War for the Planet of the Apes Review

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In 2011, the Planet of the Apes franchise was revived. Rise was a reboot, but also a prequel to a new series. Modern effects would allow more realistic apes than what was seen in the original films, and in Rise, we got to see some of the best effects of a modern blockbuster. The film was followed by Dawn of the Planet of the Apes, and to quote my review from it, it “is one of the finest movies of the century.” Caesar was already fantastic in Rise, but in Dawn his character was further cemented as one of the greatest of 21st century pop culture. War for the Planet of the Apes gets Caesar even further by making him and his ape companions the full-fledged protagonists. There’s no main human protagonist (aside from Nova) this time around. This works, because Caesar is an incredible character, and the other apes are great as well. They can easily hold a film together. War has many of the things that made its predecessors good films. It’s incredibly well written and provides a fine closure to a fantastic trilogy.

The opening scene makes sure to remind the viewer that this is a war. It’s a tension-filled sequence as we see the soldiers plan to attack the apes in the forest. Then, when the soldiers make an explosion, everything turns into chaos. It’s exciting when the apes rally to defend the woods. This opening scene grabs the viewer’s attention right away. It’s brutal as we see apes and soldiers getting killed from bullets and spears. After the battle, we’re shown Caesar deciding what to do with a traitor ape by the name of Red/Donkey and the soldier survivors. This is Andy Serkis’ best portrayal of Caesar yet. Every scene he’s in is Oscar-worthy.

Perhaps the core story is Caesar’s mission to take out The Colonel. It’s interesting because in a key scene, Maurice tells Caesar that the latter is starting to sound like Koba. This was a greatly written scene. Koba was the antagonist in Dawn, and in War Caesar at times “sees” Koba, showing that the rogue ape still haunts. Caesar’s journey, outward and inward, is engaging. He isn’t a one-dimensional hero. He fights to defend the apes, and goes through development after being hit with the realization that Maurice’s words are proving to be true. Caesar has easily become one of the greatest film franchise characters ever to be created.

As stated in the first paragraph, the apes can hold a film together. Each of the main ones are given personality, from Maurice being the soft observant one to Donkey being a loyal Koba follower. War introduces one new major ape protagonist, whom comes toward the latter part of the film. “Bad Ape” is actually the main negative why War isn’t the perfect film Dawn was. Dawn was a serious film, and arguably War should be even more serious. Bad Ape provides comic relief, such as saying “I’m okay” after tripping on something off screen. It just seemed like he was there to provide humor in an otherwise perilous story – but was it really necessary? I don’t think so. For an example backing up that standpoint, we have a scene where Bad Ape doesn’t know how to use binoculars. Then it cuts back to The Colonel’s ape prison. It goes from comedy then back to a serious situation; it just doesn’t mesh well. The tone change is abrupt and jarring. Ultimately, Bad Ape didn’t contribute much to the story and could have been left out of the script.

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The primary antagonist is Colonel McCullough. He’s no Koba, as The Colonel is more of a textbook villain. But to call him generic would be a disservice as well. His scenes with Caesar throughout the final act were especially interesting to watch. As stated earlier, there’s no human protagonist driving the story forward. However, there is a human character whom the apes pick up. A little girl whom is later named Nova, she was a good character to have around. Despite not being able to talk, she displayed great emotion.

The lead-up to the climax is almost as exciting as the climax itself. Seeing the plan to escape was engaging. Then, the final battle provides an epic action sequence that won’t soon be forgotten. However, while the explosions are grand, it’s the different characters’ decisions that make the final act so memorable. From Caesar’s last encounter with The Colonel, to Donkey’s grenade gun, there’s so much emotion conveyed in these fantastic scenes. The soundtrack is particularly strong as well. The final scene provides a genuinely emotional ending to what will go down as one of the best trilogies out there.

