Deep within the recesses of our minds is that nagging desire to be something more than how society perceives us. We climb through the proverbial rubble to reach a seemingly unreachable goal, and it often tears us apart in the process. Film writer, Charlie Kaufman, is someone that has repeatedly showcased this struggle in such abstract methods. Kaufman is someone I have talked about in the past, being my favorite writer due to his ability to take his own subconscious thoughts and re-contextualizing them in a way that most anybody can understand. Once you realize this, his films become much more introspective. “Being John Malkovich” is not the most abstract thing he has written, but it does provide various layers of existentialism that rewards the viewers that try to dive deep into the hidden meaning behind it all. This film takes that previously mentioned desire within the world of art and picks apart the damaging effects that come from this desire to be recognized. One can easily look at this film as “surreal for the sake of drawing out a reaction”, but there is so much more gravitas within the subtext burrowed into the plot. An endlessly fascinating film that begs to be analyzed, this is Spike Jonze and Charlie Kaufman’s “Being John Malkovich.”
Despite the title of the movie, the main character of this surrealist journey is not the titular actor, but rather, a struggling puppeteer, Craig Schwartz (John Cusack). Craig lives a life of mediocrity with his veterinarian wife, Lotte (Cameron Diaz), working off the streets as with a portable puppet show about two contrasting lovers. Craig manages to land an office job in a very peculiar building where the floor he works on has low hanging ceilings. While there, he meets the cold and manipulative Maxine (Catherine Keener), who he falls in love with, despite how little she thinks of him. As the weight of Craig’s struggling situation begins to loom on him, he discovers a strange tunnel within the corner of his office. Craig begins to investigate the tunnel, and as he makes his way through, he is sucked through a portal into the mind of the iconic actor, John Malkovich (portraying himself), for a brief amount of time. Despite how mundane Malkovich’s life appears, Craig is fantasized with this life and begins to exploit with the help of Maxine, offering random people the opportunity to step into the actor’s mind in exchange for money. Craig’s wife Lotte gets the chance to jump in herself, and becomes obsessed with staying there, even beginning a relationship with the manipulative Maxine within John’s body. Both Lotte and Craig begin fighting for the affection of Maxine, and John starts to become aware of what exactly is going on in his head.
To those unaware of this film, perhaps the plot synopsis sounds quite bizarre. This film certainly indulges in the strangest of concepts, but none of it is meaningless. While Malkovich may not be the main character, there is good reason for why he is placed in the title. These characters view Malkovich as something of a god-like figure because of their mundane lives. Neither Craig or Lotte are particularly happy with their choices in life and everything feels like a struggle to them. When the idea of being placed in the mind of an actor who has a comfortable, albeit rather uninteresting, lifestyle, they feel as though they’re being lifted into a heaven-like place. The types of people that want to be within Malkovich’s head are lonely and pathetic people, mirroring this perception that people can have on themselves. So many of us will often punctuate our more negative aspects, believing that we should use celebrities and other idols as some kind of attainable goal. The only person within the story that doesn’t choose to go inside of John’s head is Maxine, because she already sees herself as someone who is powerful and in control. Maxine represents that side of the mind that corrupts and abuses the more vulnerable side. The way both Craig and Lotte are willing to step on each other to be with Maxine is indicative of just how manipulative powerful people can be to those who are starving for fame.
I previously mentioned that Kaufman often likes to use his own life as a basis for the movies he writes. With the focus being so heavily placed on John Malkovich, you may think this is more of a meta piece on the actor instead, but unlike similar films that do this such as “Birdman”, Kaufman is merely using Malkovich as a catalyst for our main character. Craig is like the personification of Kaufman’s self-perception. Craig is a struggling artist with an awkward demeanor and a disheveled appearance. Using Kaufman’s later work “Adaptation” as an example, (a movie that literally uses Kaufman as the main character) we can see similarities within their portrayals. Kaufman, like many aspiring artists, is painting himself as someone who is low on the totem pole, using an unrealistic end as a basis for his way of living. Craig is far more antagonistic in comparison to Kaufman’s other self-insert characters, but you can at least understand where his character is coming from. The puppetry is not simply just a means to translate that love of film into a different form, but also foreshadows his abilities when taking over the mind of Malkovich. Craig, above all the characters, manages to find a way to control the actions of the famed actor, using him as a means to gain his own type of fame. In a way, Kaufman seems as though he’s projecting this fear of being corrupted by this desperate greed.
“Being John Malkovich” will forever be a fascinating film to me. It’s a movie that can certainly be lost on people or, not necessarily in a bad way, can simply be looked at as an entertaining surrealist film. The first time I watched this movie, I wasn’t really familiar with Kaufman’s previous works aside from “Eternal Sunshine”, so I wasn’t looking for anything too abundantly deep, (I wasn’t even aware that the two films were written by the same person.) I was thoroughly entertained, but there was nothing really intrinsic that I got from it. Upon re-watching for this review, I found myself so much more fascinated by just how natural everything felt. When you really stop to analyze everything within the context of the world created, it very comprehensible. Never did I feel a moment of disconnect, I merely went along with everything I saw. On a personal level, that idea of placing yourself on a pedestal is something that I have had a history of doing; wanting to fight against this imaginary perception I thought people had of me. This constant need to improve upon our inadequacies and how it can do more damage than good is so intrinsically palpable that almost anyone can see themselves in the character of Craig. Even when you disconnect everything I said, this film is still endlessly entertaining. It has some amazing visuals, brilliant cinematography and a mentally perplexing soundtrack that all serve to paint a fascinating picture of artistic desire overcoming the mundane. It’s no “Adaptation” (which I did a review of a while back, maybe check that out as well), but it’s just as fascinating.
