches believability that these characters would so easily forgive and accommodate someone who sought to harm them.

And who exactly cursed the Prince of the other kingdom? This plot point is introduced but feels underexplored.

The story begins in a magical world where enchantments are commonplace. Sophie, a hatmaker, leads a quiet life until one day, on a visit to her sister, she’s harassed by a group of men. A mysterious stranger, Howl, intervenes and helps her. Howl, however, is being pursued by mystical creatures, and Sophie is inadvertently dragged into his chaotic world.

Howl owns the titular moving castle, and his enemies quickly target Sophie. One such enemy, the Witch of the Waste, curses Sophie, transforming her into a 90-year-old woman. Determined not to let this define her, Sophie embarks on a journey to find Howl in hopes that he can break the spell. Along the way, she encounters a scarecrow under its own curse, who leads her to Howl’s castle. There, Sophie boldly enters and secures a position as the castle’s cleaning lady.

Meanwhile, Howl is avoiding the king, as he opposes the ongoing war between his kingdom and a neighboring one. This war subplot ties into Howl’s conflict with Suliman, the king’s lead witch, who pressures him to fight. Howl’s reluctance stems from his belief in peace and his guilt over past actions. Sophie, now in love with Howl, learns that he’s in danger because he gave his heart to a demon. She resolves to save him, adding another layer of emotional stakes to the story.

The movie conveys strong themes, including an anti-war message, the value of compassion, and the resilience found in aging. It also celebrates the joy of helping others.

However, the second half of the film, particularly Suliman’s role, feels disjointed and fails to deliver a satisfying conclusion. This disconnect leaves the viewer questioning certain choices and wishing for a more cohesive resolution.

Despite these flaws, Howl’s Moving Castle has been rightly praised for its stunning visuals and its ambitious blending of themes. While the movie was both a critical and commercial success, it ultimately lost the Oscar to Wallace & Gromit: The Curse of the Were-Rabbit.

Fierce (2020)

Fierce (2020)

 2/10

Starring

Maciej Zakościelny

Julia Kamińska

Anita Sokołowska

Tomasz Karolak

Directed by Anna Wieczur-Bluszcz

Ever felt the need to justify yourself?
That’s exactly how this movie makes you feel after watching it—especially if you have to write a review about it.

I’ve seen worse B-movies, let me tell you, but this one is right up there with the rest of them. It’s stuffed with clichés, lazy dialogue, and acting so bad it feels like it deserves a slap. The movie is supposed to be a musical comedy about a young adult finding herself, with a sprinkle of romance. But what it delivers is a boring musical with ridiculous drama and a romance plot so poorly written, my four-year-old niece could come up with something better in her made-up stories.

The movie’s supposed message revolves around the pitfalls of chasing fame and its aftermath. Unfortunately, it fails miserably at delivering that message, bogged down by its weak drama.

This Polish film starts with a group of young actors—easily among the worst I’ve seen—gathered around a TV watching what’s apparently the country’s most popular singing competition. The main judge, Olo, is a blatant (and terrible) Simon Cowell knockoff. One of the young women watching is Martha, who goes by the stage name "Fierce." (The title of the movie makes sense now, doesn’t it?) We quickly learn that Martha is Olo’s love child. Olo, a once-famous musician, abandoned Martha’s mother in pursuit of fame after getting her pregnant.

Of course, you can probably guess where this is going. The competition eventually comes to Martha’s town, searching for talent. Martha auditions, and this is where the movie goes off the rails. Instead of singing, she storms on stage and angrily confronts Olo, dissing him live on air. Security has to intervene and pull her off stage. Naturally, this earns her a lot of attention, and the show’s producer decides to let Martha through to the next round—not because of her talent, but because her outburst makes for great TV ratings.

Here’s where things get even dumber: Martha, who is supposedly not much of a singer, suddenly belts out a stunning performance from absolutely nowhere. At this point, the rest of the plot becomes entirely predictable, and I’m already bored recounting it.

The movie is riddled with annoyances, but the biggest one is the producer. He doesn’t bother investigating the truth behind Martha’s claim that Olo is her father. Then there’s Martha, who gets swept up in her newfound fame and becomes a total mess. To top it off, her estranged parents, in the middle of searching for her, decide to pause their frantic hunt... for a romantic kiss. Where did that even come from? This is one of the most awkward, random moments I’ve ever seen in a movie. Even the girls I was watching with turned to each other, asking, “From where?!”

Speaking of the girls, this was their pick for our weekend movie night. By the end, they hated it just as much as us guys did.

This is a total skip on Netflix.

Kiki’s Delivery Service (1989)

Kiki’s Delivery Service (1989)

 

6/10

Starring the voices of

Minami Takayama

Rei Sakuma

Kappei Yamaguchi

Directed by Hayao Miyazaki

Kiki’s Delivery Service is a delightful Japanese animated fantasy (anime) that’s enjoyable for both children and adults. The movie keeps its plot steady, and the pacing feels like a cool breeze—relaxing and easy to follow.

What I love most about this animation is how Kiki, the main character, interacts with the world around her. At just thirteen years old, she experiences everything from meeting boys to being picked on and even going through a phase of self-doubt. That self-doubt phase is particularly touching—cheering, relatable, and deep enough to resonate with adults as well as kids.

Kiki’s struggle to become independent while still relying on others for guidance is both heartwarming and engaging. Starting a new business is never easy, and Kiki learns this firsthand in yet another Hayao Miyazaki masterpiece. Kiki’s Delivery Service is based on a 1985 children’s fantasy novel of the same name by Eiko Kadono.

This animation is a joy to watch. It doesn’t overdo it with spirits or magical creatures, keeping its world grounded in a charming coexistence between witches and humans.

