Hromino

I went to see Twilight  for one simple reason: I wanted to see what was so breathtaking and captivating about it. Twilight is neither of those things, of course, however, it is an interesting movie either way, and everyone should go see it to make up their mind about whether it is just a load of kitschy teenage crap or a romantic adult movie. Now for the review: as far as the actors go – the movie has a mostly average cast. Even if there are some excellent actors, they are accompanied by clumsy and wooden actors. An example of this would be Kristen Stewart and Robert Pattinson, the co-stars in the lead roles. Kristen is relaxed throughout the movie, playing Bella as if she is just being herself in certain situations, while until halfway through the movie Pattinson is just smirking at Kristen, scowling, frowning, and comes off rather constrained. Of the better ones, we should also mention Rachelle Lefevre and Cam Gigandet, who as the villains of the movie, manage to create the right atmosphere. The bedraggled Gigandet thus gives the repulsive impression he is obviously supposed to give, and Lefevre, on the other hand, looks like a temptress, and an unbearable bitch who is constantly secretly plotting evil things. That would be the actors, and now onto the screenplay: to sum up, this is a slightly above average movie. In the end, Hardwicke relies heavily on some poignant scenes, and also fast-paced action scenes, however, the transitioning between these two things is almost tedious in places. The coquettish, flirtatious interactions and other stuff that goes on at school will fill your nostrils like a stench that no amount of air freshener can eliminate. The soundtrack is also above average – admittedly, Danny Elfman and Harry Gregson-Williams might have very well laughed their heads off at this gig and turned it down, however, it is pleasing that the OST does not feel monotonous and covers a variety of genres.

Bunny Drop is sometimes criticized for being overly cheerful and for its unrealistic depiction of a female lead character, since "children are not always that nice." The point at which something becomes "overly cheerful" is up for discussion, but in the case of Rin, the main female protagonist, I had no problem with her depiction whatsoever. She grew up as an only child raised by an elderly man without any peers her age around, so it makes sense for her to be portrayed with a certain level of maturity. The difference in her background stands out, especially when compared to her peer Kouki, who is being raised by a single mother and lacks a male role model, whom he finds in Daikichi, Rin's guardian. All of the characters mentioned above are well-developed, and it's hard not to root for them. The show's lush artwork and pleasant soundtrack are also positives. On the other hand, there is a bit too much sentimentality at times, and the twist at the end feels somewhat forced. Overall, I happily award this well-produced anime series four stars. P.S.: The anime's creators made a wise decision not to adapt the manga in its entirety, as the content not included in the anime reaches a point of being inept and totally spoils the original spirit of the work.

To put it briefly, when you get two versions of the same thing, they are never the same. If I had to comment on this anime in more than one sentence, I would not be able to avoid comparing it to the older 1992 version, which despite its age, ironically feels much fresher than its 2015 remake. Compared to the well-known original version, the latter is an unexpectedly stripped-down, hackneyed, cheesy, dull and tasteless shadow of the original version. Perhaps the only positive transfer from the original here could be considered the "retro feel" of the story and anime art - but personally I would probably not even agree with that, as this feeling is hopelessly lost under the weight of all the audiovisual excrement that was bombarding me from the screen. I just have not seen such an anemic and mismanaged shonen production in a very long time – the action scenes mostly end before they even begin, any suspense is killed by the excessive use of static animation, thus losing all the dynamic potential of an action scene, the pace of the narrative is absolutely deadly (not to mention that the creators are trying to cram the events of 33 volumes of manga into 39 episodes of anime). There is zero character development or any thorough introduction to the audience. Plus there are literally no scenes with catharsis to speak of (what a difference from the original version, where the story of the three Kamaitachi siblings still resonates in my memory!). In addition, although the series is rated PG-13 (absolutely standard for shōnen TV shows), for some unknown reason many scenes seem like they are trying to conform to the lowest rating meant for preschoolers. If you are intrigued by the subject matter, and would like to give this a chance, you would probably be better off reading the manga or watching the older version, which, while it only adapts part of the story, does so way more successfully than this farce. Plus, the fact that a remake of older material can turn out well while retaining the spirit of the original has been proven in recent years by the likes of Parasyte or the more recent season of JoJo’s Bizarre Adventure (Diamond Is Unbreakable). However, this is, in short, a big bad no-no, for which I cannot think of a single major positive thing that makes it worth the time. After 23 episodes and a full 4 years of overcoming myself to watch more in the belief that the show would somehow gradually get better, Hromino has abandoned all hope and his nerves for good, quitting the series in a huff and leaving behind a single star, more or less out of respect for the original works.