Our mental health is truly a fickle piece that can easily ruin the way we function. It’s such an important aspect to focus on, and yet, it’s only in the more recent years that society has given it the attention it needs. This is, however, not to undermine the efforts of those who did care that tried to spread some awareness. As a movie director, there is no obligation to highlight these issues, but many have used their podium to establish a connection with it’s audience. With this film here, Paul Thomas Anderson frames the follies of the human mind with a desperate struggle of constant anxiety and general fear. It’s a film that disguises itself with a bright and colorful pallet that has one of the most tense and palpable atmosphere I have ever seen in a film that explores such an issue. Anderson has made some wonderfully poignant films across his long history of film making, but this one stands out high above the rest. Layered within a tale of mental anguish is the not-so-enticing advertising point of having Adam Sandler as the leading man. I typically detest the vast majority of Sandler’s works, but I have no doubt that the man can churn out a truly outstanding performance, given the likes of “Uncut Gems” and “The Meyerowitz Stories.” To believe that Sandler can give us a deeply layered performance may be foreign to most, but this is one that fights against that cliche he has created for himself. In a similar vain to “Uncut Gems”, Sandler is leading a film-focused anxiety fest in all its uncomfortable glory. This is Paul Thomas Anderson’s “Punch-Drunk Love.”
This exhausting tale of pent-up tension places its focus on businessman, Barry Egan (Adam Sandler) who leads a life of isolation away from both friends and family. Constantly in a state of severe anxiety, anger and a lurking depression, Barry’s life may not be the slightest bit interesting, but upon establishing his invasive and passively abusive sisters, we come to understand that Barry has grown up around a life of constant abuse that has led him to yearn for a simple lifestyle. Despite this, Barry becomes increasingly more frustrated at the apparent loneliness and resorts to phoning a sex-hotline. This hotline tries to scam him out of his money and begin to make his life more strenuous by stalking him down so they can exploit him. As Barry seems to be going through one of the worst times in his life, he meets a woman named Lena (Emily Watson) that his sister tries to set him up with. Despite Barry’s stand-offish behavior, she becomes smitten with him and they go on a date, that Barry ends up bringing to an abrupt end after letting out a rage-induced fit of destruction in the restaurant bathroom, due to his self-loathing embarrassment. Regardless, the two become quite obsessed with each other, to the point where Barry is willing to travel all the way to Brazil to follow Lena with her work. Life isn’t all great, as Barry’s tensions with the sex-hotline continue to press, with thugs chasing him down for his money, putting his newfound love in danger.
As the title implies, and my insistence in the plot synopsis enforces, this is very much a romance film. In most typical romance films, the two leads will often follow a rather formulaic narrative that involves the characters going from star-gazed lovers to tense resentment to hopeless love. This film fights against many of these cliches while also remaining a rather strong piece of the over-saturated genre. Barry is not the typical leading man you find in most of these stories; he’s incredibly self-isolated from beginning to end, but he doesn’t go through the typical changes. Rather than the writers feeling the need to make the main character realize he is the problem, they view the world and those close to him as the real issue. Barry is certainly self-focused, but he isn’t self-indulgent. Barry comes across as painfully awkward, but there is a level of charm that many can identify with. Trying to force someone who is violently introverted to become the exact opposite can often lead them into a far worse mental state. Barry doesn’t find love from his sister’s hasty attempts at establishing his relationship with Lena, he manages to find that confidence within his own means. The film doesn’t encourage introverts to remain that way, there’s more of an understanding and encouragement that you can function normally within your own abilities. His family looks at him as rude and uncaring, Lena can see through that facade, and this allows him to see himself the way she does.
The way this film explores mental health is exceedingly more fascinating as it goes on. On a personal level, I was able to identify with many of the issues Barry goes through. Barry is constantly on edge, worried about how people view him and his battle with wanting that isolation while also craving affection. The way Barry skirts around social situations and takes his anger out on himself had me thinking to my lowest moments. I often find myself drawn to these types of characters because I can totally believe the scenarios presented. I have never seen a film that captures that feeling more than this one. The constant rising tension that is complimented by the loud, dreary soundtrack creates a movie that wants you to become part of Barry’s mind. The depression is also handled with a blend of stark honesty and a dark dose of comedy. It’s enforcing this idea that Barry looks at himself as a worthless joke, but also craves even the slightest bit of happiness. What can elevate a film from simply being enjoyable to relatable is how much you see yourself in the protagonist. A common complaint that I have seen when films explore sensitive subjects is that people may not always find a clear connection to the character. Far too often, people try to project themselves into the movie and become disinterested if there isn’t even the slightest similarity to their personality. This is certainly a bad way to critique a film, but there is certainly something admirable that comes from a film that goes in that direction. This film tackles the issue of mental health so well that I honestly feel like anyone can be drawn in.
