Review: Without fail, one of the most requested sequels in Hollywood is a follow-up to Doug Liman’s 2014 alien invasion epic Edge of Tomorrow. The film, starring Tom Cruise and Emily Blunt, centers on a man fighting in a war against aliens who must relive the same day every time he dies until he can find a way to stop the enemy’s power source and break the cycle. Liman’s live-action version of the original story by Japanese author Hiroshi Sakurazaka is at times an intense roller coaster ride of bullets, mystery, and dystopian mayhem, but as good as it is, the anime I just watched, directed by Ken’ichirô Akimoto and Yukinori Nakamura, is an even better adaptation of Sakurazaka’s brilliant and emotionally raw story.

Akimoto and Nakamura’s All You Need Is Kill, based on a screenplay by Yûichirô Kido and Hiroshi Sakurazaka, takes an alternate approach to Liman’s version by focusing on Rita, a young woman trapped in a time loop after an unidentified and massive plant from outer space known as “Darol” unleashes monstrous creatures that decimate the population. Following a mysterious surge of energy from “Darol,” Rita becomes trapped in a time loop, forcing her to relive the catastrophic events of the day when all of her friends and fellow soldiers die. As time passes, Rita utilizes her memories and experiences to refine her skills, transforming her into a formidable warrior.

The loop traps Rita in a Groundhog Day-like cycle of solitude and destruction as she faces her formidable foes in a seemingly endless cycle of demoralizing defeat. The repetitive presentation of the story hammers home the loneliness and futility of Rita’s self-appointed mission. Her body and mind are exhausted, yet she’s steadily becoming an unstoppable killing machine with each trip into the fray. Akimoto and Nakamura’s film digs deep into the emotional stress of Rita’s rattled brain and body. Every time she dies, it feels like another dagger to the soul. Some people say pain begins to lessen with repetition. I did not find that to be the case with All You Need Is Kill. Every time I heard Rita’s bones snap or blood spill from her broken body, I felt an intense sensation of frustration and defeat.

At some point, it feels like Rita is about to give up, just let everyone die a horrible death. What’s the point? Nothing she does changes anything. She’s faster, wiser, and learning, but it’s never enough. That is, until she meets Keiji, a young co-worker from her base who’s caught in the same loop, secretly admiring Rita from afar. Once Keiji is exposed, he and Rita share information and partner in the effort to defeat “Darol” and save the world. Finally, Rita isn’t alone anymore, giving her a restored sense of purpose and duty.

Together, Rita and Keiji form an unlikely bond that helps change the tide of their war against “Darol.” Their chemistry is nothing short of endearing, earned, and beautifully executed with heart and sincerity. Their relationship is the kind that adds depth to an already impressive display of artistry and emotion. That’s another thing about All You Need Is Kill: it’s drop-dead gorgeous. Studio 4°C goes above and beyond to put meticulous care into every frame of the film, making it a visual spectacle that spans the color spectrum and introduces mind-boggling topography. You can see and feel the influence of the studio’s past films, such as Tekkonkinkreet, Children of the Sea, and The Animatrix, in All You Need Is Kill, particularly in the characters’ angular features and fun-house mirror-like movements.

All You Need Is Kill also boasts a killer soundtrack. In fact, the rich soundscapes were among the first things I took note of aside from the stunning visuals. The movie features a theme song by AKASAKI, but the specific composers for the background score are not detailed online. Still, the score features atmospheric glitch pop, ambient loops of meditative melodies, and rousing overtures that amplify the action when it kicks into overdrive, amounting to one of the better soundtracks I’ve heard in an anime film in recent memory.

While fans of Liman’s Edge of Tomorrow impatiently wait for word about a sequel to his 2014 version of Hiroshi Sakurazaka’s time travel epic, they could seek out All You Need Is Kill, an astonishingly breathtaking mix of hand-drawn and CGI animation that explodes in your eye sockets and tugs at your heartstrings as Rita and Keiji try time and again to discover a way to vanquish “Darol” and prevent the world from being overtaken by a hostile alien entity with no remorse.

All You Need Is Kill

GREAT

8

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Throughout 2024, I kept hearing a phrase, a mantra, if you will, concerning the entertainment industry. “Keep hope alive until 2025.” Mainly, this sentiment referred to 2025 becoming the Year of the Rebound. We were going to repair the remaining damage left by the COVID-19 pandemic, the SAG-AFTRA strikes, and the distressing box office returns of films that, by all accounts, should have been blockbusters. Alas, despite some outliers like A Minecraft Movie, Ryan Coogler’s Sinners, Netflix’s KPop Demon Hunters, and Taylor Sheridan’s universe of must-see TV, Hollywood is still scrambling to make sense of where they lost control of people’s hearts and minds. Still, everything’s not all doom and gloom, as 2025 also surprised audiences and industry analysts alike thanks to an unlikely underdog: anime.

