The show wants to cover too much in just eight episodes, but it fails miserably. Too many characters, too many subplots, too many conflicts: Richter's fear, the love between Olrox and the knight, Maria and her father, the fight against the Messiah, Anette and her disconnection from her ancestors and her loss of Edouard. The viewer doesn't have time to focus on anything because they throw everything at the same time.
The only thing I cared about at least a little was Richter's plot and, although it was developed, it was not the best executed. The magic returns to Richter when he realizes that he has many people to protect. That trope is something we are tired of seeing, especially all those who come from consuming anime, consuming shounen to be more specific.
I was not interested in any character and I was even less interested in the antaognists. As usual, I remember that the first part of Castlevania did not shine for its construction of villains either. Who on the team thinks of making the vampires so one-dimensional and giving them so much focus? What is not attractive to the viewer is supposed to be kept on the sidelines.
It makes me laugh how they saved the worst for last: Alucard's appearance. It was not necessary to use the nostalgia card and even less so at a critical moment like that: right at the end when everyone is at their lowest moment and almost about to die. The way they executed those last scenes, Alucard feels like a Deus Ex Machina.
The action scenes were on point. Kudos to the group of animators and directors behind it. Castlevania has always had some of the best choreographed animated battles I've ever seen.
The first part of Castlevania was not something that was very worthwhile, but Castlevania: Nocturne disappoints even by those low standards.
"Aw, man. They've learned how to learn."
"Benson, you listen, and you listen good: Please, Benson! Please give us overtime! Please."
Nimona's character is the best thing in the film and steals the focus from the first time she appears. Then no other character matters unless he's used as comic relief, not even Ballister.
"Nimona" lacks real conflict. The whole question is summarized in "I don't have any problem, it's society that is wrong." It is obvious what the correct answer is, no viewer will support society, not when you present it in such a simplistic and one-dimensional way. On top of that, the topic is something already quite hackneyed that has been discussed hundreds of times in recent years and apparently no one knows how to execute it in an organic and credible way. However, I appreciate that "Nimona" has something to tell even if it doesn't manage to tell it well.
The half-medieval, half-futuristic setting is dissonant and strange. It feels absurd, but seeing the tone in which the film works and the direction it takes, it seems like a conscious decision.
The jokes are great, at least for me. That's why the movie is entertaining even if it fails in many other aspects.
"Nimona" does not respect serious moments, it is as if it was afraid that the film was too serious for his audience. Every time something remotely strong happens, it's interrupted by comic relief. That kills the immersion and seriousness that the film tries to build.
The last conflict where Ballister has the fight with Nimona when he doubts her because of the piece of parchment that her boyfriend gives him... Terrible. How is it possible that all this time Nimona gives you to understand that society and everything in it must be questioned, but when they show a parchment all worn out that was in God knows where, drew it God knows who and talks about a time in the past when you were not born, you believe what it says and question the person who was helping you not die all this time? You more than anyone know that the director is the real villain of the matter, she said it herself, she herself tried to kill your boyfriend when she was confronted by him. Are you really going to question everything you saw and know with complete certainty because of a piece of paper? Teeeerrible execution, an attempt to create a simple conflict at the expense of the realism of your characters and your own narrative construction.
So few dialogues give the film a great personality, until now I have not seen a film that has the same style. The cinematography, on the other hand, doesn't go that far, but it's decent. It has good shots and excellent scenes and, together with the script, they all help to tell things with very little.
The big problem with Nicolas Winding's film is that it completely lacks substance. It is undeniable that the style has left the film on top, but when you repeat the film about three times you realize that neither the story nor the characters are going anywhere. The first half of Drive is a romance story, the second half is about gangsters; the film doesn't quite decide what it wants to be and doesn't achieve anything on either side. When you know that no character has relevance beyond being a plot device to advance the story, you will stop caring after the first twenty minutes.
Drive has nothing to tell on a narrative level, it has no message like "(500) Days Of Summer" nor does it leave an impact like "Hard Candy." The only impact it has is its style, which, without detracting from it, is very good and not every film has a personality as marked as this one has.
I give Drive a light 7.
—But if you did that it would make you the only bad person left.
—I have no idea what you're talking about. I'm a hard working honor student consider to be one of Japan's best and bravest.
That guy must do crazy squats.
"To survive, my people need a phat party club to grind in. That monster's gut was totally excellent."
—Of course I'll go with you, Finn.
—You will?
—Yeah, as friends.
—Of course as friends.
—But no tongue.
—Ye- What!?
Jujutsu Kaisen has way to much exposition and almost zero character drama. I'm dropping it again.
Very good animation along with the characteristic style of the Trigger studio, it is impossible not to like the show, not from that section at least. The story, on the other hand, is not at all interesting.
The chapter is summarized in exaggerated victimization towards the protagonist because he is poor. At least David has certain glimpses of characterization and the repetition of scenes and attitudes gives him some depth. Good direction on that side, but the victimization remains. It's not that it's a bad element in itself, because not even the protagonist himself reacts realistically to it (the whole development feels a bit absurd), but it will depend a lot on what direction they take from now on.
Two guys suffering from a bad moment in their lifes, want to see how this develops. It got nice jokes and crazy moments, i will keep watching.
I don't how to feel about what I saw, that's my opinion so far. It felt like so much happend in a very short period of time. At first you are force to root for the protagonist due to the lenght of the episode, then she wins the battle and now your in this sexy encounter with the blonde girl, you're all turn up and BOOM, instant shock. Then a pretty cool twist at the end. I just know I liked what a saw, and holy shit, the visual production on this thing is amazing, it looks astonishing.
"You think... I'm evil?"
"This is how I like my baths, damn it! I'm sure the flames of hell are hotter than this!"
—What... the hell are you?
—A passing... housewife!
"You morons... No need to force yourselves."
"Drive-by acting exercise: You're all angry englishman. Go!."
"Hit the showers, boys. I was hoping you could handle this. Clearly you cannot."
Elicia, Grecia, I'm sorry, I don't think I can keep my promise.
Well, I'm sorry to disappoint you and the rest of old McDonald's farm, but, to paraphrase John Paul Jones, I have not yet begun to flee.
Farewell, Sweet Cookie Cats. I'll always remember the time we spent together.
—Give me back my blood, Joshua!
—Kee Oth Rama Pancake.
You know, maybe we could all learn a thing or two from those sandwiches.
Ice cream for my mou-uth.
Finn the Human, would you please get out the way?
If you ever lay a hand on my sensei, I'll kill you!
She's just upset, Kevin. She's probably off somewhere right now crying her eyes out.
—Oh, it's a date!
—No, it's not. I'm sure when he said, "Go out" he meant "Go out", not "Go out".
"You were all like, 'Noooo! No one kisses her but meee!'"
