Movie Review: Ralph Breaks the Internet

The wrecker’s second outing proves to be a different, yet enjoyable sequel.

A Merry Christmas and a Happy New Year to all my readers! A big thank you to those who read the many days of the Advent Calendar that got out, and the warmest wishes to everyone that they have enjoyed the holidays as they continue into the new year. It’s been a terrific 2018 here at AniB Productions, and while I may slip in another piece or two before the calendar flips to 2019, it has been a pleasure to keep this blog going for you, the readers. And now…for a review of a film I’ve wanted to tackle for a month, but finally got to sit down and see in theaters at last- Wreck-It Ralph 2, or more formally, Ralph Breaks the Internet.

The Lowdown:

Film: Ralph Breaks the Internet (Wreck-It Ralph 2)

Studio/year released: Walt Disney Animation, 2018

AniB’s thoughts: There’s a lot to unpack from Disney’s first official animated sequel since The Rescuers Down Under, and also a followup to what is one of my personal favorites in the original Wreck-It Ralph, which was a film full of personality and character. (Here’s my review for that here.) While sequels are usually not up to the standards of the original film that inspired them, Ralph’s second outing proves to be a good one, featuring a deep dive into character dynamics and relationships, splashed against the background of perhaps the best take a film has done yet on the beast of an idea known as the Internet.

Set 6 real-world years after the events of the first film, Ralph Breaks the Internet starts off by showing the routine of two best friends had established at the arcade- but also some lingering want for something more from Vanellope, who while happy with her friendship with Ralph, had started to grow bored of the same thing every day. Ralph on the other hand, fully enjoyed his life as it was- and we wouldn’t have a film if this pattern held, which it doesn’t, as Sugar Rush, the racing game prominently featured in Wreck-It Ralph, has the steering wheel of its arcade console broken through a certain event- and coupled with Mr. Litwak’s (the arcade owner) purchase of a Wi-Fi router, the hunt is on for the surprisingly rare part to save Vanellope’s game- along with a world bigger than the duo ever imagined.

Unlike past horror shows like like The Emoiji Movie, this film actually manages to tackle the Internet’s vastness with a good deal of savviness and creativity. Product placement is fairly unavoidable- but in this case, feels authentic, much like the game characters from the first film, and plenty of clever references abound (my favorite might be a certain area where an AOL logo pops up. You’ll know when you see it.) And Ralph might just be the perfect universe to actually approach this subject material- especially as it continues the series trend of keeping the narrative character and story-driven, while using the internet to frame it in clever and inventive ways.

(SPOILER SECTION:)

 

Vanellope’s character arc represents someone who had grown far beyond her initial encounter with Ralph in the original film. Finally allowed to realize her original dream of being a real racer and having the best friend in the whole world for 6 years, she had grown past the point of mere contentment, although she was starting to dream bigger. Forget about the Internet for a moment- the opening part of the film in the arcade foreshadows it, from Ralph’s failure to pick up on Vanellope’s longing for more in her life, to her attitude towards Sugar Rush– which while still her domain, had long since grown past the point of challenging her, enough so that even in the middle of a race she dozed off. By preserving the real-world time that elapsed between the two films, there was an emphasis that the world had changed- though Litwak’s Arcade, not so much. It was a surprising and bold move to actually have Vanellope stay in Slaughter Race at the end of the film, partially because I never thought they’d actually do it- and in turn, it’s a genuinely emotional and bittersweet moment that still has me reflective on how this actually happens in life too. Super impressive writing right there.

Ralph on the other hand, was content because he’d ultimately achieved his version of happiness by the end of the first film. That said, while his bond with Vanellope remained the glue and backbone of this film, his aversion to any sort of change with Vanellope and general jealousy of her own developing dreams was a lesson personified about obsession. Yes, the King Kong inspired final act was a bit heavy handed, but the character dynamics rang true in that scenario, and I think it touched me deeply on some profound level about how life changes- and relationships evolve. This is a message that will go over much more strongly with the older crowd now and into the future. It was also fairly ambitious to not go for a traditional antagonist- instead using the surprisingly complex web of relationships (pun maybe intended) and the initial steering wheel issue to kickstart the plot as a much more abstract series of problems.

There was a bit of a natural arc with the dynamic duo- Vanellope went from being “the glitch” without a place under King Candy’s iron fist in Wreck-It Ralph, to living her dream as a “real racer”- but now she needed literally and figuratively, a bigger racetrack than what Sugar Rush could provide- and in the ultimate twist, wound up leaving the game that once imprisoned her for good. She’s had an interesting, often heartwarming and also bittersweet roller-coaster of a relationship with Ralph over two films, and in the end, it’s hard not to acknowledge the duo’s chemistry as one of Disney’s best, simply because of the way their dynamics continued to evolve over both films.

(End SPOILERS.)

Was this film better than the original? Hard to say, as they represent very different plots on a number of levels, but in this critic’s opinion, they are both worthy of praise in their own rights, and this is a sequel worth seeing if you haven’t already.


Animation Quality: Modern 3-D animated film. As always, these films have been gorgeous this decade, and Ralph is no different, continuing to show the savviness to detail that its predecessor established. Everything pops, the character models work well for what they are doing (Vanellope is somehow even cuter than the first film, I think), and everything comes together so well to help tell the story they want to tell. That’s impressive. 5/5 points.

 

Characters: I pretty much expounded on the main 2 characters in my spoilers, but to reiterate: Wreck-It Ralph is the big, hulking bad guy of 80’s arcade game Fix-It Felix, Jr. and best friends with Vanellope von Schweetz, the star racer of Sugar Rush, where the duo established a relationship in the first film that carried over into this film. The two are co-leads in this film- and as Vanellope is a fully established character from the start in this movie, it actually allows a much deeper exploration of her character on some interesting levels.

Aside from the main duo, new character mostly step up to fill other roles in this film. Yes, Felix and Calhoun still make appearances early in the film and at the end, but aren’t the major supporting characters in this go round. Neither are the Sugar Rush racers, who find themselves under the care of the couple after their game’s hardware malfunction (and I can sense a mini-film featuring what happened there to be hilarious.) Instead, there’s colorful Internet denizens who step into key roles, such as J.P. Spamley- a seedy personification of clickbait ads on the web, or Yesss- the head algorithm of “BuzzTube” who determines trending content. There’s also Shank- a beautiful, tough woman racer voiced by Gal Gadot in the online game “Slaughter Race,” which appears to parody both online MMO’s and franchises like Grand Theft Auto. It all comes together in a way that works- and yes, the Disney Princess cameos you’ve all probably heard about or seen are terrific. Just a lot of fun from this cast, but this is ultimately held together by Ralph and Vanellope- and it delivers an emotional punch on that level. 4.5/5 points.