Is anime done being the underdog?

Traditionally, Hollywood pays little attention to anime outside of Studio Ghibli. It’s nothing personal; animation is forever fighting an uphill battle for attention from people concerned with reading the Oscar tea leaves each year, with many still viewing the art form as a genre reserved only for kids and families. People who adore animation and recognize the painstaking artistry that goes into the genre know better, and thankfully, others are starting to catch on.

I like to think of 2025 as a year filled with numerous animation milestones. Disney‘s Zootopia 2 is currently dominating the box office with an unexpected $1.4B+ in worldwide ticket sales, eager to pounce on last year’s $1.69B+ set by Pixar‘s Inside Out 2. While Zootopia‘s outstanding success is something to cheer for indeed, it’s not impossible to imagine a sequel from the House of Mouse racking up dollars like a Vegas high roller on a winning streak. What gives the industry pause are movies like China’s Ne Zha 2, Netflix’s KPop Demon Hunters, and theatrical anime arcs on the silver screen, such as Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle, Chainsaw Man – The Movie: Reze Arc, and Jujutsu Kaisen: Execution.

Ne Zha 2 gets the anime ball rolling…

To put things into perspective, Ne Zha 2 grossed over $2.2 billion worldwide. While most of the film’s earnings hail from China, the financial impact of the Yu Yang-directed sequel is undeniable. Ne Zha 2 is like the spark that lit the fire for animation in 2025. The film was released early in the year, with territories such as the United States and Canada receiving a theatrical release only in February. However, positive word of mouth about the film spread like wildfire, helping Ne Zha 2 reach an additional $23.3 million in North America. Suddenly, industry analysts were paying close attention to overseas animation, wondering if Ne Zha 2 was a flash in the pan or if anime was building traction in 2025. As the year progressed, outlets throughout the entertainment industry began seeing the forward momentum of anime as something to get excited about, a genre that could energize the box office in unexpected ways.

Chainsaw Man – Reze Arc revs up audiences

So, what makes 2025 and titles like Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle, Chainsaw Man – The Movie: Reze Arc, and Jujutsu Kaisen: Execution so special? I think it has a lot to do with built-in fanbases and anticipation for chapters of stories audiences care about, making their way to the silver screen. A fantastic example of this is Chainsaw Man – The Movie: Reze Arc. Continuing from the core anime series, Reze Arc brings one of the anime franchise’s most bombastic storylines to life in a way that goes beyond streaming the spectacle on Crunchyroll. Before Reze Arc‘s IMAX release, the tragic love story of Denji and Reze only existed as part of the ongoing manga series. As expertly crafted as Tatsuki Fujimoto’s Chainsaw Man manga is, there’s nothing quite like watching those pages come to life in gorgeous, visceral animation. The core anime series is a brutal display of character-driven story and action. However, Reze Arc takes the sensation of slaying demons alongside Denji to the next level with a dynamic screen ratio, earth-shattering sound design, and mind-bending visuals that cranks the volume of the core series to eleven.

Audiences don’t just want movies; they want an experience

When people go to the movies, they don’t just want to watch the film; they want to experience it. Movies like Reze Arc, Infinity Castle, and Execution bring more to the table for anime fans because they offer a cinematic experience that punches you in the face, grabs you by the ankles, and whips you around like a ragdoll. When I saw Reze Arc on the big screen, I felt as if I’d been riding a roller coaster by the time credits rolled. I literally needed to sit for a few minutes before exiting the theater because the movie felt like such a rush. I can’t recall the last time I felt this way watching an animated film in theaters. It made Reze Arc something unique and unforgettable.

Why is anime on the rise?

Why is anime on the rise? In my humble opinion, it’s because audiences are changing. Studios like Disney, Pixar, Illumination, and Dreamworks are always rolling the dice when it comes to animation. It’s challenging to predict what will hit and miss. Examining Disney, we see the unmitigated failure of Snow White, yet marvel at the overwhelming success of Lilo and Stitch. Say what you will about either film, but I doubt even Disney could have predicted a $1 billion return from the live-action version of its 2002 animated classic. With anime performing so well at the box office, it’s a sign that audiences are craving something new. They want to see beloved characters from their favorite series on the silver screen, larger-than-life, with stakes that deliver a direct knock-on effect to a thing they’re already invested in.