Overall, War for the Planet of the Apes is a great film. Though not perfect like Dawn, just about everything works. Caesar is outstanding once again, and is given more to do. The action is very good, but it’s the interactions with the apes that truly make the film stand out. The themes of mercy and leadership are there, as Caesar has to make a choice of whether to be like Koba or not. The different ape characters are great, aside from Bad Ape. The emotion the different scenes convey is amazing. Who could forget Luca grabbing a flower from a tree and putting it on Nova? With a memorable final act, War concludes Caesar’s journey with excellence. Though there could be more Planet of the Apes films, War provides fine closer to the story set in motion in Rise.

9/10

Spider-Man: Homecoming Review

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We are living in quite an interesting era for the comic book film landscape. Spider-Man got his first film all the way back in 2002, 15 years ago. When Marvel launched their Cinematic Universe, the idea of the Webhead fighting alongside the Avengers was nothing but fan fiction at that point. But, in an unprecedented event, a deal between Sony and Marvel allowed Spidey to join the MCU. He debuted in Captain America: Civil War to critical acclaim. To put it simply, it was surreal and a dream come true. Now here we are with Spider-Man’s first solo outing in this continuity and also his fist solo outing since 2014’s The Amazing Spider-Man 2. So, with all this pre-hype excitement out of the way, the question has to be asked: Is Spider-Man: Homecoming the best Spidey film yet? It is not, but Director Jon Watts’ film is still fun from beginning to end.

The opening act takes place eight years ago, during the aftermath of the Chitauri Invasion. It’s an interesting way to set up the story, and in this case it’s setting up Adrian Toomes’, (known to comic fans as the Vulture) rise to villainy. I’m all for antagonists getting this kind of treatment in the beginning (and we all know villains in the MCU need to be better) but there’s something hammy to Michael Keaton’s portrayal in this first act. It takes a bit before the Vulture becomes an engaging character. It’s interesting when he brings up how rich people like Tony Stark rule, while working people like him have to eat off the scraps. It’s a solid motivation for him; it’s a shame the writing didn’t do a better job developing that in the beginning. To give some credit, Toomes has some good scenes toward the climax. In the end, Vulture doesn’t solve the ongoing problem of mediocre villains in these films, but he’s a step above villains like Darren Cross and Malekith. As a bonus, the suit design is genuinely menacing.

Of course, the primary reason why one would watch this is to see Spider-Man. For some, this is the first time seeing Spider-Man on the big screen. For others, this is the second rebooted Spider-Man film. Either way, I believe most will be satisfied with Tom Holland’s portrayal of the famous character. Holland portrays this energetic young Peter Parker well. Some particularly strong scenes are when he busts the fake Avengers robbery and when he tries to save the Staten Island Ferry. The writing does a good job bringing the story to street level. An example is the montage early on with Spidey helping the common citizen. (There are plenty of humorous scenes throughout the film, but my favorite comes from this montage – the brief clip of Spidey giving an older woman directions.)

Tom Holland’s portrayal is mostly great, but it can border on the annoying side in a few instances. The video clip early on for example was a bit much after awhile. Also, if one is used to the more adult incarnations of Spider-Man, it could be tough getting used to this 15 year old version. But, I think it’s possible since the writing does a solid job at making this about him discovering how to be a mature hero. One of the most powerful scenes was Tony taking away the Spider suit. Peter claims he’s nothing without the suit. Tony replies, “If you’re nothing without the suit, then you shouldn’t have it.” Speaking of Tony, Robert Downy Jr. steals the show every scene he’s in. He doesn’t appear too much, which would have taken the spotlight away from Peter. Iron Man appears for just the right amount of screen time.

There’s plenty of fun, fast-paced action. Though, there’s no truly notable battle sequence. Yes, the climax finally featured Spidey dealing blows to the Vulture, but before that the fight scenes were mostly brief. You won’t walk out of the theater saying, “Wow, that was one great action sequence.” Some of the more well done action pieces weren’t fights. The scene where Spidey breaks into the Washington Monument and the one where he attempts to hold the Ferry together were intense. Also, I’m sure longtime fans will appreciate seeing a famous comic scene adapted near the climax. (Personally, I think that particular scene would have been better saved for a future film.) The soundtrack isn’t bad, though not too memorable outside a couple of themes.