I may have promoted this movie to be far more bleak than it actually is. “Punch-Drunk Love” may be a dark comedy, but it does provide a message of hope. It chooses to sit down with the depressives, not look down on them. The movie provides a glimmer of hope. Barry does find his confidence, but through his own means, as if to say that the “help” from others is meaningless if you can’t help yourself first. The sub-plot involving the sex-hotline is just another hurdle for him to overcome before he can really embrace the person he, subconsciously, is. I am endlessly fascinated by this film. Despite being a more recent watch, I continue to think back to it. There are very few films I look at where I can find a complete relatability to, but this is easily one of them. This film encapsulates everything that comes with a mind of constant, nagging anxiety. The performances, especially that of the polarizing Sandler, are all excellent, wonderfully empowered by Anderson’s unique directing. The cinematography and editing is entirely mesmerizing, with shots remaining vivid staples in my mind. It balances drama and comedy with a level of finesse that I couldn’t have imagined any director doing better. If you’re looking for a film that feels like a never-ending anxiety attack, and you’re all done with “Uncut Gems”, then you’ll definitely want to check this one out.
Side note: Every time Adam Sandler churns out a terrible movie, it just makes me sadder than his character here. Please stop holding back your performances, Sandler!
The world has continued to follow down a path of equality and acceptance. We live in a time where we celebrate those who fall into minority groups, and as such, the art of film making has heavily leaned on this direction. Whether you may look at it as purely reactionary and unauthentic, it’s undeniable that good things have come from this over-exposure. “Moonlight” is a film that tackles the issue of a young black person coming to terms with his sexuality. Both of these key characteristics already invoke a sense of struggle that director, Barry Jenkins is trying to nail down. The unapologetic approach of making the main character both black and gay is something that spits in the face of supremacist mindsets, and it’s exactly what is needed in today’s world. Even with this polarizing subject matter, the film manages to frame it in a way that anyone can understand. One does not need to match up exactly with the main character to find that relatable draw. Jenkins turns this controversial topic into a story of one’s longing for comfort and genuine love. This is a film that invites everyone into its arms, regardless of race or sexuality. I can’t think of a movie that speaks to the progressive world than this film here. This is Barry Jenkins’s “Moonlight.”
This film centers around three important moments in the life of Chiron, beginning as a child (Alex Hibbert) to a teenager (Ashton Sanders) to an adult (Trevante Rhodes). Chiron is a shy boy growing up in the lower-class, crime-fueled streets of Miami with his single, crack-addicted mother. Chiron is seen running from a group of bullies, but is saved by a local drug dealer, Juan. Despite his occupation, Juan is actively concerned about the boy, teaching him the important lessons of life that his mother fails to teach him. As Chiron begins to find happiness, he discovers that Juan is the one responsible for his mother’s drug addiction and leaves Juan’s side. Time passes as we see the teenage Chiron struggling with his budding homosexuality. He also has to deal with his mother falling further into addiction and suffers from the homophobic abuse of both her and his fellow classmates. Chiron may find love in the form of his childhood friend, Kevin, but even that relationship takes a terrible turn. We eventually move forward to the adult Chiron, who has gone down a dark path, but wants to turn his life around by making amends with his past manipulators.
The biggest appeal of this movie can also be some uncomfortable subject matter for others. As much as the world has progressed, there are still many of those who hold on traditional views, even louder and more obverse due to the support. This film manages to find a way to both cater to the audience it portrays while also sitting the less informed down and explaining the problem with their opinion is wrongful. The idea to chronicle Chiron’s life is quite ingenuous as it gives a sense of purity, a child who is victim to the abuse before he even realizes the reason. No mention is made of his possible homosexuality until quite a ways in. If you were unaware of the premise beforehand, this can catch you off guard. It humanizes the young boy and you already despise his mother for being so neglectful and vicious. Archetypes are turned over when the most comforting person in Chiron’s life is a drug-dealer, adding to the idea that you can easily judge someone based on their appearance. When the reveal of how Juan is the reason for Chiron’s mother’s addictions, it makes it all the more heart-breaking, as if Juan is fueling the resentment she feels towards her son. The message is powerfully loud from the start, and the scene that best encapsulates this is a single moment of Chiron’s mother screaming homophobic slurs at him without any sound. You don’t need to hear it, you can tell simply by the body language of both characters, and it cuts deep.
The teenage years will likely be the point that most people that have struggled with their sexualities will find themselves relating to the most. As these years are difficult for everyone, it becomes ten times worse for those who do not identify with what society perceives as “normal.” Chiron has come to understand that he is gay, but not a single person in his life accepts this. He does find solace in his friend Kevin, but Kevin seems to be straight. Those themes of isolation are pushed even further to the forefront as his mother treats him as a tool to fuel her drug addiction. What’s so great about these moments are the fact that Chiron holds back much of his emotion. You can feel a sense of desperation from just the mannerisms alone. This part of the film feels the most united with its audience. Using the most important years of our adolescent life to contextualize the extra struggles that people with these problems must face on top of everything else. Even when Chiron seemingly gets what he wants, it’s taken away from him in a devastating betrayal. As much hope as the first chapter wanted to give us, the second reminds us of how prejudice can overthrow that. To have an intense scene between two characters being followed up with an uncomfortable, yet insatiably power moment speaks to how social stigma can be so utterly cruel.