Anime films bring existing IPs to new heights

There’s much to say about the characters and stories anime offers. In some cases, fans have had years (and multiple volumes, seasons) to fall in love with characters like Denji (Chainsaw Man), Deku (My Hero Academia), and Tanjiro (Demon Slayer). That built-in affinity goes a long way to put asses in seats. Fans identify with these characters. They learn valuable lessons from them, see themselves reflected in their values and motivations. Or at least they’d like to think they do. What happens to these characters matters to them. The story doesn’t end when the credits roll. The characters endure. Hopefully, they’ll have changed by the time the movie’s over, bringing that growth into the next chapter of the series. There’s plenty to say about getting in and out of an animated experience in close to two hours, but anime tends to go beyond the barriers of standard theatrical runtimes. Anime films also provide audiences with a reason to rewatch material that preceded the theatrical presentation. Infinity Castle is the reason I’m currently watching the Demon Slayer series, and Reze Arc is why I loaded my Amazon wishlist with Chainsaw Man-related merch. My wife and I also plan to rewatch Chainsaw Man Season 1 on Crunchyroll, as this is uncharted territory for her.

I can keep pulling reasons that anime is growing in popularity from the ether, but at the end of the day, it boils down to a desire for the unexpected. Not every anime film is inviting (I’m looking at you, Jujutsu Kaisen: Execution), but at the very least, if you watch an anime film, you’re guaranteed to experience something outside the likes of Disney, Pixar, Illumination, and so on. Let’s face it, our attention spans are trash. Anime moves. It’s often manic, unpredictable, and pushes the boundaries of what artists can do with stories and characters that matter to so many. 2025 hit hard with it being a year when so many beloved series make their way to the silver screen, but 2026 is right around the corner, and if Kpop Demon Hunters proves anything, it’s that the next sensation can come from anywhere at any time.

The post Why Did Anime Explode in 2025? appeared first on JoBlo.

2025 has been a banner year for anime. With releases like Chainsaw Man – The Movie: Reze Arc, Demon Slayer: Infinity Castle, and My Hero Academia: You’re Next blowing up the box office, it feels as if the overseas art form is poised to reach new heights in 2026. While we wait for more titles to get confirmed for the new year, one of anime’s most anticipated releases is coming to turn our worlds upside down sooner than we think. Today, a new trailer for the Edge of Tomorrow anime film, All You Need is Kill, debuted, giving us a fresh look at the upcoming feature in addition to an official U.S. release date.

It’s not an Edge of Tomorrow sequel, but we’re still excited

According to the latest trailer for All You Need is Kill, the animated film is set to arrive in theaters on January 16, 2026. The movie, based on the science fiction novel of the same name by Hiroshi Sakurazaka, became a fan-favorite in 2014, starring Tom Cruise and Emily Blunt. For years, fans have been asking Hollywood for a sequel to the 2014 sci-fi action film, but so far, no dice. Instead, we’re getting this gorgeous anime from directors Ken’ichirô Akimoto (Children of the Sea, Harmony) and Yukinori Nakamura (The Boy and the Heron) from a screenplay by Yûichirô Kido and Hiroshi Sakurazaka.

What’s All You Need is Kill about?

“After an unidentified plant from outer space invasion, Rita finds herself trapped in a time loop, forced to relive the same day over and over again,” the synopsis reads. “With each loop, she learns. She fights. Her memories and experiences sharpen her skills, turning her into a formidable warrior. Yet, the endless cycle of death and solitude begins to wear her down. Then, she meets Keiji. “I’ve been repeating this day too,” he says. “Two lost souls, trapped in an endless war. Could their meeting change fate?”

Who stars in the English dub?

All You Need is Kill hails from Studio 4°C, the same studio behind Tekkonkinkreet, The Animatrix, and Mind Game. The English-dubbed version of the animated marvel stars Stephanie Sheh as Rita, Jadon Muniz as Keiji, Lisa Kay Jennings as Shasta, Cherami Leigh as Rachel, and Jonny Cruz as Yonabaru.

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One of the most beloved anime series of all time comes to an end this year, and scores of fans aren’t ready to say goodbye. I’m talking about My Hero Academia, the action-packed, character-driven thrill ride that’s been airing since 2016. Overrun with inspiring characters, memorable moments, and over-the-top drama, My Hero Academia is the type of anime that endures long after class is out of session. To celebrate the final season of My Hero Academia, we discussed the outrageous and emotional finale with tons of voice actors from the main cast, including Christopher Sabat (All Might / Toshinori Yagi), Clifford Chapin (Katsuki Bakugo / Great Explosion Murder God Dynamight), Justin Briner (Izuku Midoriya / Deku), and John Swasey (All For One).