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As for the other characters, the most major is Jacob Batalon’s Ned. He was fun to have around; he worked well as a friend and later “guy in the chair” for Peter. Laura Harrier as Liz wasn’t bad. She wasn’t much besides a love interest for Peter. But, to give some credit, she wasn’t devoid of personality. The romance angle wasn’t terrible. In the end, it doesn’t really go anywhere, but without it, it would have been hard to have the well done car scene with Toomes. Zendaya as Michelle was one of the most interesting characters with her unique, quirky personality. It looks like the writing has plans for her in future installments, which is good. Out of all the supporting characters, ironically the standout wasn’t a human – it was Karen, an A.I. built into the Spider-Man suit. One of the best scenes is when Spidey talks with her while being stuck at a base. Oh, we can’t forget Marisa Tomei’s Aunt May. The writing really tries to make her the complete opposite of the original trilogy’s May. It mostly works, but the last scene went a little too far.

Overall, Spider-Man: Homecoming is a solid addition to the Marvel film library, Tom Holland’s energetic outing in Civil War takes the center focus here, and it’s mostly well done. As he should be, Peter is portrayed as an upbeat kid. At its core, the story is about Peter becoming the hero we’ve seen throughout the years in comics. When Tony takes away Peter’s suit, Spidey is forced to reevaluate himself. The Vulture is a decent enough antagonist. There’s enough solid material to avoid calling him a mediocre villain. The action is fun, but it feels like there should have been one more important fight scene. But, despite any negatives, Homecoming remains an engaging watch. By the end, it makes the viewer anticipate Spidey’s future appearances.

8/10

 

Yatterman Night Review

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Who doesn’t love a good tokusatsu? From Ultraman to Super Sentai, the genre remains a fixture in Japanese pop culture. It unfortunately isn’t too popular in the United States. Outside of Power Rangers, tokusatsu is relatively unknown. There have been many shows throughout the years in Japan, one of which is Yatterman. The original anime aired in the ’70s, and though it’s not as popular as Ultraman, the main characters nonetheless did make it into the video game Tatsunoko vs. Capcom. Yatterman would go on to appear in a remake show and even a live action movie. Most recently, Yatterman got an anime cerebrating its 40th anniversary titled Yatterman Night. FUNimation released it in North America not too long ago, which is great because the show is quite engaging.

The opening scene sets up the story with the attack and now iconic quote, “It’s punishment time!” It’s amazing how this sequence connects when everything comes together in the final episode. Back to Episode One, it does a fantastic job setting up most of the main characters. We’re introduced to Leopard and her relationship to her mother Dorothy. Anime deserves a lot of credit, because in just one episode it can establish how genuine a relationship is and make us care for the characters. Here we see the mother-daughter love these two have. We’re also introduced to Voltkatze and Elephantus, where we see they are servants for Dorothy.

The story really kicks off when Leopard finds out that she, Dorothy, Voltkatze and Elephantus are descendants of the Doronbow Gang. This is fascinating because all this time Dorothy had been reading to her daughter the story of how Yatterman defeated the Doronbow Gang. Leopard is dismayed at her heritage, and she also learns that many years ago Yatterman banished the Doronbow Gang, and her descendants continue in that banishment on the island they were exiled to.

Soon Dorothy grows ill. Leopard decides to take a boat to Yatter Kingdom and ask Yatterman for help. After all, he’s a hero, right? So when Yatterman and Lady Yatterman are in sight, Leopard understandably rejoices…until her boat is blasted and the two “heroes” shout that intruders are not welcome. This moment changed everything. The show’s main plot point is the mystery of what’s happening in Yatter Kingdom. Why is Yatterman not acting like the hero of legend? It’s an engaging concept, and one the writing uses mostly perfectly. At the end of Episode One, Leopard dons a Doronjo costume, likewise Volkatze as Boyacky and Elephantus as Tonzra.