After a long search, I finally stumbled upon a lesser-known anime series among the plethora of battle anime from the nineties. What sets it apart is that it doesn't rely on dragged-out fight scenes spanning multiple episodes, nor does it drown in excessive melodrama. The main characters, including two charming young ladies, are instantly likable, and the quality of artwork and animation holds up surprisingly well considering its production era. The soundtrack is solid, humor is plentiful, and it captures that indescribable essence I seek in nineties content, which is fully present here in all its glory. Undoubtedly, the series' greatest strength lies in its sense of humor, largely thanks to the excellently voiced yōkai character, Tora. His hilarious antics stem from his cluelessness about the modern world and his peculiar relationship with Ushio. The action scenes carry momentum and suspense, while the villains exude charisma for the most part. Although there are a few inconsistencies throughout the season (like when Tora's punch creates massive cracks in the ground, but his full force impact on a storefront barely does anything?!), they are easy to overlook and don't significantly detract from the overall impression. Overall, I would rate it a solid four stars, albeit a slightly lower rating. I was somewhat bothered by the episodic nature of the storytelling and the absence of a grand overarching plot, particularly towards the end. However, that doesn't change my opinion that the relatively obscure Ushio and Tora stands at least two notches above the highly acclaimed Yu Yu Hakusho: Ghost Files.

Vikings in movies and books have a hard time shaking off the stereotypical image of drunken, violent warriors with little to no intelligence, who love to fight more than anything. Unfortunately, it's rare to find a work that challenges this largely fictional and inaccurate depiction. I had hoped Vinland Saga would do just that, but it ultimately failed me. ++++  Although the anime is an adaptation of a manga series that was initially published in a shōnen magazine for children and teens, it was later moved to a seinen magazine for adults. I had hoped that the anime would deal with this dichotomy and lean more towards a cohesive and mature atmosphere. However, instead of doing that, it is even more inconsistent than the original manga. The creators seem to be confused about who the story is targeted towards. On one hand, there is a simple and linear story of a male protagonist obsessed with revenge, something we see in many other shōnen animes. On the other hand, they attempt to create a mature historical drama with philosophical and religious themes. If the show was just that, I would be okay with it. What makes it difficult to perceive Vinland Saga as a mature historical drama is the combination of its more mature and deeper parts of the story with over-the-top fighting scenes and almost nonsensical character twists. For example, when a guy splits four enemies in half and his spear that flew half a kilometer kills three more, or when a boy gets to hold a sword for the first time and wields it like a pro. Or when a useless and spoiled aristocrat suddenly turns into a top-level, cold-headed strategist and in some scenes, otherwise clever characters act like small kids. While there are some impactful scenes and great characters such as Askeladd, and the animation quality is good, it is not enough to make up for the overall imbalance and inconsistency. The protagonist, often criticized by viewers, is actually the most likable to me because he remains consistent in his idiocy, unlike the other characters who switch between being clever and foolish on a whim. It seems like the creators tried to please everyone, and what they have created is just an odd mix of unfitting tropes and features. Once again, I am reminded that when the Japanese try to make an anime series set in Europe, it hardly produces any good show. Overall, Vinland Saga is not a terrible anime, but it falls short of greatness. I would give it a simple three-star rating.

The fact that the quality of KyoAni's audiovisual work is top-notch, is common knowledge in the anime world, and not many people would argue with that. That they are adept at delivering human dramas and psychological anime, is also something we have already seen, especially in their early productions. Sometimes, however, instead of an imaginative work, they manage to produce mere kitsch, and Violet Evergarden is an example of that. After reading the synopsis, it is very easy to predict how the story of the emotionless girl will unfold, but until about the eighth episode, this rudimentary plot is kept within reasonable bounds. It does smack a little of pathos at times, but that is not a major flaw, and it is the audiovisual experience and the successful fictional world-building that make this a fairly enjoyable show. Sometime from the ninth episode onwards, however, the great Mr. Pathos arrives and begins to mercilessly run amok. Holy shit, why does it all have to be so pathetic and contrived?! Wherever there was room for an emotional scene, the creators stuffed it in, wherever there was room for full-on orchestral music, they dropped it in, and as soon as Violet mentioned, for the fiftieth time, that the emerald brooch reminded her of her beloved darling’s eyes, or began to sigh pathetically at the sight of it over and over again, I was tempted to shove the brooch deep into the orifice of her excretory system. If you enjoy kitsch and watch anime because you want to be moved, or if the audiovisual experience is above all else, I can boldly recommend Violet Evergarden – this is definitely the anime for you. I can still taste the pathos in my mouth, though. I give it a weaker 3 stars.