During our time with the cast, we discussed how it feels to be at the end of such an iconic and momentous journey with My Hero Academia. We explore whether there were any emotional moments while acting out the final season in the recording booth, and discuss the most gratifying aspects of being part of something as culturally transcendent as My Hero Academia. After that, we ask select members of the cast if there are any specific lessons or morals they want fans to take away from the series.

Finally, we ask several members of the cast if they’d return for more My Hero Academia if the world needs their characters again. Thankfully, all are game to continue working on the series, giving us hope for the franchise’s bright future. Additionally, you can catch several of them reprising their roles in the new-ish series My Hero Academia: Vigilantes, which is moving into its second season on Crunchyroll now.

The post My Hero Academia Interviews: Christopher Sabat, Justin Briner & more talk about the beloved anime’s final season appeared first on JoBlo.

Dan Da Dan follows high schoolers Momo Ayase (believes in ghosts, not aliens) and Okarun (believes in aliens, not ghosts) who, after a bet to prove each other wrong, encounter intense paranormal events, leading Momo to awaken psychic powers and Okarun to gain a curse, forcing them to team up to fight spirits, aliens, and other supernatural threats while navigating romance, humor, and bizarre situations.

What’s Dan Da Dan about?

The series adapts Yukinobu Tatsu’s manga, which has sold over 12 million copies and continues to dominate shelves every Tuesday on Shonen Jump+. The first season of the anime is a manic spectacle of unpredictability, outrageous visuals, strange romance, and dramatic encounters with spirits, aliens, and hormones. The second season, while slightly more subdued, brings the adaptation to greater heights with intense danger, somber reflection, and story beats that push the cast beyond their limits.

When do we get more Chainsaw Man?

Meanwhile, MAPPA announced its next chapter of Chainsaw Man, “International Assassins,” which is now in production. The “International Assassins” anime arc will explore what’s next for Denji following the astonishing betrayal he suffered at the hands of the Bomb Devil Hybrid in the outstanding anime film Chainsaw Man – The Movie: Reze Arc.

“Denji is a young boy who works as a Devil Hunter with the ‘Chainsaw Devil’ Pochita,” Crunchyroll’s description of the series reads. “One day, as he was living his miserable life trying to pay off the debt he inherited from his parents, he got betrayed and killed. As he was losing his consciousness, he made a deal with Pochita, and got resurrected as the ‘Chainsaw Man’: the owner of the Devil’s heart.”

While fans wait for more information about the next Chainsaw Man series, the Reze Arc film is now available for digital purchase and streaming on Apple TV. We loved MAPPA’s Reze Arc film, and can’t wait to learn more about when Chainsaw Man will make its anticipated return.

The post Dan Da Dan confirms its Season 3 release while Chainsaw Man revs up for its next anime arc appeared first on JoBlo.

What is Chainsaw Man – The Movie: Reze Arc about?

Are you unfamiliar with Chainsaw Man – The Movie: Reze Arc? Here’s a crash course:

For the first time, Chainsaw Man slashes his way onto the big screen in an epic, action-fueled adventure that continues the hugely popular anime series. Denji worked as a Devil Hunter for the yakuza, trying to pay off the debt he inherited from his parents, until the yakuza betrayed him and had him killed. As he was losing consciousness, Denji’s beloved chainsaw-powered devil-dog, Pochita, made a deal with Denji and saved his life. This fused the two together, creating the unstoppable Chainsaw Man. Now, in a brutal war between devils, hunters, and secret enemies, a mysterious girl named Reze has stepped into his world, and Denji faces his deadliest battle yet, fueled by love in a world where survival knows no rules.

Tatsuya Yoshihara directs Chainsaw Man – The Movie: Reze Arc, based on the original story “Chainsaw Man” by Tatsuki Fujimoto (Serialized in Shueisha’s “Shonen Jump+”), with a screenplay by Hiroshi Seko, and production by MAPPA.

What did we think about Chainsaw Man – The Movie: Reze Arc?

I saw Chainsaw Man – The Movie: Reze Arc with a riled-up crowd in Toronto in October, and it was one of the best theater-going experiences I’ve ever had. While some could tap out on Reze Arc’s sleepy and sultry intro, they’d be fools not to wait for the film to go off like a bomb during its second and third acts.

In my review of the film, I wrote, “I genuinely can’t wait for more people to see this movie, especially the fans. I adore the film’s slow burn toward calamity, and it’s one of the best series-to-film adaptations I’ve ever seen, for reasons I refuse to spoil. The mind-blowing action, coupled with the film’s eye-popping visuals, surprising emotional depth, and rip-roaring soundtrack, makes it an unforgettable and unmissable title for anime fans. I implore you, see this movie in theaters. You won’t regret it.”

Be sure to catch Chainsaw Man – The Movie: Reze Arc when it hits your favorite digital platforms tomorrow, December 9.