So, we have a reversal of roles. Doronjo’s gang are the good guys while Yatterman has seemingly turned into a dictator. There’s a great sense of tension among the episodes. Who can forget the Yatter soldiers chanting “Yatter!” in Episode 2? The most powerful scene showing the extent of the living hardship in Yatter Kingdom is found in Episode 4. A pregnant wife’s husband is drafted into serving Yatterman for 35 years where he’ll never be able to see her. He’s told it’s an honor to serve Yatterman. The viewer can see the terror and sadness on his wife’s face as she does the Yatter salute. This scene further cements Doronjo’s mission to “give Yatterman a forehead flicking.” It’s at the end of this episode where she says that Yatter Kingdom is a hell.

The show is mostly fantastic, but there are scenes that take away a star. Chief among the negatives is Episode 7, which was mostly filler and just not engaging. This is thanks to Ryu, a character the heroes run into. I’m all for the heroes running into people affected by Yatterman’s rule…but only if they’re actually likable. Ryu’s gimmick is that he loves fish, to a disturbing extent. He talks about being wrapped around in octopus’ tentacles. It’s a little fishy, excuse the pun. I don’t care about this guy “achieving his dream,” as the episode wants viewers to. There’s also Takeshi in Episode 5. His arc was engaging, but his gimmick of relieving himself got annoying quickly. Yatterman Night is unfortunately sometimes hit with childish and strange humor.

Thankfully, the negative things don’t usually take center stage for too long. The show also gives us two more characters, Galina and Alouette. These two would become vital and epically engaging in the final episode. In the meantime before that, they aren’t bad. Galina attempting to spy on Alouette though at a hot springs was unneeded and hurt the character. Besides that, he’s given solid development throughout the show. Oh, one more heroic character whom can’t be forgotten is Honorable Oda. This pig made for a fun animal mascot without going overboard.

One subplot that wasn’t needed was Doronjo having feelings for Galina. By the end of the show, it didn’t go anywhere. Why was it added? Back to overall characters, General Goro is the antagonist whom goes after the heroes throughout the episodes. He’s a fun villain to have around. The plot twist with him later on is brilliant and adds a sense of tragedy to his character. The music that usually plays when he’s around is awesome as well. The anime’s soundtrack is strong all around, complete with a great opening theme song.

There aren’t many one-on-one fights unfortunately. Still, when the action is there, it’s fast paced. The last two episodes did an incredible job bringing everything together. The writing is great as it explains the big plot twist. The final showdown is epic and inspirational, bringing the show to a memorable close.

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Overall, Yatterman Night is an excellent take on the Yatterman franchise. Instead of being a remake, it’s set many years into the future of the original show, making it an interesting sequel. The ongoing mystery of why Yatterman has seemingly become a tyrant is engaging. Doronjo is a great protagonist, fighting as a promise to her mother and to save the people of Yatter Kingdom. Viewers get a sense of how genuinely Doronjo cares for others. The cast is good as well, all having diverse personalities. Sadly, questionable humor and the disturbing fish lover removes a star. But, the show is still a very good addition to the tokusatsu library and a must see for Yatterman fans. Even if you’re not familiar with the character, definitely give this show a watch.

8/10

Wonder Woman Review

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Since her inception in 1941, Wonder Woman has remained not just the most famous female superhero – but also one of the biggest icons of pop culture. That’s why it’s shocking it’s taken this long for a movie about her to be made. Lesser known comic book characters like Electra and Steel have gotten feature films, but never Wonder Woman. Finally, that changed this year. Wonder Woman appeared in last year’s Batman V Superman, and while people were divisive on that film, many agreed that Gal Gadot’s brief portrayal of the character was solid. Now we get to see this version of Wonder Woman in a starring role. Director Patty Jenkins delivers a film full of heroism and inspiration. It’s a film worthy of the iconic character.

Wonder Woman as a character stands for justice, and the film does a fantastic job showing that. When Steve Trevor is forced to tell the truth on Themyscira, Diana’s reaction to it looks incredibly genuine. He says how the war has taken the lives of women and children, and the viewer knows at that moment, Diana is going to do something about it. From here, Diana continually showcases what being a hero is about. Two of the most notable scenes in the film are when she talks back to the government and when she decides to jump into battle to stop the oppression of the village of Veld. It’s inspiring, and the major reason why it’s so well done is Gal Gadot’s fantastic portrayal.