The movie sets up its premise beautifully: at age thirteen, young witches must set out on their own to become independent and establish themselves as the witch of a town. The story begins on Kiki’s thirteenth birthday. She’s excited to embark on her adventure, and although her parents are caring and a little hesitant, they let her go. Accompanying her is her cat, Jiji, who talks—though only Kiki can understand him.

Kiki sets off on her mother’s broom and eventually arrives in a town without a resident witch. She decides to make it her home. While there, she meets a pregnant woman who runs a bakery. The woman rushes out, holding a receipt that belongs to a distant customer. Kiki offers to help by flying the receipt to the customer. This moment inspires her to start her delivery service.

As the story unfolds, we see Kiki navigating difficult weather, demanding customers, and the attention of a young boy who is smitten with her. His fascination with Kiki begins when he sees her flying—something he’s obsessed with learning to do himself.

The movie was both a critical and commercial success, earning numerous awards. Disney later created an English voiceover version, which isn’t bad at all.

The ending feels open, as if there’s more to Kiki’s adventures yet to be explored. However, since its release in 1989, there hasn’t been a sequel—just as there haven’t been follow-ups to many of Miyazaki’s other films.

Porco Rosso (1992)

Porco Rosso (1992)

4/10

Starring the voices of

Shūichirō Moriyama

Tokiko Kato

Akemi Okamura

Akio Ōtsuka

Directed by Hayao Miyazaki

Contains Spoilers

Porco Rosso didn’t quite live up to my expectations, especially compared to other Studio Ghibli films or what I’ve come to expect from Hayao Miyazaki. For me, the plot took a while to get going, and I spent half the movie just meeting characters who either play a role later or are mentioned as influences in the second half.

The story dragged in places and never fully grabbed my attention. Then, just as it seemed to be gaining momentum, the movie ended abruptly. To sum it up, I don’t understand why such a seemingly short story has such a stretched-out screenplay.

The animation itself didn’t leave much of an impression on me, and the mystery of why Porco is a pig felt like it wasn’t worth the effort to explain—or even hint at meaningfully.

The plot introduces us to Porco Rosso, a bounty hunter and former World War I hero who was cursed and turned into an anthropomorphic pig. The story begins with a humorous hijacking and kidnapping on a ship by air pirates. These pirates not only steal the ship’s valuables but also take its passengers—children included—as hostages to aid their escape.

This is where Porco comes in to save the day. We watch him take off in his red aircraft (not without some difficulty), and the comedy is enjoyable at first. However, after this, the movie meanders through long, slow conversations. Porco encounters other characters, fixes his plane, runs from the bounty on his head, and eventually ends up in a pointless brawl elsewhere.

There are hints of romance sprinkled throughout. One of the women clearly has a history with Porco from before he became the pig-man he is now, and her feelings for him are understandable. But then there’s another romantic gesture from a young woman he just met—the granddaughter of his mechanic—which felt strange and out of place.

I doubt I’ll watch this film again, and I wish I had spent the time exploring another of Miyazaki’s works instead.

That said, Porco Rosso was both a commercial and critical success, much to my surprise. There’s even an English Disney dub featuring Michael Keaton as the voice of Porco. For me, the world building didn’t sit right with me and made me spend so much time trying to overcome the idea of a pig in a human world. It is a forgettable film, so that I can be grateful for.

My Neighbor Totoro (1988)

My Neighbor Totoro (1988)

 

7/10

Starring

Chika Sakamoto

Noriko Hidaka

Hitoshi Takagi

 

 

Directed by Hayao Miyazaki

Nothing has impacted my childhood quite like this beautiful, heartwarming animation. I’ve lost count of how many times I’ve watched it over the years. The innocence and grace of childhood, captured so perfectly in this film, is unlike anything you’ll find elsewhere. You can even see where many other animations have drawn inspiration from it. The emotional depth isn’t the only reason this animation was a critical success—the adventurous plot and imaginative fantasy are more than enough to hold your attention.

My Neighbor Totoro takes you on an emotional rollercoaster, following two children as they navigate life without their mother around. The story laser-focuses on the two girls and their new life in the home their father has purchased. Right from the start, you sense that the house holds more than meets the eye, and soon enough, you’re introduced to the wood spirits.

As with many of Hayao Miyazaki’s works, the leads in this Japanese animation are two strong-willed and independent girls. Even four-year-old Mei displays remarkable determination to do her own thing and assert her individuality.

Set in 1958 Japan, the story begins with a university professor moving with his daughters, Satsuki and Mei, to a new house so they can be closer to the hospital where their sick mother is being treated.

The girls, full of energy, run around the house playing and exploring in a way only children can. It’s so well-written and authentic that it immediately takes you back to your own childhood.

One day, while Satsuki is at school, Mei encounters two small wood spirits. Following them leads her to a large, slumbering creature, which she innocently climbs onto and names Totoro.

When she tells her family about her discovery, nobody believes her. But later, on a rainy day while the girls wait at the bus stop for their father, Totoro appears again. Mei, asleep on Satsuki’s back, misses part of the encounter, but Satsuki gets to see Totoro and some of the magical elements of his life. When their father arrives, the girls can’t contain their excitement.

From this point onward, the movie takes an emotional turn that you have to see to fully appreciate Miyazaki’s powerful direction.

Over the years, My Neighbor Totoro has clearly influenced many of Studio Ghibli’s subsequent films, with Totoro himself becoming the studio’s mascot. He’s even made cameo appearances in other Ghibli movies and games.

I’m not sure which streaming platforms currently offer this masterpiece, but I strongly recommend introducing your children to the joy of watching it.