The post When does Chainsaw Man – The Movie: Reze Arc get a digital release date? appeared first on JoBlo.

As My Hero Academia fans continue to recover from the epic events of the core show’s final season, TOHO Animation is already moving on to the next semester of spectacle with a new trailer and key art for My Hero Academia: Vigilantes Season 2. The prequel series, featuring new characters, returns on January 5, 2026. As new episodes are broadcast from Japan each week, My Hero Academia: Vigilantes Season 2 will stream exclusively on Crunchyroll worldwide, excluding Asia, except for the Indian subcontinent and Southeast Asia.

Additionally, the artists behind the opening and closing theme songs have been revealed. THREEE will perform “CATCH!!!” for the opening theme song, while shytaupe will be performing the ending theme song, “Miss you.”

Who are the creative forces behind My Hero Academia: Vigilantes?

Based on the manga of the same name created by Hideyuki Furuhashi, Betten Court, and Kohei Horikoshi, My Hero Academia: Vigilantes Season 2 is directed by Kenichi Suzuki (JoJo’s Bizarre Adventure: Stardust Crusaders; Cells at Work!). The series composition and script is written by Yosuke Kuroda (My Hero Academia; Trigun). The animation is produced by Bones Film (My Hero Academia; Gachiakuta).

Additional staff credits include character design by Takahiko Yoshida (Cells at Work!); art director Yukihiro Watanabe (SSSS.Gridman); color design by Haruko Nobori (The Faraway Paladin); director of photography Eiei Cho (The Case Study of Vanitas); 3DCG director Mizuki Sasaki (My Hero Academia); editing by Kiyoshi Hirose (Fire Force); music composed by Yuki Hayashi (My Hero Academia; Haikyu!!), Shogo Yamashiro, and Yuki Furuhashi; and sound director Masafumi Mima (My Hero Academia; Attack on Titan).

What’s My Hero Academia: Vigilantes about?

Here’s the official synopsis for My Hero Academia: Vigilantes, courtesy of Crunchyroll:

Koichi Haimawari is a dull college student who aspires to be a hero but has given up on his dream. Although 80% of the world’s population has superhuman powers called Quirks, few are chosen to become heroes and protect people. Everything changes for Koichi when he and Pop☆Step are saved by the vigilante Knuckleduster and get recruited to become vigilantes themselves!

Who stars in My Hero Academia: Vigilantes?

The My Hero Academia: Vigilantes Season 2 main characters and cast (Japanese and English) include the following:

Koichi Haimawari a.k.a. The Crawler voiced by Shuichiro Umeda / Jack Broadbent

Kazuho Haneyama a.k.a. Pop☆Step voiced by Ikumi Hasegawa / Macy Anne Johnson

Knuckleduster voiced by Yasuhiro Mamiya / Jason Marnocha

Christopher Skyline a.k.a. Captain Celebrity voiced by Toshiyuki Morikawa / Sean Schemmel

Makoto Tsukauchi voiced by Asami Seto / Molly Searcy

Naomasa Tsukauchi voiced by Tokuyoshi Kawashima / Alejandro Saab

Monika Kaniyashiki a.k.a. Kaniko voiced by Kana Ueda

Taishiro Toyomitsu a.k.a. Fatgum voiced by Kazuyuki Okitsu

Tsunagu Hakamada a.k.a. Best Jeanist voiced by Hikaru Midorikawa

Shinya Kamihara a.k.a. Edgeshot voiced by Kenta Kamakari

Toshinori Yagi a.k.a. All Might voiced by Kenta Miyake

Scarred Man voiced by Taku Yashiro / Aaron Campbell

Shota Aizawa aka Eraserhead voiced by Junichi Suwabe / Christopher Wehkamp

Oboro Shirakumo a.k.a. Loud Cloud voiced by Kensho Ono

Hizashi Yamada voiced by Hiroyuki Yoshino

The post My Hero Academia: Vigilantes sets a Season 2 release date with a bombastic new trailer and key art appeared first on JoBlo.

Review: During a year when the secret to owning the box office eludes some of Hollywood’s safest bets, a dark horse is riding high in the form of anime. In September, Demon Slayer: Infinity Castle sent shockwaves through the industry by earning over $ 768 million worldwide, while Chainsaw Man – The Movie: Reze Arc garnered $150 million from global audiences. Both films continue an ongoing saga, but also treat newcomers to stories and characters with which they can genuinely engage. Jujutsu Kaisen: Execution, anime’s hat trick of 2025, does no such thing.