Diana has lived on an island away from mankind all her life, so it’s interesting how she reacts to things in the outside world. Her reaction to seeing a baby and ice cream for example are nice scenes. Her respect and love for people are evident, as seen in the aftermath of the Veld’s battle sequence. She stands on a rooftop as people clap and look above at her. What does she do then? She comes down to their level. She shakes hands and smiles – a truly touching scene showcasing the kind of character she is. This feels like the first time in a comic book film where we see such a powerful character on the same level with the people he/she protects.

The other main character is Steve Trevor. He’s had a long history with Wonder Woman in the comics, so it would be interesting to see how he would be used in the film. Chris Pine provides just the right amount of charisma without going overboard. Like Diana, Steve is portrayed as heroic, and becomes even more so because of her. The romance between him and Diana isn’t bad. Romance has a reputation in comic book films for being forced or poorly done, so it’s good to see a romance subplot actually passable.

Near the middle act of the film, the story introduces viewers to three characters that form Steve’s team to raid German High Command. There’s a problem with introducing a bunch of characters in the middle of a film. Not enough character or backstory is given here. We have Charlie, whom is supposed to be a sharpshooter. But what did he actually contribute? Then there’s Chief, but he also did nothing of importance. Only Sameer is given something to do. He mentions to Diana that it is his dream to be an actor, and later we get to see that acting ability in one of the film’s most hilarious scenes.

Steve’s secretary Etta Candy borders on being funny and over the top. Thankfully the film doesn’t go overboard with her. There are a few antagonists. Danny Huston as Ludendorff is a bit on the generic side, but he’s not terrible. He does his job at being a sinister army general. However, Dr. Isabel Maru (known as Dr. Poison) is far more interesting. There’s an unhinged nature to Elena Anaya’s portrayal of the doctor. The real villain however is Ares, and how his character comes together in the climax is brilliant. Though he only does big things in the last act, Ares cements himself as one of the better comic book movie antagonists.

Wonder Woman doesn’t disappoint in the action department. The early battle on Themyscira was well done. It takes a bit before the next big action sequence, but when it happens, it’s worth the wait. Diana’s stand against the German army at the village of Veld was awesome and well choreographed. It’s a nice balance between the street level Batman type of fighting and the grand Superman battles. The climax is divided into two major fight scenes, both of which are great. The showdown against Ares was a satisfying final action piece.

Though the film contains great action scenes, it’s something else that ultimately shines: the theme of love. It’s the genuine love of people that can conquer darkness and hate, as Diana displays. It’s a great message for a culture that promotes self-interest. The film’s soundtrack is strong, featuring the now iconic theme from Batman V Superman along with other quality themes. As for Themyscira, it’s a beautiful, unique setting. Though Diana’s mother, Hippolyta, doesn’t appear after the first act, she leaves a lasting impression along with Atiope.

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Overall, Wonder Woman is a great film. It’s full of genuine heroism and emotion. Gal Gadot’s portrayal of the character is perfect. She displays everything Wonder Woman is meant to be. Steve Trevor is very good as well. (Sadly, most of the other characters don’t actually do much.) The war backdrop is interesting, and provides a great sense of victory when Diana rises to combat the army in the fantastic Veld sequence. The actions scenes are well done and Ares is an excellent final boss. To love others, to do the right thing, and to be a hero is what Wonder Woman is all about.

9/10

Escaflowne: The Movie Review

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The Vision of Escaflowne was an influential anime back in the 90s. It was jam packed with content, from mechas fighting it out to philosophical themes such as the “alteration of fate.” Perhaps the best aspect of the show is how developed the characters are. Great care was put into the diverse personalities each of them had. There’s a fantastic sense of nobility to the story. Though sometimes the grand scheme was a bit vague, Escaflowne remains one of the great anime fantasy epics. In the year 2000, Sunrise released a film simply titled Escaflowne. Instead of a sequel, it was a retelling of the 26 episode series. That’s ambitious and of course liberties would have to be taken if a 95 minute film was to adapt a whole show. Sadly, too many liberties were taken. The film is still decent whether you’ve seen the show or not, but one is better off taking the time to watch the 26 episodes.