I don’t want to go too in depth with Chiron’s adult life as it would give away far too much of the plot. It does act as a satisfying conclusion to the story, but some may feel like it could have gone much further. I personally feel that the ending is far more impactful because of how subtly it ends. Chiron isn’t just looking to be accepted as a gay man, he simply wants love and affection. The final moment speaks to the goals of those in the LGBT+ community; pure, unconditional acceptance. Every single second of this film is purposeful to this overarching message and is only heightened by the beautiful cinematography and score. Jenkins has managed to nail down both the struggle and beauty that comes from the acceptance that we as the non-oppressed have the luxury of enjoying. It is a film that teaches and understands its audience.
I don’t really have much to compare this movie to when it comes to the subject matter, but I do feel safe saying this is the most impressive movie I have seen that tackles such prejudices. Even as a straight white man, I can understand much of the strife that the main character goes through. It speaks perfectly to the social climate that we are encountering today and knows how to handle the social relevance with a high level of grace. It doesn’t look at those with greater privilege with a sense of patronizing but instead re-contextualizes the message so that anyone can understand it. Even putting aside said message, the movie is adorned in spectacular writing, picturesque cinematography, purposeful music choices and creative editing choices. I can easily see myself revisiting this film many times, and would encourage anyone to seek this out. Most of you have probably seen it already, given its fame, but if you haven’t, check it out.
Side note: Remember when “La La Land” almost won best picture over this. I really can’t stand the idea of a self-gratifying mess like that winning. Add that to “Conor’s list of films he hates that everyone loves.”
More recently, I have managed to finish a marathon involving all the works of the legendary animation company, Studio Ghibli. I have always considered the art of animation to be one of infinite potential, but I always neglected the studio over the years. Back in April of last year, I decided to set out and watch all of them, but lost interest after six movies. This wasn’t because of the movies themselves but, rather, because I had so many more films open to me due to the dreaded lock-down. I really wanted to get through all these films, so I could officially give myself the title of “Ghibli fanatic” and the experience has been truly wonderful. Watching as the medium of animation has all but completely snuffed out traditional 2-D styles has me yearning for its return. Ghibli, until more recently, has kept it alive and, in doing so, has told numerous inspiring stories from literal art. Most who read my reviews don’t quite have that love for animation like I do, so hopefully I can spread a little awareness of what I consider to be the most accessible Japanese animated films out there. From the creative mind of Hiyao Miyazaki to the personable soul of Isao Takahata, I’m ranking all of the studios films (with the exception of the most recent “Earwig and the Witch” as it hasn’t been released in the UK yet) from worst to best. Perhaps I can shed some light on which films are the best for your morbid curiosity. Without anymore delay, here are all 22 films ranked.
22. Tales From Earthsea (2006)
Starting off on a genuinely bleak and forgettable note is, what I consider to be, the one film in Ghibli’s line-up that feels completely devoid of any real substance. Regardless of the quality of Ghibli’s works, you can at least depend on the idea that the directors had some sort of good intention. In this directorial debut for Hayao Miyazaki’s son, Goro Miyazaki, “Tales from Earthsea” feels as though there was more attention placed on the environments and character designs over the more crucial narrative and structure. “Bland” is the perfect word to summarize the entire experience. None of the characters feel remotely interesting and the story is so incredibly slow and confusing that it makes for a slog to get through. While the art-style is beautiful, creating a lush land of fantasy-like awe, and the character animations have that Ghibli quality, it does not forgive the complete lack of identity or substance. I know I am not alone with my placement, so it’s easy to just brush this off as a poor film. Goro, however, has proven to be competent, as you’ll see later in the list.
21. Ocean Waves (1993)
I’m not entirely sure if I should count this one, due to the fact that it produced for TV, but it’s considered part of the line-up, according to Wikipedia. I was quite surprised to see just how many romance-focused films came from the prolific studio. This did cause some apprehension, due to my lack of interest in the genre. The only one I found to match up with those pre-conceived notions was the entirely underwhelming, “Ocean Waves.” While the attempts at creating a nostalgic view of Japanese high school life and young love are admirable, I don’t feel as though these elements are strong enough to support the film. There felt like a severe lack of chemistry between the two leads, and the main character wasn’t particularly interesting. I did enjoy Rikako’s character and her sporadic personality, however. The art-style and tone was much more grounded, and that’s something I really liked, but it doesn’t save the soap-opera level drama that comes across as a little half-baked, especially when it feels as though the set-up is rushed. It’s not a movie that is particularly memorable, but it does have some few merits that put it above “Earthsea.” Also, you cannot convince me that the relationship between Taku and Yutaka was simply a “friendship.” Thought we were going in a completely different direction at first. Would’ve been a whole lot more fascinating.