From what I could gather, Jujutsu Kaisen: Execution tugs at ongoing threads from Season 2 while setting up Season 3, beginning with The Culling Game. The result is a violent compilation of scenes that dazzle the eye but leave little for uninitiated audiences to latch onto. As someone new to Jujutsu Kaisen, this movie was incomprehensible to me.

After what I assume is directors Shouta Goshozono and Yôsuke Takada putting a bloody bow on the final six episodes of The Shibuya Incident storyline, we find Yuji Itadori marked for execution by Jujutsu HQ. The spectacle that led to this thread, though confusing, is thrilling to watch. If I’m going to give Jujutsu Kaisen: Execution its flowers in any capacity, it’s in the movie’s ability to display eye-popping animation at almost every turn. I don’t think I took my first breath since the movie’s start until 37 minutes in. Only then was I able to pause the film, collect my frazzled thoughts, and prepare myself for the next chapter.

Am I at a disadvantage because I haven’t seen the Jujutsu Kaisen series? Absolutely. Does this make me less qualified to enjoy the film? Hell no. Still, when I watched Demon Slayer: Infinity Castle, my lack of foreknowledge about the series didn’t keep me from enjoying the movie. In fact, I’m catching up on Demon Slayer now, prompted by my enjoyment of Infinity Castle. In the case of Jujutsu Kaisen: Execution, I’m only mildly curious to double back, do my homework, and hope to meet Execution on its terms.

My chief complaint about the film stems from my almost complete lack of an emotional response to it. Save for two brief moments involving characters I recognize from the core series, I felt nothing. Because the movie moves so quickly, leaping in time and logic from one battle to another, I often found myself feeling disoriented with no time to process what I’d just seen. There was little to no time to digest anything, let alone feel sorrow for a fallen comrade or contemplate the magnitude of Yuji Itadori’s next task. Believe me when I tell you I tried.

I’ll give Jujutsu Kaisen: Execution this: it’s at times a visual feast. I enjoy the film’s dynamic camerawork, slick editing, and atmospheric sound design, with some action sequences feeling as kinetic and super-charged as the best parts of Chainsaw Man: Reze Arc. For someone like me who felt lost for the film’s duration, the visual presentation went a long way to keep me entertained. Jujutsu Kaisen‘s style is well-suited to the type of anime it is, and every frame gets executed with confidence and purpose. Execution wants you to feel the impact of its fists and taste the copper of blood on your tongue from its relentless displays of violence.

Jujutsu Kaisen: Execution feels like a movie made for fans, and that’s 100% alright. For all my hemming and hawing, the latter part of the movie, The Culling Game setup, feels like the start of something I could maybe sink my teeth into. Like anything else, I want to understand the groundswell around Jujutsu Kaisen. I was hoping Execution would be my ticket in, but it looks like I’ve reached the back of the line and have to do my homework like everyone else if I want to appreciate the film to its fullest. Such is the curse of an anime fan with not enough time on their hands.

Jujutsu Kaisen: Execution

BELOW AVERAGE

5

The post Jujutsu Kaisen: Execution Review – A violent rush of eye-popping spectacle that’s as arresting as it is incomprehensible appeared first on JoBlo.

When people think of traumatizing moments in film, the horror genre is always first in line to rattle your spine, goosebump your skin, and send you running toward a therapist to unpack deep-rooted cinematic damage. Throughout the years, how many of us have shuddered at the thought of Lorraine Massey shambling through Room 237 in Stanley Kubrick’s The Shining, her decaying flesh dripping onto the tile as she cackles gleefully with crooked fingers outstretched? Or, what about every time you’re driving on the highway and find yourself behind a logging truck? If you’ve seen Final Destination 2, I need to say no more. Last but never least, my ankles still hurt after the first time I watched Kathy Bates hobble James Caan’s Paul Sheldon in the 1990 film Misery. Some moments stay with you, regardless of the medium, which is why I thought it’d be fun to take a walk down animation memory lane to remember the moments that left everlasting scars on our psyches, rendering us aghast, overwhelmed, and inconsolable.

The Transformers: The Movie – Optimus Prime Powers Down

If you’re a child of the ’80s, chances are you lost a piece of your soul while watching The Transformers: The Movie. In the Nelson Shin-directed animated classic, the Autobots must stop a colossal planet-consuming robot that goes after the Autobot Matrix of Leadership. During the battle, everyone’s favorite Peterbilt 379, Optimus Prime, is shot multiple times in the radiator and windshield by Megatron. Each blast was like a dagger going into the chests of Transformers fans everywhere. Children broke as Optimus fell, oil leaking from his crumpled frame. Then came the waterworks. The blindsiding of parents was mighty.

Traditionally, Transformers ends with the Autobots claiming victory over the Decepticons. Not this time. A hero died, and when the light left his eyes, so did the innocence of many, as Stan Bush’s “The Touch” held them close.