I don't believe World Trigger is as much of a disaster as some people claim. It's just incredibly forgettable, and there's hardly anything about it that's surprising. The simple storyline about alien monsters invading our world through an interdimensional gateway in a Japanese city might only excite undemanding and unsophisticated viewers. Those with a discerning eye may question: What sets it apart from other movies and TV series with similar plots? How will the production team bring something new to the table? Unfortunately, this is where the anime falls short. The production team seems to have struggled to come up with anything remotely interesting. They attempted to add depth by explaining the inner workings of Border, the organization fighting against the monsters, and the nature of the characters' supernatural abilities. Perhaps this decision was intended to give the impression of profundity and make the viewers feel like they were witnessing a highly sophisticated work that required significant effort and dedication, similar to what was seen in The Irregular at Magic High School. However, it still feels lacking and fails to make logical sense. The actions of Border members, who often behave like little children, don't align with the importance of the city's safety. Would the inhabitants of any city in any country truly be okay with menacing giant alien creatures randomly attacking them, endangering their safety and lives? I don’t think so. One would hope that the audio-visual experience would at least redeem the show, but once again, it disappoints. The soundtrack is passable, the artwork is unremarkable, the character designs are average, and the animation quality starts off quite poor (for instance, the first episode mainly consists of static shots), only reaching mediocrity later on. Since this show was produced by Toei Animation, a studio known for stretching stories with recaps and flashbacks, viewers might wonder how it would have turned out if a studio like Bones or Madhouse had taken on the project. Perhaps those studios could have at least delivered a more captivating audiovisual experience. Additionally, if the creators had taken bolder steps and approached the adaptation of the original material in the right way, World Trigger could have been more interesting in terms of the story. The only positive aspects I can mention are the absence of ecchi elements and the character of Kuga, the white-haired character who is well-voiced, has a good sense of humor, and exhibits some depth. However, the rest of the show is a repetitive and unremarkable mush that I've seen countless times before. The remaining thirty-five episodes probably won't surprise or impress me. Therefore, after fifteen episodes, I've decided to call it quits and give it a generous one-star rating, perhaps more than it deserves.

The characters are well-crafted and plausible, there is a nice chemistry between them, the pacing is suitable, the drawing and animation are precise, the soundtrack is good, and it is mature for its genre, while relatively avoiding the most well-worn tropes. All this was put into Sing "Yesterday" for Me, but as time went on, the scum came to the surface, with which all the good around it gradually turned bitter - and that scum was the story that remained. This is a story that got tangled up and lost in itself, as if there was not even really a story there in the end. The initial exposition was good, excellent even, but what followed it was like trying to sober up after a night of heavy drinking. Slow, tiring and full of waiting for change that in the end never comes in the end. The characters check each other out a few times, a polygon is outlined, there are some hints at the characters’ having some conflict and inner dilemma, the molecules weakly bump into each other a few times, but in the end they return to their original positions and the expectation of some more significant reaction remains unfulfilled. I can certainly recommend this anime to those who are comfortable with anime that is about nothing, and are content to check out an anime that throws around sketches of slight characters without any proper development, but to the rest I would rather recommend they invest their time more wisely. I give this a mere 3 stars.

Your Lie in April is an extraordinary cocktail about growing up, finding life-goals, friendship, music and goodbyes. However, it is a cocktail where, along with some great ingredients, some awful ingredients have been mixed in as well, and unfortunately in almost equal proportions. What strikes one first and foremost, is the imaginative portrayal of the main hero’s inner feelings, which are linked to his very successful, gradual and believable development. Aside from the main protagonist, one can also appreciate the successful chemistry between the characters and the excellent theme song in the intro, which I probably never skipped, as well as the hilarious ending. The road to the ending, however, is paved with an excess of completely silly, would-be comedy passages with lots of screaming and caricatured faces, which are so inappropriate they ruin an otherwise well-developed scene in an instant, then there is an unnecessary anticlimactic part with the piano prodigy, and above all unbalanced screen-time for the individual characters. It is a great shame that all the attention is focused on the main character, because if Tsubaki or Watari were given more screen-time, they might have not just seemed like one-dimensional appendages to the main couple, but fully-fledged characters in their own right. So, all in all, I give it 3 stars, with a complaint that basically only a few cosmetic changes would have been enough to improve the experience.

I had almost given up on this artist, because I was convinced he was experiencing a gradual decline in his creative powers and heading inevitably to the bottom of the artistic abyss. If one could explain Makoto's creative failures of the last few years to me, lost in dullness and rumoring, by the fact that he was just saving and gathering his strength for this gem, then I would let him be forgiven for these indiscretions and enthusiastically pat him on the back. What I expected from him, I certainly now got: polished visuals, fluid animation, sunsets and picturesque skies bordering on the kitschy, lots of shots of trains, full of melancholy, and an excellent soundtrack, albeit this time performed by my favorite band Radwimps; but all this now goes hand in hand with an interesting storyline, which, although God knows how far from being original it is, and even if some might call it a mixture of various anime tropes, it is handled exceedingly well. It offers various interpretations of the story, making the movie resonate strongly with the audience even after watching it. It is playful, cute, and funny, but it is not primarily touchy-feely in a stupid way. It is classic Makoto, all of his trademarks are there and in large quantities, but at the same time it is a distinctive and unmistakable work in the context of Makoto's oeuvre. It is an oeuvre that teeters on the thin edge of superficial likability, where you can see both a merely audio visually compelling story, and a multi-layered piece that will not let you rest for a minute and will resonate with you for quite some time – and Mitsuha and Taki have clearly pulled me towards the latter. After a very long time, this is finally one hyped anime that I can relate to and ride the wave of, too. A small insignificant plus for Shinkai for making me buy both a movie on DVD and its soundtrack after nine years. And a minor minus for getting really crushed by the phenomenon and not being able to resist shelling out a disgusting amount of yen to visit a themed café and buy a bunch of crap like notepads, pens and postcards. What a cheeky movie! (Seen at Toho Cinemas Nijo, Kyoto, 11/2016.)