 

Story: A simple premise launches Ralph 2’s plot- a broken arcade cabinet wheel, which proves to be rare and expensive to find, to the dismay of both Mr. Litwak and the denizens of Sugar Rush. Vanellope in particular takes it hard, sensing a loss of what made her her, despite recent complaints that the game had gotten painfully boring for her- and so, the journey to the Internet launches a grand quest.

Premise-wise, this was always going to be convoluted on some level, but it works within the framework of the story, which is character-driven. The narrative takes drastic shifts in stride, although the final act is a slightly mixed bag (though the emotional, character driven bits are still absolutely on point there.) It had a decently tough act to follow Wreck-It Ralph’s narrative- and it did reasonably well. 3.75/5 points.

 

Themes: This movie was surprisingly complex in terms of exploring interpersonal relationships, along with the positive and negative impacts of the web. Sure, I wonder how well this film will age considering the subject material, but the character stuff is meaty and lasting, and honestly this will resonate strongly with mostly an older audience, which is great. The younger audience will still find plenty to like as usual, but the endgame plot may be a little complex (and for the very young ones, terrifying)- but overall, good stuff. 4/5 points.

 

Don’t Insult the Viewer: For my money, an entertaining family friendly film with some fun musical stuff in there, some very funny bits (and very few cringy ones, at that), and a narrative that felt more complex that the first film. It’s a treat. 5/5 points.

 

Overall: 22.5/25 (89%): A worthy followup act to Wreck-It Ralph, this film takes the best part of the first film- Ralph and Vanellope’s relationship- and pushes it to another level against some really difficult subject material, and does it well. It’s definitely worth a look!


Like what you see? Big fan of the first or second film? Leave a comment!

Day 21: Rudolph and Frosty’s Christmas in July

Hello everyone! I didn’t forget about the Advent Calendar countdown; rather, it was important to attend to some academic priorities as they wrapped up, and so I still intend to finish up the countdown, albeit slightly condensed. (Speaking of which, Campbell’s chicken noodle soup isn’t a bad pick for lunch this time of year.)

As Christmas draws ever closer, we enter yet another leg of the Rudolph sequel saga- and this time, it’s a full-blown movie with a big time crossover. So is it more of a Rudolph followup again or a Frosty continuation? Let’s find out.

The Lowdown:

Movie: Rudolph and Frosty’s Christmas in July

Studio/year released: Rankin-Bass, 1979

AniB’s thoughts: The red-nosed reindeer’s saga continued on after Rudolph’s Shiny New Year with this ambitious feature-length crossover film with fellow Christmas star Frosty the Snowman. Yes, this film finally crossed the pair in Rankin-Bass lore, and technically counted as the trilogy piece for both characters, considering Frosty also recieved a sequel in Frosty’s Winter Wonderland (which I haven’t covered on this countdown, but it explains in this film why he has a wife and kids.)

This film actually does a fair bit of tweaking and expansion on Rudolph’s origin, while continuing to keep and change equally odd bits of continuity throughout its runtime. While Rudolph’s red nose is simply explained as an odd anomaly in the original special, this film lets us know it was a divine blessing from the aurora borealis. No, I’m not making this up- Lady Boreal is a character in this film, and before she just merely became the northern lights, she carried on her power via Rudolph’s shiny honker. Of course, this begs the question why the aurora borealis needed to be in this film or pass on her powers, and of course, Rankin-Bass brought us another villain equal to this task: Winterbolt.

This wizened old mage of icy heart and evil constitutions was the archenemy of Lady Boreal (as the story expositions), and once the ruler of the North Pole until he was sealed away for centuries. During that point, Santa came into the area, set up shop, and now for plot-specific reasons, this guy wakes up, intent on reclaiming his throne. While conniving, he’s true to the framework of Rankin’s usual Christmas baddies: prone to monologues, quite a bit of bumbling and scheming with precious little in the way of permanent results, and with a fatal weakness. (Not that I assume many of you will seek out this movie with fervor, but this might be the film’s biggest spoiler, no joke.)

The other bizarre major plot point is that somehow all this winds up involving a circus down on its luck at some generic beachside, but man, they must be hiding money somewhere to purchase all the high rent animals and performers they have. Seriously, this circus by the sea has everything you can think of when it comes to circuses, which might suggest they need a better promoter or something…which comes in the form of Rudolph and Frosty. And how might you ask did they wind up here? Milton the ice cream man, of course!….who’s he? Well, this affable fellow has a romance plot going on with the star acrobat of the circus in question, and just so happened to show up at the North Pole when this film takes place, running into Rudolph and Frosty, to talk about his problems. Winterbolt then does some mind manipulation magic and things proceed from there.

Again, in the realm of Rudolph specials (or even Frosty), expecting the unexpected seems to be the rule of thumb. Big Ben, the whale from Rudolph’s Shiny New Year makes a cameo; the “We’re a Couple of Misfits” makes its first reprise since the original Rudolph special, and Winterbolt has some interesting…ideas, such as creating a rival team of flying cobras in contrast to Santa’s reindeer. A weird, quirky film for sure- but still kitschy and charming when it’s all said and done. It’s probably become more obscure in the public eye as time has gone on, but it ties in nicely to the animated history of thes character as established by the studio in question.


Animation Quality: Stop-motion puppetry; Rankin-Bass’s so-called “Animagic” process. If nothing else, the smoothness of how things were executed in this method were much cleaner than in earlier specials featuring it, and this was the most ambitious undertaking at the time using the process, given the length of this film. 4/5 points.

Characterization: Most of the characters are self-explanatory at this point, such as Rudolph and Frosty, and in my thoughts I talked a bit about the film’s villain, Winterbolt, but there’s at least two more characters worth mentioning:

Scratcher is an anemic-looking reindeer with buckteeth, noted for being a reject from Santa’s team due to his habit of “stealing presents and candy canes.” While he serves as a secondary antagonist in this film, he mysteriously disappears after he pulls some dirty work, and it’s never quite explained at all what happened to him- a curious plot hole, for sure.

Lily Lorraine is the eccentric, energetic ringmaster of the circus by the sea. She’s noted for her cowgirl getup, complete with a ten-gallon hat and a pair of six-shooters, and naturally, she’s overjoyed to meet Rudolph and Frosty at a critical time in her buisness ventures. Her rival in the buisness is Sam Spangles- a generic underhanded carny who will use any means necessary to take the circus out from underneath her.