The film opens up with Van slashing his way through various enemies to get to the Escaflowne armor. It’s a typical action film opening, but it’s still exciting. The first act then takes place on Earth, similar to The Vision of Escaflowne’s first episode. Hitomi is introduced, along with her friend Yukari. It’s here where the dire changes from the show start to become evident. The writing reveals this version of Hitomi to be depressed and suicidal. It’s a sour note to introduce her character. Hitomi had inner monologues in the the show, but she wasn’t depressed.

What the writing does is give her a character arc that is similar to Folken in the film. (We’ll get to him soon.) Hitomi in the show is known for her kindness and ability to see the good in others. She becomes that person later in the film as she interacts with Van and sees how Folken is. It’s not a bad character arc in concept, but it doesn’t work as well as it could thanks to the rather short runtime. Because of the rushed pacing, major plot points like the romance between Hitomi and Van feels extremely forced. Escaflowne just wasn’t meant to be told in 95 minutes.

The world of Gaea is vast, which is why 26 episodes was needed to fully explore it. There’s too little backstory in the film. Going back to the first act, I don’t want to compare the film again, but the buildup to Hitomi entering Gaea in the show was epic. Van’s confrontation with the dragon should have been remade. Instead, we get this cheesy dream-like sequence and then Hitomi magically appears inside Escaflowne. The pacing is a bit slow from here until Dilandau and his men arrive.

Unfortunately, most of the characters are a step down from their original appearances. Allen was given great prominence in the show, but in the film he’s reduced to a supporting character. He could have actually been cut out and it wouldn’t have made a difference. I was also distracted by how much his redesign resembled Sephiroth. (Seriously, they look like twins.) Princess Millerna is given a big makeover, having a more warrior-like persona. That’s fine, but what does she actually do in the film? She doesn’t really fight at all despite the redesign. That’s the problem; aside from a few characters, most are just there because of their names. Worse is that Naria and Eriya, two interesting characters from the show, are reduced to fleeting cameos.

Arguably the biggest change was completely removing Emperor Dornkirk. Dornkirk was the main antagonist in the show. Though he was mostly in the same place the entire time, he was the person behind the entire conflict. Dornkirk’s fascination with the “alteration of fate” was an engaging plot point, and gave the show a grand philosophical conflict. Once you remove Dornkirk, you remove a vital part of what made Escaflowne so great. Instead, the film uses Folken as the villain. This could have been interesting, since Folken was one of the show’s best characters. He retains his engaging demeanor, though his goal is to ultimately die. He also hates Van because the latter was chosen to be king. This wasn’t a bad plot point, but it needed more backstory and flashbacks.

All of this is not to say Escaflowne is unwatchable. The story picks up nicely when Dilandau arrives. The buildup to Dilandau against Van was epic. Though, Van and Dilandau possessing magical abilities was unneeded, and actually made the fight anti-climatic. On the positive side, there’s a cinematic quality to the battle of the mechas in the latter part of the film. The writing in the scene with Van and Ruukusu was particularly strong and gave viewers a peak of the grand backstory the film doesn’t show. There’s some excitement in the climax as Folken confronts Van. Hitomi get some good dialogue. Sadly, the “showdown” is lackluster, thanks to the silly magic visuals. The resolution is good in concept, but like mostly everything else in the film, it was rushed. Back to the positive side of things, the soundtrack is fantastic. It uses the iconic themes from the show while also adding in fantastic original music.

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Overall, Escaflowne: The movie is a disappointing retelling of the classic show. On its own it’s a decent fantasy movie with an interesting story, good (but severely underutilized) characters and some solid fights. But it fails to revamp what made the original anime a near masterpiece. The philosophical conflict is removed in favor of something more simple. A lot of the main characters are given nothing important to do. At the very least, it removes the unnecessary love triangle between Hitomi, Van, and Allen. It’s a decent enough movie, but to really appreciate Escaflowne, one should invest time into the anime.