20. Ponyo (2008)
Here’s an unpopular placement. I have nothing but the greatest of respects for Miyazaki and all the work he has produced. That being said, not everything he has done has felt as artistically fluid as his reputation has garnered. I can certainly understand why so many people adore the more child-friendly “Ponyo”, but I just can’t quite find myself getting lost in this world the same way I have with his other films. This movie certainly has a ton of soul and great intentions. I love the brighter and more colorful pallet and the animation can be downright gorgeous. Each and every frame is wonderfully created, this is especially noticeable in the final act; it’s beautiful and continuously memorable. My issues come from the over-usage of “cuteness” and the paper-thin side characters that feel like more of a detriment to the greater plot. While Miyazaki’s intentions are good, I found myself annoyed by the overly childish tone. This may seem like a pointless complaint, “it’s an animated film for families, of course it’s childish”, but Miyazaki has always treated these films as an art form that speaks to its audience, rather than talking down. It’s not awful, I just couldn’t find myself invested.
19. Pom Poko (1994)
This may be another unpopular opinion, but I just couldn’t enjoy the sheer ridiculousness of Isao Takahata’s “Pom Poko.” Much like my opinions on “Ponyo”, this is the only film within Takahata’s tenure that I don’t particularly like. This may come from the obligatory cultural differences that come with the far more foreign tanuki lore, but it felt as though there was too much padding that plagued the entire movie. I did enjoy watching these colorful tanukis displaying their mystical powers, and there’s an innate absurdist tone to the murderous intent they harbor. I enjoyed the larger moments of the tanukis messing with the humans, especially from the bizarre parade scene, but it all comes at the cost of a rather basic story. It was easy to lose focus of the greater goal, and I feel this could have been fleshed out much further. There weren’t any particular characters I gravitated towards either, they all became rather indistinguishable. The more obvious message towards preserving the environment also feels undermined by the ridiculousness of the scenarios. I understand this is more for entertainment than about trying to create “art” but when you’re trying to tell an important message, it feels disingenuous. I still enjoy the sillier aspects, but I just couldn’t find myself loving it.
18. When Marine was There (2014)
The last film this studio made before their indefinite break, until the more recent film, “When Marnie was There” is something that is so close to being ambitious and progressive, but is horribly held back by its refusal to be daring. The film was clearly leaning on telling a story about a young girl finding love in another, like-minded girl, but it insists that they are simply friends. This gave me similar vibes to “Ocean Waves”, but felt like a far more natural direction. Whenever the two leads share the screen, there is genuine chemistry. I like that Anna is not a typical protagonist, and exhibits actual realistic anxiety and the central conflict is only powered by this portrayal. I also really liked the ambiguity of what is real and what is a dream. The film, however, takes a major hit when we learn of who exactly Marnie is. Besides it being far too convenient to the main character, the reveal adds a layer of creepiness that the film seems to want to justify. This would not be as uncomfortable if I felt this really was a story about two friends, but the implications are far more obvious, with the reveal making it truly questionable. Had it not been for this truth bombshell, I most definitely would have placed this higher. I fully support LGBT+ relationships, but I am NOT in support of THAT.
17. Whisper of the Heart (1995)
Another romance film that may be influencing my rankings. I understand that most people would rank this very high, but there is much more to my lower spot choice than a simple genre. The way this film incorporates “Country Roads” was definitely a bizarre choice, and even more bizarre is the way that the main character is trying to make her own version of it. Regardless, it is integrated well and served to frame the character’s conflict. At it’s heart, it’s more of a coming-of-age tale. Finding your place in the world trying to chase these seemingly impossible dreams is something that most will relate to, and will definitely speak to the age group of the main characters. I may not be in said age group, but the creative aspirations hit me on a personal level. Top these elements off with some mesmerizing animation and operatic score, and you have something truly special. It is, however, held back by a basic romance plot and a lack of consistency when handling its dream sequences. I enjoyed these small vignettes of fantasy, but there are very few of them. It would’ve added to the greater message of chasing your dreams. This film isn’t bad and, I’m happy to say, it’s mainly positivity from this point on, it just frustrates me that it had so much more potential to be greater than it is.
16. The Cat Returns (2002)
Yes. I prefer the fun, dumb little side-story to the much deeper origin. As great as many of the things in “Whisper of the Heart” are, I still had a lot of issues that held it back. It’s spin-off tale, “The Cat Returns” may not have those finer, more nuanced elements, but what it does right is downright charming. It isn’t anything spectacular, but it does have fun with itself. I find all the characters incredibly charming, and this it’s complimented by it’s simplistic art-style. The Baron, who is a minor dream-character in the earlier film, is given more of a personality that serves to accompany the likable protagonist. It revels in a strange fantasy, and that’s all it needs to do. The only major flaw I have comes from it’s lack of anything noticeably brilliant, but then there’s nothing particularly awful. When a movie is able to convince you that the love between a human girl and a cat-man feels genuine, you know it’s doing something strangely right. This one is real weird.