Also of note: Santa reappears here, but curiously enough, this is the Santa from the Santa Claus is Comin’ To Town continuity (Day 5 of this countdown), which means certain references, such as magical feed corn and the seemingly odd change from elves to “little Kringles” helping him out makes a lot more sense if you’ve seen that particular special. It’s worth noting though, because otherwise it seems very strange. 3/5 points.

Story: I already delved into this narrative a bit, but it’s certainly strange and unusual, for sure. I wouldn’t call this a good story, but it’s strangely entertaining in its own right despite being weird and unexpected in a lot of ways. 2.25/5 points.

Themes: Like most Rankin specials, this is more pure entertainment than it is any sort of rich moral tapestry, or complex thematic paragon. The main villain has flying, laughin’ snakes, among other things. Perhaps that should tell you how seriously you ought to take this. 1.5/5 points.

Don’t Insult the Viewer: On the flip side, it’s fairly easy entertainment to swallow, family friendly, charming in its own way and brings back a lot of songs from other specials. General story holes that seem odd though, make you question how anyone over the age of 12 wouldn’t notice them. 4.5/5 points.

 

Overall: 15.25/25 (61%): Ambitious for its time, with some famed characters and a patently silly plot, this film is a bit of an anomaly, and a curious one at that. Still, it’s worth mentioning within the world of Rankin-Bass’s Christmas-themed productions, even if its cherished leads let it have far more staying power than it otherwise would have had.


Like what you see? Eager to see the rest of the countdown as it finished up? Leave a comment!

Day 16: Jack Frost

The mischievous winter sprite got his own stop-motion special.

Day 16! Although a day late, this piece is still here as promised, and along with it comes yet another winter legend.  In perhaps the least surprising news for anyone who’s been following the Advent Calendar countdown, Rankin-Bass made several other specials outside of the ones you might know…and this was one of them, about that old wintry trickster himself, Jack Frost.

The Lowdown:

Special: Jack Frost

Studio/years released: Rankin-Bass, 1979

AniB’s thoughts: Yet again, the company remembered for its Christmas specials released one that was decidedly more “winter themed” in December of 1979 with this production, which actually is narrated by Punxsutawney Phil, known as “Pardon-Me-Pete” through this special. In a sense, this special has to do with Groundhog Day and general winter as opposed to the actual holiday season, but it still had its debut during Advent of its release year- go figure.

Interestingly, this was not Jack’s first role in a Rankin-Bass picture. The frosty pixie made his debut in 1976’s Frosty Winter Wonderland, where he serves as the main antagonist, a a decidedly grumpy on at that (feeling underappreciated), while playing up the impish nature of the character. Frost’s debut as a puppet though, would be in Rudolph and Frosty’s Christmas in July, a feature length film released roughly a half year before his solo outing here. In that movie, Jack makes a late cameo to resuscitate a melted Frosty and family, clearly reconciled over previous differences from the other special.

While there have been several different spins on the character of Jack Frost over the years, this special mostly forgoes his role as the impish trickster of winter, instead opting for a love story of sorts- and Jack’s recasting as a hero when he falls head over heels for a human girl. And in the grandest of Rankin-Bass traditions, there’s a big supernatural entity guiding Jack along in Father Winter. After Jack rescues the girl, Elisa and dreams of marriage enter his head, Winter grants him a chance to become human and have the girl of this dreams- provided he met very specific conditions, such as obtaining a house, gold, a horse and of course, marriage itself. In this way, Jack takes on a fully human form- “Jack Snip,” and starts a tailor’s shop in the small locale of choice, aptly named “January Junction.”

Of course, none of these specials would be complete without an eccentric and completely silly villain, and the role here is filled by Kubla Kraus- an evil Cossack king who lives on the self-explained Miserable Mountain alone with his ventriloquist dummy and his army of mechanical soldiers (called “Keh-Nights. No, I’m not making this up.) Between Jack’s goal of wooing Elisa and Kubla’s involvement in making life thoroughly unpleasant for January Junction, the two come into conflict inevitably over the girl…though things turn out both as you might expect and not expect all at the same time.

Now I will give a lot of credit in this special because as far as building any sort of mythical lore for Jack Frost, Rankin and Bass had a lot of creative license on this film, in part because Frost didn’t have a hugely defined role in the general cultural ethos of the holiday. He wasn’t Santa Claus, or even Rudolph, whom I discussed already a bit at length about in some other pieces, or even Frosty who had his own number of sequels as well. It’s a little easier to swallow some of the usual absurdity because of Jack Frost’s supernatural origins, and it really feels in some ways like a fairy tail type of backstory for the titular lead. For an enjoyable, different experience, this one still airs seasonally on Freeform (formerly ABC Family), so if you’ve got the channel still, you’re likely to be able to see it if you’re just scrolling around for a watch.


Animation Quality: Rankin-Bass returns yet again with the “Animagic” stop-motion style. One thing is evident; the animators in Tokyo who did the actual work with the puppets had improved over the years, and everything seems a bit smoother and cleaner, especially when compared to an earlier special like Rudolph the Red Nosed Reindeer (which was back in 1964!) Here, the same sort of charm is preserved, as this style of stop-motion helped preserve the unique character of all the company’s specials that used it. 4.25/5 points.

Characters: Jack Frost is the lead and pretty self-explanatory. He’s both carefree and energetic, both as a sprite and a human, but he also shows a good heart to go with it.

Aside from Jack, there’s a bunch of other supporting characters, chiefly narrator “Pardon-Me Pete,” the famous groundhog who enjoys his winter slumbers thoroughly, Elisa as the love interest (she’s a pleasant girl but there’s not a lot more to say about her), Sir Ravenal Rightfellow- a heroic knight who is Jack’s main competition for the girl’s heart and hand in marriage (but not an antagonist), and Kubla Kraus as previously mentioned- a thoroughly evil king who enjoys his solitude and greed along with being a terrible ruler. Jack is also joined by two other sprites in his human endeavors- Snip and Holly, who assist Father Winter normally, and this comprises most of it. Simple cast, simple but effective lead, self explanatory protagonist. Perfectly adequate. 3.25/5 points.

Story: This is both a legendary story (about Jack Frost) and a love story as well considering the contents. Not terribly complicated, but decently entertaining. 3/5 points.

Themes: This special is really meant more for enjoyment than any strong moral tale, although I suppose opposing an evil king is a righteous thing to do. Doesn’t quite have the Christmas pull either with the more general “winter theming.” 2/5 points.