6/10

The Vision of Escaflowne Review

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One of the best things about The Vision of Escaflowne is how it merges different genres. Mechas play a substantial part, but even more so the fantastical and philosophical themes. Romance also plays an important part throughout the 26 episodes. Though it’s not 100% perfect, Escaflowne succeeds in many different areas. The writing is almost always on point and the characters are nicely fleshed out. For those that appreciate grand action scenes, the anime delivers. The aspect this reviewer most appreciates is that the show has an atmosphere of nobility, much like Kenshin.

The Vision of Escaflowne follows a teenage girl named Hitomi. The core of the story is focused on another planet named Gaea, where Hitomi is mysteriously transported. It’s here where we learn that an empire called Zaibach is set on taking over. The first episode does an excellent job setting the stage for what’s to come. Hitomi is introduced as a normal, kind character who likes to run in the track races at school. The episode’s tone shifts drastically when a guy by the name of Van appears through a blinding light. The next part however is where viewers get a sense of the tension the story is going to have moving forward: the arrival of a dragon. There’s a great sense of danger as Hitomi and her friends try to adapt to this situation. The battle between the dragon and Van is exciting. The dragons in this show aren’t canon fodder, which is refreshing.

Episode One could be called a prelude, because it’s in Episode Two where the main story begins to take focus. Gaea is an interesting, fantastical setting, having a Medieval look. Van is introduced as a bit of a hot shot prince, which makes for an interesting dynamic with Allen Schezar later on. Allen’s introduction is handled marvelously, and he remains a great character as the show continues. Escaflowne does a good job giving its characters importance, from Princess Millerna’s medical training to Drydan being able to help rebuild Escaflowne.

Allen is a great character, but in the second half the writing doesn’t use him as well. This is primarily because of the forced romance triangle between him, Van, and Hitomi. Allen professing his love for Hitomi didn’t seem earned at that point. The show didn’t need to have this romance angle. It’s not the worst written triangle, but it can be a detractor in the show’s second half.

As for Hitomi herself, though she doesn’t participate in the fights, the writing is careful not to make her just a weak bystander. Her kindness and ability to see the good in others is prevalent throughout. One of the most powerful scenes was Hitomi offering Naria grace, despite being kidnapped by the latter. The themes of kindness, love, and redemption are there throughout the show and it’s usually thanks to Hitomi. This makes her an engaging protagonist, despite never really being in the heat of battle.

Zaibach is an intriguing antagonist. Folken is their military captain and one of the show’s best characters. He is also Van’s brother, providing a very personal conflict for throughout show’s first half. Dilandau makes for an interesting foil to the rather serious Folken, being more of a crazed fighter. Later there’s a huge plot twist with Dilandau, though it’s bizarrely explained. Zaibach’s leader, Emperor Dornkirk, is interesting. Much of his dialogue is a bit on the meta side, dealing with “controlling and altering fate.” This provides a grand, philosophical (though sometimes vague) conflict throughout the show. The final episode with most of the armies going at each other because Dornkirk says this is truly what humanity wants was intriguing. Also as intriguing was how true love can put an end to violence. It’s a great message, though Dornnkirk fading away was a bit anti-climatic.

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Overall, The Vision of Escaflowne is a quality anime. From its fantastic soundtrack to epic battle scenes, the anime is worth watching. The characters are great. From the main characters to secondary characters to characters who only appear for a few episodes, they are all handled well. The subplots and backstories enhance the story, an example being how Dornkirk was connected with Allen’s father. Though the romance triangle aspect wasn’t needed, it doesn’t take away from how much quality Escaflowne has. It’s one of the great anime fantasy epics.

9/10

Guardians of the Galaxy Vol. 2 Review

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Guardians of the Galaxy was Marvel’s surprise hit. The characters were relatively unknown to the general public until the film came out in 2014. Now everyone knows “I am Groot” and Rocket Raccoon’s constant sarcasm. Though having a grand outer space backdrop, the film was about different characters coming together and forming a team – or better, a family. The concept of family continues on in the sequel, Guardians of the Galaxy Vol. 2. Anticipation was high, and with Ego the Living Planet as the antagonist, one expects a grand sequel. Sadly, though it has some of the things that made the first film great, Vol. 2 is a mediocre sequel.