15. My Neighbors the Yamadas (1999)
The biggest surprise to come from my Ghibli marathon, in more ways than one, was Takahata’s “My Neighbors the Yamadas.” It’s rarely ever talked about amongst fans and possesses a distinct art-style and structure. Rather than a singular, clear narrative, it instead compiles a series of vignettes that paint a greater picture of a family life. It uses Japanese archetypes in a way that can speak to all walks of life, nailing down the familiarity that any conventional family can relate to. It isn’t particularly deep with what it wants to say, but it’s greatly entertaining. All five members of the family are incredibly likable and provide distinct personalities that one can’t help but find something to love about each one. It is so soaked in suburban Japanese culture and has a soundtrack that feels far too grandiose for such a simple film. I can’t say it ever excels above being pleasantly charming, but it’s a welcome surprise that needs to be watched, if only for the enriching experience.
14. Nausicaa of the Valley of the Wind (1984)
This one was hard to place. Some may not even look at this as a Ghibli film, considering it was made before the studio was founded, but it’s officially considered the first. “Nausicaa” may be one of Miyazaki’s earliest works, but it is writhing in his trademark style. Its strong female protagonist, its enriching and fleshed out world, the beautiful animation and expressiveness, and the subtle social commentary is all there. The way war plays into the valiant efforts to spread environmental awareness is rooted in it’s fantasy setting. There isn’t quite that comfortable feeling that I get with the two previous films, which is why I do feel there are some negatives to address. The pacing can feel very slow, and the story is never terribly spectacular, but it is brimming with so much personality and style that it can forgive many of these issues. I do feel that there is a level of caution from Miyazaki with this one, and would, perhaps, benefit from a slight fleshing out of the story. As it stands, it’s worth a watch, it just doesn’t quite reach the same level of the legendary director’s other works.
13. Arietty (2010)
A film based on a book that was very close to my childhood. “Arietty” certainly takes more than its fair share of liberties when adapting “The Borrowers”, but it keeps much of the charm and whimsical world-building that it is prevalent in the iconic story. So much of this film is elevated by its atmospheric tone, creating wonder and amazement by viewing the world from the lens of a miniature person. Ghibli’s tendency of spreading an environmental message is more understated here, but feels so much more natural within the confines of the world. The animation may not excel above Ghibli’s other works, but so much of the art-style is heightened by the scale of the environments and the expressiveness of the characters. This isn’t really a film I herald for its story, more so the environment, but it has an identity that makes it stand out amongst the other films in the studio’s library. The romance between the two lead characters didn’t feel incredibly strong, but there was a level of charm. My main issue comes from how ‘safe’ it feels; it never really does anything to spectacular. That being said, I can easily see myself re-watching this, if only for the wonderful animation. (Tom Holland is terrible in the English dub, probably best to watch the original dub for this one.)
12. Porco Rosso (1992)
There always seems to be two different types of Ghibli movies: the ones that try to inspire, creating a world like one never seen before, and then the ones that simply wrap themselves in the strange and over-the-top. “Porco Rosso” is this weird amalgamation of the two. The addition of turning the protagonist into some sort of pig-man feels unnecessary, but fits perfectly into the atmosphere that the world creates. Miyazaki’s love of aviation soars into untapped artistry as we are left with a truly fun and entertaining film that never takes itself too seriously. The titular pig is given a more stand-offish personality, but is wonderfully complimented by the more eccentric side characters. It’s a film that serves to deconstruct the pratfalls of heated masculinity, carefully veiled by an abstract lead character. The story is played like a classic action-adventure movie of the golden era and blends together a tone that both children and adults will find themselves latched to. The animation is eye-catching and mesmerizing. It’s part of the course for Miyazaki’s films to stand out in that regard, but here, the environments really pop. The aesthetic has a warm, comfy feel. It’s a weird film to recommend to newcomers. I didn’t go in with the highest expectations for this, but I was pulled right out of those pre-conceived notions as soon as the world opened up. Miyazaki proves that he can constantly find new and inspiring ways to tell a story.
11. Castle in the Sky (1986)
Over the years, my taste in movies has evolved. I find myself more drawn in by films grounded in reality, but with a level of fantasy hiding itself within the structure of the film. There is one thing that has remained a striking appeal to me; fantasy. This film wondrously blends an amazing steampunk aesthetic with whimsical landscapes. Not a moment went by where I wasn’t awing over the beautiful backgrounds and unique air crafts. The story provides an ecstatic accompaniment to this setting. The two lead characters feel like real children thrown into an unwitting adventure. The film switches the typical villain archetypes on their head, giving us a rather composed and stoic antagonist. On a personal level, I found myself relating this to the “Final Fantasy” franchise of games, feeling as if this infamous series may have taken some inspiration. ‘Inspired’ is the perfect word to summarize this film. So many other forms of media seem to have taken some inspiration from the iconic movie. As tired as these ideas may feel, this is of no fault to the expertly crafted world it creates. It’s a movie that never feels like it steps into ‘phenomenal’ territory, but it does manage to capture that love of fantasy I keep close to my heart. It invokes a nostalgic feeling, despite this being a recent watch.