Ferngully: The Last Rainforest – The Great Deforestation

During a year when movies like Aladdin, Beauty and the Beast, Porco Rosso, Cool World, and Bebe’s Kids were lighting up the silver screen, it was tough to stand out. However, becoming eco-conscious was en vogue, and a little movie that could called FernGully: The Last Rainforest wanted audiences to wake up to the horrors of deforestation and widespread pollution. In FernGully, the magical inhabitants of a rainforest fight to save their home, which is threatened by logging and a polluting force of destruction called Hexxus.

At the start of the film’s climax, the logging company begins its work, putting blade to trunk, crushing animal homes with grinding treads. As we slowly bake in the eventual heat death of the universe, it’s difficult not to think of Zack and Crysta’s effort to save their rainforest. The carnage during this epic scene is visceral, destructive, and cautionary. It reminds us that we’ve only got one chance to treat our planet right in our lifetime, lest we leave it in shambles for the next generation. FernGully and Teenage Mutant Ninja Turtles PSAs are the reason I cut my soda rings before recycling them. That’s staying power.

Pixar’s Up – The First Seven Minutes

While Pixar struggles to reclaim its identity in the face of box office stumbles like Lightyear and Elio, the House that Luxo Jr. built was at the height of its game in 2002 with the release of Up—chronicling the epic journey of 78-year-old Carl Fredrickson to South America, Up packs an emotional gut punch upfront that feels earned, unforgettable, and unforgivable.

During the film’s first seven minutes, we witness the meeting, courtship, and downward spiral of Carl and Ellie’s lives together. With its suburban fairytale flourish, the opening scenes of Up bring joy, anticipation, tragedy, and profound loss within a span of minutes. The execution, the music, the rapture, the steady decline; it’s a testament to the phrase “It’s better to have a life well lived than to just live a life!”

Grave of the Fireflies – Setsuko and Seita Board a Ghost Train

Let’s be honest. I could put the entirety of Isao Takahata’s Grave of the Fireflies on this list, but my heart can only take so much abuse. Set during the twilight days of the Pacific War, Grave of the Fireflies tells the tragic story of Seita and his little sister Setsuko. While trying to survive, the siblings catch fireflies, hope for an end to the bloodshed, and dream of better days. Sadly, neither Setsuko nor Seita makes it through the ordeal, their malnourished bodies swept aside by a janitor like so much dust on a dirt floor.

Anyone with a younger sibling got rocked by this movie, and what makes it worse is that the film stands on its own feet. It’s excellent, so it’s difficult to hate it, even though it ripped out your heart like Laura did to Bart in the Simpsons episode “New Kid on the Block.” Takahata’s Grave of the Fireflies is a masterclass of emotion and stands the test of time as one of animation’s most affecting and devastating films.

Toy Story 3 – The Incinerator

Before you come for me in the comments, I’m aware of the Bambi problem. Remember, this is a list, not the list. The thing about Woody, Buzz, Jessie, and the rest of the Toy Story gang is that they weren’t just characters in a film series; they were our friends. Many of us grew up alongside them, seeing ourselves in Andy, identifying with the unnerving act of one day letting our childhood toys go.

Toy Story 3 is undoubtedly the darkest entry in the franchise, as the toys finally leave home to discover they’re living in an internment camp disguised as a daycare utopia called Sunnyside Daycare. Run by a folksy pink bear with a broken heart, Sunnyside is an elaborate lie covered in crayon scribbles and toddler snot. It’s no place for our heroes.

When Woody and the gang find themselves in the brightly lit maw of an incinerator, I nearly lost my mind. Have you ever noticed that time seems to stand still during moments of extreme tension? I felt time bend the first time I watched this scene. I genuinely believed, if only for a moment, that there was a chance Andy’s toys would burn, thus ending the trilogy on the boldest move in animation history. Thankfully, the aliens use their Grabber skills to save the day, but those elongated moments before they show up? Woof!

There’s a reason Gen X is made of tougher stuff. With movies like these, it’s evident that we’ve eaten trauma for breakfast, with a side of bacon and eggs. Icons like Freddy Krueger were on our lunchboxes, and Littlefoot’s mom passed away before she could reach the Oasis of Treestars. That was just a Tuesday. But don’t take my word for it. What moments in animation traumatized you? Sound off in the comments and let us know!

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The film, written and directed by Mamoru Hosoda, will have a one-week qualifying run on IMAX screens in 10 cities on December 12, 2025, before its wider release in the new year. The animated film had its world premiere at the Venice International Film Festival before making its North American and New York debuts at the Toronto International Film Festival and New York Film Festival, respectively.