Don’t Insult the Viewer: A variety of original songs, family friendly entertainment and a lasting shelf-life that has kept it in the seasonal rotation of a network are all some nice points in its favor. 5/5 points.

 Overall: 17.5/25 (70%): While Rankin and Bass certainly made a lot of these holiday specials, this was solid, creative work on a character they had a bit more license to do what they wanted with. No, it doesn’t get as crazy as something like Rudolph’s Shiny New Year, but that’s just as well; this one might be worth a look not only during December but for a quick watch at any point in the winter.


Like what you see? Enjoying the many specials and shows covered here? Leave a comment!

Day 15: A Brief Interlude

Hi all,

My laptop needed to go in for service, which really dashed something I wanted to write about today (and you will all get!) With that in mind, we’re in that final 12 day stretch before Christmas and I wanted to hear from you, the readers, on how this Advent Calendar countdown is going, and any sort of content you may really want to see as the big day draws nearer. With any luck, my technical difficulties will be resolved shortly, but in the meantime I’m looking forward to the comments here, both on how it’s gone and where people might want it to go. Don’t worry- I still have plenty of ideas on my own end, and at worst, any other ideas that don’t get used now will still be considered and probably used in a future piece, countdown or not.

Thank you again for all the support; the floor is yours.

-AniB

Day 14: A Huey Freeman Christmas (The Boondocks)

Day 14! We’re officially over halfway to Christmas Day, believe it or not. Today’s piece delves into one boy’s interpretation of that most holy of days in perhaps one of the more truly creative specials out there’s- that’s right, it’s time for Huey Freeman to bring The Boondocks’ special to life.

The Lowdown:

Show: The Boondocks

Episode: “A Huey Freeman Christmas”

Studio/year released: Adult Swim, 2005

AniB’s thoughts:

The Boondocks is a show I’ve been meaning to talk about and review on here for a while, but the opportunity never quite presented itself. While a more formal review will still come along at some point, this biting, irreverent, yet very funny show did have a famous Christmas special of its own- and that of course is the topic of the piece at hand- the time Huey Freeman, the main protagonist pictured on the right in this post’s picture- was tabbed to produce his school’s Christmas play.

Featuring the usual Boondocks style of humor and pacing, this special was actually just another episode in season 1. As far as the premise goes, Huey manages to get fully creative control over his class’s play after being initially reluctant when offered by his teacher, and despite having grand sweeping visions of how to produce and perform it, there’s two things that stick in the craw of the powers that be, namely a) the phasing out of students for professional actors in a school play and b) Huey’s creative choice to have a black baby Jesus. The former is something the boy manages to achieve, albeit with some later regret, a full scale PTA protest and boycott, and a lot of string pulling (seriously, just how does he manage to get a bunch of A-listers for such a play?), while the latter proves to be such a radically different vision from what society normally views that it actually compromises the wide public release and attention our protagonist attempts to get for the production at one point. Along the way, both Huey and those involved raise questions about what the season really means, often obfuscated by consumerism, greed and the delicate pull between people and giving what they can, vs pouring everything into something because of the belief you have it (like Huey and his play). In the end, the boy moves on, with a somewhat narssistic attitude about not “looking to the past”- a great irony considering the holy and centuries old origin of what Christmas is.

The B-plot involves a rather humorous, albeit violent handling of Riley Freeman’s anger at Santa Claus for never delivering new rims from years ago, culminating in an assault of a mall Santa and the young man threatening him. This plot blends into  neighbor girl Jazmine’s belief in Santa Claus, culminating in Huey’s younger, ruder and more naive brother returning again to attack the stand in Santa- Uncle Ruckus (a recurring character in the show who in true Ruckus fashion, is working yet another odd job.) Again, while dark comedy, this part of the episode also shines light on the effects of consumerism, the mythos of Santa Claus vs the commercial reality people have put in front of them…and of course an excellent excuse for more of the irreverent humor The Boondocks is known for.

As always, this episode is the best of this series in a nutshell- a biting sociopolitical commentary that manages to be both thought provoking and quite humorous. It’s a mature kind of humor, but the kind that might just give you a big laugh at this time of year, provided you’re old enough. There’s a bluntness and crudeness to it that also won’t fit everyone, but it feels real, in a word- perhaps not the characters, but some explorations of how people treat traditions and differences culturally, around this holiday season. Heck, it even takes its own stab at the belief of a child in Santa Claus’s existence, which is an oddly pure belief based on something generally beyond logic and reason called faith. There is an evocatively interesting heart beating beneath it all, and as Huey’s play opens to marvelous, albeit limited audiences and reviews, there’s this moment of both a vision realized and a reality that won, all at once. It’s really something in its own unique way.

As for me, this was both a thought provoking watch in addition to a funny one. It was very fresh and original to what you might expect from this kind of episode, but it worked marvelously well, with all its unexpected twists and turns, complemented by the bluntest of humor and the truly unusual spins on common seasonal themes. Fans of the series probably remember this fondly, but for those out there looking for something that’s both smart and a fair bit stronger in terms of content than the usual Christmas special suspects, try this one out. It’s the chocolate liquer shot in the middle of the milk chocolate candy bowl for the season; see if you want to take the drink or

______________________________________

Like what you see? Big fan of The Boondocks or this episode? Leave a comment!

Day 13: Mickey’s Christmas Carol

A timeless tale told with classic Mickey Mouse.

Day 13! Unfortunately for me today, I’m experiencing some technical difficulties that threw a wrench into whatever plans I had for you- the readers, tonight. In lieu of that, let’s briefly discuss an appropriately themed Mickey Mouse featurette.

The Lowdown:

Series: Mickey Mouse films

Episode/Short film: Mickey’s Christmas Carol

Studio/year released: Walt Disney Productions, 1983

AniB’s thoughts:

As I sit here, forced to use another computer with my own laptop suddenly shelved, I was reminded forcefully of A Christmas Carol, the timeless Charles Dickens novel and his incorrigible old miser, Ebeneezer Scrooge. Of course, this being an animation blog, there was some famous adaptations of this tale, but I’m partial to this particular telling of the story, which has some interesting facts to go with it.

This short film was the first Mickey Mouse theatrical release in 30 years at the time- as the iconic mouse had not starred in a film since 1953. Despite that, it much more prominently featured Scrooge McDuck in the role of you guessed it- Scrooge, playing the parsimonious money-lender in the most natural of fits. Curiously, this was the first time Alan Young voiced Scrooge, a role he’d become more famous for in 1989’s DuckTales and one that he’d hold to his death. Conversely, this was the last time Clarence Nash voiced Donald Duck- and as the last original voice actor from the early era of classic Mickey shorts, it was a bit of the changing of the guard, in hindsight.