10. The Wind Rises (2013)
Whenever Miyazaki decides to put his retirement on hold, he somehow manages to show the same vigor that made him such a household name in his younger years. “The Wind Rises” is more than a return to form. Displaying that love of aviation again, this film feels so incredibly personal to Miyazaki that you can almost replace the main character with him. It captures the drive that those with a creative passion have in a bubble, birthing something distinct and gorgeous. As this film chronicles the life of a young child into adulthood, we see the physical manifestations of his dreams take shape. It finds room to balance romantic love with work-enforced passion that the two melt into each seamlessly. You care about the main character, despite the neglect he may show towards his wife, and you care even more about the doting health of said wife. This film also works to show us the beauty of the world around us, closely held by stunning animation and music. I am a sucker for the ‘dreamer’ movie, it hits very close to home, but there is something so intrinsic to this movie that anyone can find something to love about it. It may be at the bottom of my top ten, but I have very little negative to say about this. It’s all close to perfection from here on out.
9. Kiki’s Delivery Service (1989)
I may have given the impression that I tend to value the more mature and introspective Ghibli films over the child-like wonders but, if anything, its the latter which I can appreciate more. “Kiki’s Delivery Service” is easily one of the best examples of how well Miyazaki is able to capture that childish amazement. It’s a simple story; a young witch out of training starts a delivery service. It’s nice and wholesome with an adventurous wit about it. Kiki is such a fun and entertaining character and is only strengthened by the equally wholesome side characters. Jiji provides a comical contrast to everyone else with his sarcastic persona. Kiki also provides what, I believe, to be the greatest strength of the film; she’s an audience avatar. The way she reacts to the world is like a lens for the viewer. Each moment she lifts off the ground, we are taken away with her. This is another film where the backgrounds are one of the main appeals. I loved the structures of the European-inspired locales and the beautiful scenery. It’s almost redundant to bring up the animation at this point, but “Kiki” does this with much more subtlety that I feel it’s important to address this. I also think this a perfect entry point if your looking to get into these movies, especially if your gearing kids towards it. It may not take as many risks, but it’s such a comfortable and memorable film that I can’t help but gush over it.
8. From Up on Poppy Hill (2011)
I…did not expect this film to reach as high on the list as it did, but here we are. It had everything working against it: it’s a direct romance film, it was directed by Goro Miyazaki and was leading towards a twist similar to “Marnie” that almost had me reviling it, but this film shines bright. This film invokes that nostalgic feeling of high-school life that “Ocean Waves” was going for, but this one feels so much more fluid and crafted. The central conflict looks down on ripping away heritage, but also embraces the new world with a centrist approach. But the real focus is placed on the complicated romance between the two leads. There’s a natural progression from one-sided adoration to mutual love, and is thrown into a darker turn that will have you questioning whether you willing to forgive something so taboo. The movie dares to embrace something so bold of an idea with a careful and steady approach. This film is certainly more contained than many other Ghibli films, and what it does within that small area, it does so ridiculously well. I can see many Ghibli fans being baffled at my choice to place this movie so high, but I honestly do believe it’s something special. Turns out Goro can do some good.
7. Howl’s Moving Castle (2004)
It’s hard for me to put into words just how much this movie works for me. “Howl’s Moving Castle” is another example of just how innovative Miyazaki could be when it comes to such abstract ideas. Covered in a thick secretion of vivid fantasy, it has a message of mortality and how you should harness every little moment of your life. The fantasy setting constantly shifts with our vehicle for this adventure coming from the titular moving castle and its mysterious magician. The way time is utilized and character archetypes are flipped around give this film a distinction apart from not only the other films on this list, but many others like it as well. I absolutely adore the visuals and music, with the castle standing out. You can really appreciate all the detail that covers that behemoth. This film can often feel a little convoluted and does push the more adult themes a bit too much, so it’s hard for me to recommend this as an entry point, but it’s one that must be seen as soon as possible. I really, really struggle to tell exactly what makes this film work for me, but I’ve settled on the idea that I just need to let the movie whisk me away on this memorable adventure, no questions asked.
6. Only Yesterday (1991)
Another shocking placement, I was thoroughly dumbfounded by how much this film stuck with me. As prolific as Miyazaki may remain, Takahata has given me the impression that he himself is the most varied in style and substance. “Only Yesterday” is the perfect capsule of how we often compartmentalize our childhoods and allow it to define us. The constant back-and-forth with Taeko’s life as an adult compared to her childhood is given a noticeable divide with how saturated the colors of her younger life are when placed next to the more organic look of her older one. The way backgrounds are faded out to represent memories is captivating. Adding an extra layer is the more oddball personality of the protagonist. She isn’t shown to be a typical child and is given some distinct quirks and, in this, we get a character that can feel tangible to anyone who has suffered from childhood segregation. Even with the inconsistent pacing of the flashbacks to the rest of the film, everything feels so natural and I never found myself losing interest. My placement here may come from a personal connection to the ordeals the character goes through. That struggle to fit in with others, the struggle to live up to an invisible high standard and the isolated nature was feverishly palpable. It may have the most forced environmental message of all these films, but it’s still phenomenal. (That Puma product placement was hilariously forced. I laughed for a good five minutes.)