Guardians of the Galaxy Vol. 2 has an exciting climax that ends with a  genuinely emotional sequence. The last 30 minutes makes the viewer forget about any mediocre things prior to the final act. Of course, as a reviewer, one has to look at the film as a whole and unfortunately there are quite a few negative aspects. The film does retain some of what made the first Guardians a blast. There are plenty of fun character interactions and space battles. The writing is sadly a lot weaker than its predecessor.

Vol. 2 is a prime example of the writing going to the extreme in the comedy department. The first Guardians perfectly balanced comedy and storytelling to deliver one of the best comic book films ever. Vol. 2 takes that comedic aspect and multiplies it tenfold. The problem is that the “funny” scenes are often obvious and forced. Even the character interactions at times were trying too hard to be humorous. The intro with the characters battling Sharktopus an Abilisk was fun, though Groot dancing went on a little too long. Since we’ve just brought him up, baby Groot is cute but by the middle act the viewer misses the adult Groot from the first film.

Pacing is one of the most key aspects of any film. The first Guardians had perfect pacing; the film moved smoothly. The second film unfortunately lacks that. Vol. 2 slows down drastically when the Guardians land on Planet Ego. Things happen, but they’re not particularly interesting. It felt like the scenes on the planet were just buying time until the climax. Yes, the core aspect of the film is Peter finding his father. But it’s not as engaging as a reunion as it should be. This could be because Ego isn’t the best antagonist. The writing gives him some meta motivations and technically his goal might be the grandest from the Marvel films, but the actual character just isn’t notable. To give some credit to the reunion aspect, some things worked well, such as the playing catch scene.

Something that worked really well was the Gamora/Nebula subplot. Nebula’s backstory on why she hates Gamora is fascinating, and also shows how evil Thanos is. The scenes with the sisters are some of the most well done in the film. Their last scene put an extra emotional touch to the final act. Gamora is one of the best characters, showcasing that hardcore warrior persona while also showing genuine emotion. The theme of Guardians Vol. 2 seems to be family, and while some of the Star-Lord/Ego scenes were a bit flat, other aspects were fantastic. We just discussed Gamora and Nebula; there’s also Yondu, who could be the best character. His scene in the climax might be the most emotionally well done of all the Marvel films.

Rocket is usually a highlight, but the film does one big negative thing with him. So, a major subplot is that an alien race called the Sovereign is after the Guardians. The reason? Rocket stole their batteries. This came off as petty and something that didn’t need to happen. Rocket does get some fun scenes with Yondu on the ship. Drax doesn’t have much of a character arc this time around unfortunately. He’s there mainly for comedy, and it can range from laugh-out-loud funny to forced. Star-Lord is a fun character like in the first film. Though, there’s a lack of well-acted emotion. He seems to have the same static face even when faced with the revelation of who killed his mother.

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As stated earlier, the climax is awesome. Fighting a living planet seems like something that could only be done in a comic book, but the film pulls it off. The visuals are fantastic (want to see Pac-Man chomping away in space?) and there’s quality emotion as the writing reminds the viewer that family isn’t always by blood. The soundtrack is very good, though not as notable as the soundtrack from the first film.

Overall, this review seemed to be a bit on the harsher side. That is because the first Guardians of the Galaxy set a high standard. Vol. 2 doesn’t live up to it. The writing is weaker and doesn’t balance the comedy properly. It wouldn’t be a terrible thing if most of the funny stuff were genuinely funny. A lot of the dialogue just doesn’t seem like what actual people would say. That might sound silly since most of the characters aren’t human, but a lot of the dialogue is obvious comedy. This is not to say the film isn’t a good time. If one enjoyed the first movie, one should like the second. The character interactions are at times priceless and the climax is one of the most exciting from any Marvel film. It’s a shame the rest of the film didn’t live up to it.

6.5/10