So what of the content itself? This film emulates Dickens’ classic tale using classic Disney characters in the casting roles, with Mickey himself as the hard-working and underpaid Bob Crachit, Scrooge’s right hand man. Through the film, Scrooge’s miserly habits are played up, and he is confronted by the famous ghosts in the story- first his late partner Bob Marley (who Goofy plays), who sends a warning to the duck to change his ways, and in turn he is followed by the three other ghosts of  past, present and future. The past one is none other than Jiminy Cricket- a good choice given his role as “moral compass and guidance” in Pinocchio; the ghost of Christmas present is Willie the Giant- who appeared way back in 1947’s Fun and Fancy Free; and the ghost of Christmas future is an obvious choice given the context. (Spoilers: it’s Pete.)

I think the biggest shortcoming here is that while it’s billed as a Mickey Mouse film, he’s really much more of a supporting character in this while the story focuses on Scrooge- much like the actual Christmas Carol. That said, it’s a whimsical take on a classic novel, and a good adaptation from an often overlooked era in Disney’s history- the early 80’s. I had this short on VHS growing up- so there’s some nostalgia there for me personally, but it’s truly a pleasant watch for this time of year, and features both some old-school animation and talented voice acting, which makes it stand out a bit more now than it may have at the time.


Like what you see? Have you seen this short? Leave a comment!

Day 12: Review/Rant: School Days

A polarizing show leads to a far less than enjoyable watch.

Day 12! We’re halfway to Christmas Eve already, and as we reach the halfway point of this calendar between today and tomorrow, it wouldn’t be complete without at least one-old fashioned critic’s assault. That’s right- today’s a juicy breakdown of a highly controversial anime, one that yours truly is happy to dig into (despite putting it off for a long, long time.)

The Lowdown:

Show: School Days

Studio/years aired: TNK, 2007

AniB’s thoughts: “Another day, another adaptation.” Or at least that’s what I’d like to say, except when the show in question is an utter trainwreck and I steeled myself to watch it on a critic’s honor mixed with morbid curiosity. This is unequivocally a bad watch, but the “why” of it is slightly more nuanced, like layers of a rotten onion that’s been left out in the sun, reminding everyone why it stinks so much. Unfortunately, it’s time to delve into the morass and figure out just what went wrong here.

Before really tearing into the details though, a little background as usual is helpful. First off, School Days never received a stateside dub- and it’s just as well, not only for content reasons but also for critical reasons. And as with any truly bad show, there’s always some interesting stories associated with it- in the case of this one, its infamously violent ending that caused the show’s final episode to be removed off the air for several networks in Japan. This caused the footage to be replaced rather infamously on at least one station with stock imagery, including a Norwegian ferry spawning the “nice boat” meme on the internet, and while this is a fun little piece of trivia, it only begins to scratch the surface of the “why”.

So here’s the heart of it: When I graded out the show, it got points for having the bare bones of a plot that linked together cohesively and achieved its (poorly conceived) goals, but between the cast I wanted to strangle, the janky, awkward transitions into more and more ridiculously stupid situations caused by quite possibly the worst protagonist in anime, Makoto, and the fact that it was an utterly banal experience devoid of much enjoyment.

Among numerous flaws, a major issue lies in where the plot wants to go. It initially wants to be a high school romance…but doesn’t do that well, devolving into a bad harem anime…but also does that terribly, and then after enduring 11 episodes of mind-numbingly bad writing and poor character decisions, that final episode I mentioned goes for a shock twist slasher ending that makes utterly no sense. Maybe it was supposed to be relieving, but I was under the impression I’d wasted hours of my life watching something so that you, the readers, didn’t have to. If this was the proverbial coal in your Christmas stocking for a show, this one is it! Do yourselves a favor and check out almost any other show you can roll on a roulette wheel. It’s likely to have better odds of being good than this unfortunate production.


Animation Quality: Average 2-D anime for its release year (2007); it’s not outstanding in this department, but “adequate” would be a better term. Sadly, this is the best part of this wretched show, which is damning praise considering how remarkably average said animation is. It’s also used in some painfully cringy scenes through this show to just unfortunate effect, and yes, there’s some fanservice in there that’s utterly forced. 2/5 points.

Characters: This may be the least engaging, least sympathetic cast I’ve ever had to cover, which is saying something considering “gems” like Fanboy and Chum Chum are part of that listing.

Makoto Iko is the lead character; a freshman in high school whose natural interest in girls at his age becomes more and more perverted due to both the actions of others and his own misdeeds. He winds up becoming the center of a badly conceived harem and unable to fix his passions and poor decision making, he’s a truly awful character who garners little sympathy with little development. Was this intentional? Probably, but he’s so poor for a lead that following his moves becomes dreadfully difficult after not too many episodes…and this isn’t a long show!

Kotonoha Katsura and Sekai Saionji are your two main girls. One is Makoto’s first romantic interest, who is initially reserved, well endowed and from a rich family-but after events happen, she snaps mentally, trying to possess Makoto. It’s always the quiet ones who lose it the hardest…

Sekai on the other hand is Makoto’s classmate who spurns on the initial relationship between Makoto and Kotonoha, but later develops her own feeling for the boy, leading to a confusing and depressing arc for an initially energetic girl. By the end, she’s also gone off the deep end in her affections with who else- Makoto. In the end, nobody’s really happy, everyone goes insane, and then with the aformentioned infamous ending in my thoughts, everyone winds up dead or insane. Yay.

The supporting cast for this show is both unmemorable and doesn’t really do anything to raise the merits of this unfortunate lead trio. 0.5/5 points.

Story: Gets a bare minimum of a half-point for having a narrative that actually goes from point A to point B. I don’t have much more to say about it other than I’ve seen episodic shows with more interesting episode to episode plot-lines than this overarching story…and those had nothing to do with each other! Jumping from bad romance to bad harem to bad slasher at the end, it’s a depressing slog filled with unlikable characters, poor decisions and utterly surreal outcomes. Then again…it’s based on a VN that plays out like this, but I doubt even the game is as poorly executed as this show’s plot! Just eye-opening in the worst of ways. 0.5/5 points.

Themes: A trail of mentally broken girls and an obliviously malicious main character is not a good look for any show, especially one begging to have some scrap of positive momentum in it. There’s no levity and no thematic brilliance here in this clunker of a script. 0/5 points.