5. Princess Mononoke (1997)
I’ve previously done a much larger review of this one, so I won’t go too much into this. “Princess Mononoke” is easily Ghibli’s most violent and straightforward movies. It’s strong environmental message is presented through a filtered look at a fantastical world of gods and warriors. The titular princess is that force that unites the two and is so fascinating to watch. The real protagonist of this film acts as an audience avatar and if you can’t find yourself reaching the same conclusion that he does, then perhaps the meaning will be lost on you. Aside from the enthralling story, the animation is some of the best the studio has ever had and the designs of the animal gods is unlike any I’ve ever seen. If you want to here me talk more about this spectacular film, check this review out: https://conorjohnson1.wordpress.com/2021/04/12/film-lookback-princess-mononoke-1997/
4. My Neighbor Totoro (1988)
In a similar vein, I’ve already done a much longer review of this. Even after all this time, my opinion has mostly remained the same. The most well known Ghibli movie, “Totoro” is a special film with a large heart. While it plays itself rather safe, there is a lot of care for the more sensitive nature of life. Teaching children how to deal with their parents, or any loved one for that matter, suffering from a threatening illness is an immense task to take on, but Miyazaki really handles this with finesse. The lead characters are charmingly adorable and the large, titular Totoro has so many more layers to simply being a cute mascot character. To find happiness in darker times will never fail to reach me, personally. It’s wonderful and practically flawless. Check out my full review if you like: https://conorjohnson1.wordpress.com/2020/11/09/film-lookback-my-neighbor-totoro-1988/
3. The Tale of the Princess Kaguya (2013)
If Miyazaki can prove his artistic intent is still very much alive with “The Wind Rises”, Takahata proves that he has nothing short of perfection left in his parting works. “Princess Kaguya” was like an experience I have rarely ever felt. Drawing from a deep Japanese mythology, this film tells a tale of how wealth and notoriety can never replace one’s less prosperous roots. The titular princess provides a nice subversion of the typical royal characters, being a constant force of energy. The way that the story values the idea of living a naturalistic life of happiness rather than a miserable, yet wealthy one makes everything feel more relatable. It’s a fairy tale story that doesn’t beg to be analyzed, simply to enthrall you in an experience. The fantasy-woven world is beautifully orchestrated by it’s unique brushstroke art-style and immersive soundtrack. For every moment this film may slow down, there is always something to keep you fascinated. There is so much wonder and amazement that is poured into the seams of this film and rarely, if ever, did I feel a sense of dragging. This is a movie that reminds me of why I love animation so much. Every single shot is artistically driven and would only be held back if it was done in the typical CGI techniques. The ending of the film had me on the verge of tears, and that only speaks for the excellent writing and character building. I cannot recommend this enough. It is simply a masterpiece in animation and story-telling. (When showing this to your kids, watch out for some “U” rated nudity. There are bare breasts. :O)
2. Grave of the Fireflies (1988)
From Takahta’s last film to his first, “Grave of the Fireflies” is pure artistry, but not in a literal sense. This is easily the most hard-hitting of all the Ghibli movies. Much of the subject matter is not typical of the Ghibli format. It is so intoxicated in raw emotion that it can move even the most jaded personality. As insistent as Takahata is that this isn’t an anti-war film, it feels very much as if they are lambasting the lasting effects that World War II had on the villages and towns around Japan. Looking at the war from the perspective of two children, one old enough to understand the weight of everything and one who is far too young to comprehend the sadness of this time, there’s a rarely tapped narrative that anti-war films often ignore. Despite the constant dour tone that blankets the film, there are genuine moments of childish joy that adds so much innocence to the story. Deep down, you want these characters to find even the smallest bit of happiness and, whenever those moments come, it feels all the more relieving. With stunning visuals and a haunting soundtrack, this movie feels complete in every sense of the word. It’s not the most innovative or creatively-driven Ghibli movie, but it’s easily the most well-written. This film had me in tears towards the very end, and it refuses to leave my mind. Simply phenomenal.
Spirited Away (2001)
Not remotely surprising to anyone who admires the works of Ghibli and Miyazaki, “Spirited Away” is without a doubt the greatest film either has made. Everyone manages to garner a different interpretation from this legendary film, as it’s one that begs to be analyzed. It’s a refreshing film that can be seen in a variety of different ways. The world it creates is a fascinating ghostly one where legend and mythology thrive. It’s main character, Sen reacts to the strange environment as much as any real kid would; full of unknowing fear and amazement. Most of the film is just a roller-coaster of strange and bizarre events, but you stop questioning everything once you’re integrated into the world. The unnerving ghostly character that follows Sen around can be looked at in various ways, but I look at it as the personification of consumerism and that lust for processed consumption. There’s clearly a message of enjoying the natural foods of the world, something that has always been a simple accompaniment in previous Ghibli films. The film literally opens on Sen’s parents turning into gnawing pigs. As has been the case for almost all the films I’ve talked about, the animation is positively superb and lustrous. Every single frame of animation is eye-catching and the character designs are distinct and purposeful. I can’t really say anything that almost everyone hasn’t already said at this point. This was the film that introduced me to the worlds of Ghibli and even after all the films that followed after it in this personal marathon of mine, it still remains my favorite. I even consider it to be one of my favorite films of all time.
Side note: Will probably do a review of “Earwig and the Witch” when it gets a cinematic release. Will be a nice way to cap off this Ghibli smorgasbord.