The Girl Who Leapt Through Time (movie)

Time waits for none one.
Time waits for no one.

(゚Д゚)

Just saw the movie a few days ago. This film’s pret­ty damn fun, I’d call it one of the best ani­me movies I’ve seen to date (how­ev­er, not the best). I say, Mamoru Hoso­da has out­done him­self yet again in the direc­tion of the film. The ani­ma­tion was bril­liant too, the back­grounds and the set­ting are drawn so gor­geous­ly.

The alter­nate out­comes of time are well-played out in this film. As I expect­ed, the main char­ac­ter, Mamoru Kon­na, has a lit­tle fun with her new-found pow­ers due to an unlucky day. Also expect­ed, some of the changes weren’t very ben­e­fi­cial, and before she knows it, “time almost ran out even though she has pow­ers that should tech­ni­cal­ly save some time” (metaphor­i­cal­ly, of course…). Mamoru, and Chi­a­ki (and Mamoru’s lit­tle sis­ter! What a riot. ポッ(*゚.゚)(゚.゚*)ポッ), are def­i­nite my favorite char­ac­ters in the film, hands down.

The moral’s been, no doubt, thrown in our faces many times in oth­er media, but the way the moral’s expressed here through the sto­ry’s exe­cu­tion was beyond excel­lent (i.e. “Go for it before it’s too late”, “Try­ing to act as if your trou­bles nev­er exist­ed won’t make things bet­ter”, etc.). While the last part of the film may not have been as fun as the begin­ning through mid­dle, and some sto­ry ele­ments may seemed to have come out of nowhere dur­ing that peri­od, to me that’s not enough to weigh the film down — and not enough for me to not call it a mas­ter­piece.

And when I’m vague enough about the sto­ry, it means I love it enough for want­i­ng you to go out and see­ing it for your­self.

4 thoughts on “The Girl Who Leapt Through Time (movie)

  1. I actu­al­ly felt that the lat­ter sto­ry ele­ments were served up rather well. I can see how the tonal change would be a bit jar­ring (if there is one weak­ness with Hoso­da, it’s that his work fol­lows the rou­tine of estab­lish­ing an incred­i­bly play­ful and impos­si­bly fun first half, only to fol­low up with a far dark­er, almost night­mar­ish sec­ond half).

    Any­how, this film did­n’t make me cry, but for what it’s worth, it just as well did. No oth­er ani­me film has res­onat­ed so pow­er­ful­ly with me.

    I’ll also say that Hoso­da is the best direc­tor in ani­me right now. Sure, I’m usu­al­ly all over Hamaza­k­i’s (Texh­nolyze, Shig­u­rui) and Kon’s (Mil­len­ni­um Actress, Papri­ka) nuts, and I can’t neglect Yuasa (Mind Game) and Yoshiu­ra (Pale Cocoon), either, but Hoso­da is an artis­ti­cal­ly pure direc­tor (hm, the pre­ten­tious­ness seaps through the screen with that phrase!) that mar­ries acces­si­bil­i­ty per­fect­ly. He actu­al­ly made parts of the Digi­mon fran­chise not only watch­able, but EXCELLENT. And he final­ly broke the rule that all shounen movies are half-assed cash-ins: look at his One Piece film. And Tokikake speaks for itself.

    He’s like what Miyaza­ki was dur­ing his run from 1993–2001, except more ver­sa­tile and whim­si­cal (much like Miyaza­ki was dur­ing the 80s).

  2. @Hel­lKo­rn: The tonal dif­fer­ence of the first half com­pared to the sec­ond half nev­er real­ly down­played the sec­ond half for me (the guy got me used to it, no doubt), it just strucked me as kind of… odd, although I did­n’t real­ly pay atten­tion to that quite much, and still hap­pi­ly enjoyed the film.

    You summed up how Hoso­da is as good of a direc­tor as he is quite nice­ly. He cer­tain­ly made the more “main­stream” ani­me movies into more than just [AU] fanser­vice.

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