Don’t Insult the Viewer: Brutal writing combined with a terrible cast and an impossibly inane story is quite insulting, to quote this category. Unremarkable music does nothing to save this score, or this show, and perhaps the biggest affront is being “bad, boring and a waste of time.” That’s exactly what School Days accomplished. 0/5 points.

Overall: 3/25 (12%): “It’s a show”- that’s the best I can say here. What a disaster on every level. From vapid storytelling to a downright unlikable cast, and a show that seems unable to make up its mind what it wants to be- and then executes none of it well, it’s a forgettable, frustrating and poor outing of a show. The best part is when it’s over, frankly.


Like what you see? Do you agree or disagree with this piping-hot criticism? Leave a comment!

Day 11: Review: Adventure Time

The review of a modern-day titan.

Day 11! So for today’s calendar pick, I wanted to finally dig into an important show review that I’ve wanted to do since it wrapped up earlier this year- and that is Adventure Time. This show was the flagship of Cartoon Network’s for the majority of the 2010’s and is both popular and influential. Let’s get into it.

The Lowdown:

Show: Adventure Time

Studio/network/years aired: Cartoon Network, 2010-2018

AniB’s thoughts: Well, it’s the end of an era. This show, perhaps the most iconic piece of Western animation in the past 10 years is finally, officially completed and admittedly, it’s a bit surreal to consider this the case. Yours truly was still in high school when the ball got rolling on this series, and now to see it over really feels like the final guard of that early 2010’s era of animation is finished as the final portion of the decade plays out.

On the topic of evaluating the show itself, Adventure Time is certainly unique. It evolved from a simple plot-of the day adventure-action show in its first season to a full-blown post-dystopian fantasy with elements of science fiction, mystery, comedy, surrealism and a whole slew of other things as the show immersed itself in a large, deep cast of characters and an expansive world, not only in Ooo itself, but beyond and across time as well. I think at a certain point it became rather difficult to just pick up the series due to the enormity it grew to, but it was also interesting to watch it grow and evolve to its natural conclusion by the end of it all, between finding a point at which it finally felt ready to stop, between the resolution of series-long plot threads and the sense that while it had once defined a network, now it was being pushed out by the wave of cartoons it had helped influence.

It would be impossible to cover all the plot threads, character arcs, overall elements and moving parts and everything else that happened in the show in one review, but it would be accurate to say the show lived up to its simple title: “Adventure Time.” Seriously, you never quite knew what to expect episode to episode, and this sort of originality, combined with ever increasing plot and character complexity as the seasons wore on kept the formula fresh- a difficult feat for any show over multiple seasons. Towards the end of its run, it suffered from the same wonky release schedule Cartoon Network shows had become by and large shoehorned into in the latter half of the decade, thanks in no small part to monopolized scheduling around a certain show, but it maintained its momentum to the end, capping it all with an excellent finale, which I’m sure fans of the show found satisfying and rich in details.

As for anyone ever curious about this series, it’s not a bad time to jump in if you want a long watch. This show is not without its flaws, meanderings, weird episodes, bad episodes and pacing issues here and there, but overall, there’s a reason it became so influential. Finally…can you believe Nickelodeon passed on the pilot of this show for the all-time terrible Fanboy and Chum Chum? I can’t either, but as they say, hindsight is 20/20 (and I’ve got an older rant of the latter on this site as well.) So grab your friends, go to some very distant lands, and see what’s in store with Jake the Dog and Finn the Human…


Animation: 2-D modern animation. This is the show that launched the “CalArts” style you might hear people complain about on the internet, or at least in animation circles, but as the cliche goes, “success breeds copycats.” And in the case of this show, the style works for what it’s doing, though some may find it far too stylized, and that is okay too. Overall, it does a good job enhancing what the story wanted to tell and in a creative way that mostly enhanced it, which is nice. There’s a wide variety of colors here, and the show even experimented with some different styles during some episodes. 4.5/5 points.

 

Characterization: We’d be here all day if I went through every last character in this show, what they do, their plot threads and how they are important. The later seasons do a lot of this, devoting entire episodes to side characters you’d never think twice about, even giving them mini-character arcs and in general, broadening the scope of this vast world they created. But as for the leads:

Finn the Human is an energetic, heroic boy who lives in a tree fort with his best friend, a magical talking dog named Jake. They go on adventures together, protect princesses, find cool treasures and have lots of fun- and while I’m simplifying this description a lot, this is essentially what they do. Finn’s story in particular is a unique sort of coming of age, as he grows a few years older during the course of the show, learns a great deal about who he is, his background, goes on many strange, death defying adventures, and in the end, is always true to being a hero.

Jake the Dog as mentioned is Finn’s best friend. He’s much more laid back and absentminded for the most part than his buddy, but has magical stretching powers which allow him to form different shapes and contort his body mass and muscles to radically different sizes and shapes, though this has limits. He’s got a variety of oddball interests and talents, such as playing the viola, and loves to make great sandwiches. He too has an interesting past which is revealed in bits and pieces during the course of the series.

The most common person Finn and Jake help out is Princess Bubblegum, the ruler of the Candy Kingdom. As her name describes, she actually is a sentient girl made of bubblegum, but full of surprises and a long history. She balances her rule with a passion and deep knowledge of science and technology, which she uses in everything from enhancing her candy citizen’s lives to defense of said domain. There’s a whole lot more I could say about her, but again…spoilers.

Finally of your “main cast” there’s Marceline, a vampire girl.  Originally a human, Marcy’s lived for over 1000 years, and has a generally easygoing, prankster nature. She loves to jam out on her axe guitar and is a talented musician. Additionally, her vampire powers make her a formidable fighter, but like all such beings, she has a fatal weakness to sunlight. After initially getting off on the wrong foot with Finn and Jake, the trio become good friends, and she also has a strong relationship revealed over time with Princess Bubblegum…

There are countless other individuals of varying importance that could be mentioned and probably should be mentioned, but the last one for this review is the Ice King. A deluded old warlock driven mad by his magical cursed crown, this frosty regent has a desperate need for attention and a want for princesses (at least early on). Sporting eclectic interests like playing the drums and writing fanfiction, the king’s role is not so much an antagonist as it is something else entirely…and his story arc is quite unbelievable.  4.5/5 points.

 

Story: Episodic and overarching plot elements intersect in this long-running series. This show’s narrative is more event and character based with several long running plot threads tying together disparate arcs, but while a complex and intricate world is created in Adventure Time, sometimes it’s difficult to keep everything straight, especially as the seasons go on. They kept it fresh though! 3.75/5 points.

 

Themes: There’s a lot packed into the gills of this show. Most of your basic sorts of themes appear (friendship, love, overcoming fears, etc.) but there’s also some deeper stuff just hiding in this show that is terrific for something airing on a kid’s network. Mostly, this is entertainment, and it can be very trippy entertainment, but there’s nuggets of some complex material especially as the seasons wear on and to the end. 3.75/5 points.

 

Don’t Insult the Viewer: This show knew its audience, and got slightly more mature along with it. Mostly smart writing, a few questionable sorts of things happen here and there, and it might have a bit of a curve to properly engage in this show now given its length. All in all, not bad intagibles. 4.5/5 points.

 

Overall: 21/25 (84%): With an entire large body of work to evaluate, Adventure Time holds up fairly well with scrutiny and is a very good show despite some flaws and the glare of fame’s spotlight on it. With its conclusion, it may make for a nice long watch, but either way, its influence cannot be denied as it pertains to animation.


Like what you see? Thoughts on Adventure Time? Leave a comment!

 

Day 10: Movie Review: The Polar Express

Just like that, we’re 10 days into this countdown (and 10 days closer to Christmas!) I do hope everyone who’s been following along regularly has enjoyed the Advent Calendar so far, and in turn, I’m having a blast writing for you, the readers.

The Lowdown:

Movie: The Polar Express

Studio/year released: Castle Rock Entertainment (primarily), for Warner Bros., 2004

AniB’s thoughts:

Today’s pick takes us to more of a modern-day Christmas classic film- The Polar Express, which in one of the more strange things to think about, is already 14 years old as a film. I recalled seeing this in IMAX when it first came out as a kid…and I have to say, it had some really effective 3-D, especially compared to other films at the time. With perfect acuity, I can remember the wild scene in which the train has a heart pounding race to stop on time before smacking into a herd of caribou- and how real that felt with the effects of the film. So on this review, I can at least testify to the intended effects of the movie when it was in theaters, given that many who have seen it in the years since probably know it mostly from TV airings and re-runs.

Now, there was a lot of interesting notes about this film, starting with the astounding voice acting clinic Tom Hanks puts on in performing 6 different roles. While Hanks’ voice acting resume will always be best remembered for his role as Woody in the Toy Story franchise, there’s no doubt in my mind that his performance in this film is underrated. Of these roles, Hanks most notably was the conductor- and this performance never gets old, even upon rewatching this movie quite a few times.

Another notable fact was the animation style. If you got that weird “valley of the uncanny” feeling, it’s probably because this was the first film to be entirely done in live-action- motion capture animation- the same type used to create things like Caesar in the revived Planet of the Apes trilogy a number of years later. It’s held up decently, but it’s a highly unusual animation choice which aged better on things such as the train itself as opposed to the character models themselves. If you really want an idea of how different this 3-D modeling is from the same era, The Incredibles released at the same time in theaters. You’ll notice how much more “cartoony” Pixar’s modeling was compared to this specific style if you compare the two films side by side.

Finally, this film was based off the famous 1985 picture book of the same name. I remember loving the title as a kid, flipping through the richly colored images that evoked the magic and wonder of a cold Christmas Eve full of unknown adventure. In turn, catching those specific scenes I remembered from the book was a treat, and this was not unintentional, as Chris Van Allsburg, the author, also served as an executive producer for the film.

The Polar Express isn’t some cinematic masterpiece, but it is very successful as an entertaining and engaging Christmas film that stays true to the source material that it came from, combined with some terrific voice acting (chiefly from Tom Hanks) and a very underrated soundtrack. It’s a great family pick for anyone who hasn’t seen it and for those who have, perhaps grab a mug of hot chocolate and get on board once again. You’re never too old for a trip to the North Pole.


Animation: 3-D motion capture animation. It’s in a bit of a weird spot being both a unique and highly innovative technique at the time (in fact, this was a record-breaking budget for an animated film at its release to the tune of $165 million), but also one that has an uneven legacy, particularly when it comes to character modeling. In the end, time wins slightly over innovation here, with the caveat that it did bring to life a wintry night on a train oh so well in terms of atmosphere. 3.5/5 points.

 

Characters: Simple book, simple cast. The main protagonist is never actually named (he’s even credited as “Hero Boy”) but he’s noted for both his skepticism in his belief of Santa Claus’s existence and his signature blue bathrobe he wears during the story, of which one pocket hole is ripped.

Accompanying him in this film are the hero girl (yes, that’s her credit too) and Billy, another boy who has the distinction of being one of only two named characters in the entire affair (and the other is the big man in red himself.) The former exhibits a powerful belief in Santa, and a kind, generous spirit but needs more confidence and conviction in leading others, while the latter finds himself in need of good companions and the assurance also that Santa is real.

Then there’s the conductor. A mysterious man with many professed years of service on the locomotive, he’s full of advice, old stories and mystery, all while serving as both the director of the train and the host to a number of young passengers. He’ll make sure the train gets to the North Pole on time too…

All in all, a solid, small cast with a few other important side characters, which would be spoilers for those who haven’t seen this film, and remembered by those who have seen this film. 3.75/5 points.

 

Story: Pretty simple given its source material: a boy in his apparent disbelief is shocked one Christmas Eve by the appearance of a large steam locomotive outside his house and the summons to go to the North Pole. Naturally, the film expands upon this a bit, but a simple premise with decent execution that has a faithful interpretation. 3.5/5 points.

 

Themes: Primarily, “do you believe?” The film is a heart-warming sort of affair in which these kids find out a lot about themselves and learn some important things about approaching life and also about the spirit of the season, and it’s really charming. If you’re looking for some mind-blowing stuff, this isn’t the film, but holiday fare rarely is. 3.5/5 points.

 

Don’t Insult the Viewer: Good music score, very easy for all ages to watch, a Christmas film that’s neither too preachy or too sappy to boot. It’s all around solid. 4.75/5 points.

Overall: 19/25 (76%): Nostalgia or not, this is and was a pretty fun Christmas film even now. It’s a great movie to get into the spirit of the season if you haven’t already, and fairly easy to find this time of year (December at the time of writing) to watch.


Like what you see? Big Polar Express fans out there? Leave a comment!

Day 9: Review: Lupin the III, Part IV: Italian Adventure

The wild Italian adventure of the classic thief and his friends.

Day 9! In practical terms, it’s the second Sunday of Advent, and in AniB terms, we’re over 35% into this calendar countdown. Once again, today’s pick veers slightly off the Christmas path in favor of a recent iteration of a classic anime/manga series from Japan- it’s none other than Lupin the 3rd, or Lupin III, or any other variant of that name you can come up with.

The Lowdown:

Show: Lupin the III, Part IV: Italian Adventure

Studio/years aired: TMS Entertainment, 2015-2016 (JP)

AniB’s thoughts:

In Italy, there is a rich tradition and connection to the ideas of Christmas. This is probably in no small part due to the location of the Vatican and the heavily majority Roman Catholic population, but also because of numerous saints, popes and iconic churches from over the centuries. However, today’s review is about a very different sort of Italian adventure- that of the master thief Arsene Lupin III and his quest for the greatest treasures of the historical peninsular boot.

Lupin III is actually a famous, older Japanese manga that has had several iterations in anime over the years, and this was until this past year (2018) the most recent foray, until Part 5 came into being. Fortunately for viewers unaware of Lupin’s existence prior to this show, it does not require any sort of background knowledge of prior events or previous tales in the franchise to thoroughly enjoy and follow, which is quite nice- as heavy lore can often bog down long-running or expansive series when it comes to new participants.

In the case of Lupin III’s Italian adventure, it’s a delightful blend of high-stakes missions and chases, unusual twists, some heavy influence from the James Bond franchise, and a number of competing character arcs that all come to a head in an unforeseen way. Through it all, Lupin has trusted right hand Jigen – master marksman- at his side, and is also joined at time by Goemon Ishikawa III, a master swordsman trained in the way of the samurai (and he gets some crazy feats with his blade), as well as Fujiko Mine- Lupin’s on and off again romantic interest and one of his closest associates. That said, Fujiko’s a woman who does things on her own terms, and she’s not afraid to play dirty to get what she wants in terms of the treasure, making her more of a friendly allied party with her own self-interests to Lupin’s usual capers. Of course, no great thief has made it without a worthy adversary- and that role is held by Inspector Zenigata, an Interpol agent whose life’s work is to pursue and capture Lupin, something he carries out with unabated zeal and a surprising amount of humanity.

For me, Lupin III being introduced through this show was a satisfying experience, and the arc itself is a fun adventure, combining both elements of stand-alone episodic pieces and a larger overarching story, narrative and character development. It’s a delightfully refreshing watch as well compared to a great number of other modern anime that exist; it’s not about schools, cute girls, generic shonen battles (though there are some terrific fights), or any of that (which is still great, don’t get me wrong); it’s got a style all its own, and it has fun doing it. And I think most people over the age of 13 would probably have a lot of fun with Lupin’s adventures as I did, and The Italian Adventure is a terrific show to enjoy and perhaps launch into the franchise.


Animation: Modern 2-D anime. That said, Lupin’s got some style that feels almost a bit like Western comics or animation for the most part, but quality, and in a way it just evokes that thriller feeling throughout the show, which is terrific. The colors pop, the character models are distinct and attractive, and the aniamtion here makes a difference in bringing the style of the series to life. 4.75/5 points.

 

Characters:

I did cover in brief most of the main cast in my thoughts, but for a bit more detail:

Arsene Lupin III is the descendant of the famed Arsene Lupin of literary fame; like his forefather he’s a master thief who can and will steal any treasure that strikes his fancy. He’s so good that various police and law enforcement agencies the world over have not only failed to stop him, but even trace him for the most part…except Inspector Zenigata. Lupin’s got a keen intellect, a weakness for women, a surprisingly affable nature, and is a pretty good shot himself, despite having Jigen around.

Speaking of which, Daisuke Jigen dresses like a mafia hitman and has the style of one too- he’s a cool customer with a gun, his signature fedora draped over his eyes. Lupin’s main partner in crime, he’s a reliable hand with some more common sense than his friend (though they’re all slightly crazy), has a liking for a smoke and a good drink, and is reliable on big missions.

Goemon as mentioned in my thoughts is a master swordsman. A man of few words who follows his own code, he is a frequent ally of Lupin’s main team and provides some terrifyingly strong combat support to missions. He also brings a bit of traditional Japanese flair to a decidedly non-Japanese anime, which is interesting in itself.

Then there’s Fujiko Mine. In the Italian Adventure, she’s the independent, beautiful and self-interested on and off member of Lupin’s gang, preferring big treasure, the good life, and some excellent scoops of information in the process. (She’s also got a motorcycle, which is pretty darn cool.)

Finally, the usual main cast is rounded out by Inspector Zenigata, a man with a zealous conviction to bring Lupin to justice and the eyebrows to match. Called “Pops” affectionately by his archenemy, this Interpol agent relentlessly pursues the master thief to the ends of the earth, without ever slowing up. Despite this, he’s shown to be a good man with a lot of heart, and some surprising skills, such as cooking.

This arc of Lupin III also has other key characters introduced that are new to this iteration of the franchise, in particular Rebecca Rossellini, a rich young Italian woman who is also quite famous from her modeling, acting and business endeavors in-universe- but who is actually interested in the thrill of the heist; and Nyx, a mysterious special agent who no doubt has inspiration from a certain MI6 agent who’s famous the world over…. The character development is good, the cast is small but adequate and it gets the job done. 4.5/5 points.

Story: Both episodic and overarching in nature, Part IV chronicles Lupin’s unusual adventures and endeavors mostly in Italy, which gets him dragged into a much bigger secret than any one treasure or heist…and it’s pretty crazy. Overall, the story works, even if it does have some flaws, but most will be no doubt entertained, without spoiling anything. 4/5 points.

Themes: This show isn’t really a moral compass for anything so much as it is for pure entertainment. You could argue there’s some stuff in here about what true love actually is vs just the business of convenience,  or how one can fulfill one’s life purpose, but this might be the weakest part of the show on some level. It’s odd, considering how engaging the overall product is. 2/5 points.

Don’t Insult The Viewer: Lupin III will probably be best enjoyed by a slightly older audience, but in saying that, it is extremely accessible to pick up and enjoy, with a unique aesthetic that evokes all sorts of thoughts from high-speed police chases to the sort of mental hijinks you find in a great mystery, and even the elements of science fiction and spy flicks come in. Truly a fun watch. 5/5 points.

 

Overall: 20.25/25 (81%): For fans of old-school heists and hijinks, creative capers and plenty of action, humor, mystery and trickery, Lupin III is a great series to pick up, and this part is a nice starting point and a fun show. Lupin has a way of stealing hearts and treasure, you know….


Like what you see? Want to talk about Lupin III? Leave a comment!