Here’s the official synopsis for Scarlet:

From visionary filmmaker Hosoda comes a powerful, time-bending animated adventure about Scarlet, a medieval-era, sword-fighting princess on a dangerous quest to avenge the death of her father. After failing at her mission and finding herself gravely injured in the Otherworld that exists somewhere between life and death, she encounters an idealistic young man from our present day who not only helps her to heal but also shows her the possibility of a future free of bitterness and rage. When confronted again by her father’s killer, Scarlet faces her most daunting battle: can she break the cycle of hatred and find meaning in life beyond revenge?

Yuichiro Saito produces Scarlet under Studio CHIZU, the animation studio co-founded by Saito and Hosoda, Toshimi Tanio under Nippon TV, and Nozomu Takahashi under Studio CHIZU. Sony Pictures co-produced and co-financed the project, alongside Studio CHIZU and Nippon TV. Sony Pictures Releasing International is distributing Scarlet throughout the rest of the world for Columbia Pictures.

When you look at Mamoru Hosoda’s library of films, it’s nothing but bangers, with The Girl Who Leapt Through Time, Summer Wars, Wolf Children, The Boy and the Beast, Mirai, and Belle being among the bunch. I am climbing the walls at the thought of Scarlet coming to theaters in the next few months, and can’t wait to see it in IMAX! Let’s go!

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Here’s the logline: Set in the world of Death Stranding, Death Stranding Isolations (working title) will tell a completely new story, separate from that of the video games. The upcoming series will follow a young man and woman as they set out on an adventure.

Kojima previously worked with Disney on the documentary, Hideo Kojima: Connecting Worlds. Takayuki Sano (Bullet/Bullet, Gridman Universe) is directing the animated series, and attendees at the Hong Kong showcase got to see concept art created by Ilya Kuvshinov, who served as character designer for Ghost in the Shell: SAC_2045. According to The Hollywood Reporter, Kojima said the series will be “pretty mind-blowing and that he wanted to expand his franchise into anime as it would allow him to do things you can only do with animation. He added the series will have new and different characters. As for his motivation for making the series, Kojima said he realized there were people who may not play video games, and he wanted to share the world of Death Stranding with more people.” They add that the series will utilize traditional hand-drawn 2D animation style. E&H Production (Ninja Kamui, Red Cat Ramen), one of Japan’s top animation studios, is working on the project.

Are you a fan of Death Stranding? What do you think of Hideo Kojima working on an animated series expansion of the concept with Disney+? Let us know by leaving a comment below.

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A stronger-than-usual international surge has driven this, with the report showing that overseas revenue has accounted for 56% of 2024’s total sales (to the tune of $14.25 billion), while Japanese domestic revenues reached $10.97 billion, making up 44%. “The overseas market now far exceeds local revenues, and the gap will only widen,” said Masahiko Hasegawa, editor-in-chief of the AJA report. “Growth today includes bundled contracts that span theatrical, streaming, merchandising, and event rights — not just content distribution.“

“Anime is no longer just storytelling,” Hasegawa added. “It’s a full cultural economy — and that economy is rapidly going global.“

All the more impressive is that these record highs don’t even include some of the biggest successes of the last few months. Demon Slayer: Infinity Castle was released this summer and grossed $670 million worldwide, making it the highest-grossing Japanese film of all time. Another major success, Chainsaw Man – The Movie: Reze Arc, was released in Japan in September and has been rolling out in more than 80 countries over the last month. It’s grossed $139 million worldwide. In short, you can expect the 2025 report to continue its upward trend.

Our own Steve Seigh caught Chainsaw Man in theaters, and was glad he did. “Almost without warning, the film explodes, becoming a relentless onslaught of violence, creativity, dynamic camerawork, bombastic animation, and excellence unlike anything else I’ve seen this year,” he wrote. “I kid you not, there is at least an hour’s worth of this movie that is, without question, one of the most impressive spans of animation I’ve ever seen. I felt like I was riding a roller coaster. Clearly, there’s a reason Sony denied me an at-home screener; they insisted I see the movie in theaters.” You can check out the rest of his review right here.

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This weekend is shaping up to be one of the worst in recent memory at the box office. For the first time in as long as I can remember, there are no major new releases hitting theaters. The only one that somewhat qualifies is Yorgos Lanthimos’ Bugonia, which expands from its limited run last weekend to a wide release. Yet, no one expects much from it commercially — it’s a bit too arthouse and niche for mainstream audiences. It should do fine if you use Lanthimos’ other movies as a barometer, but it’s unlikely to make much above $4 million. That would still be better (on a per-screen average) than many other adult-skewing Oscar hopefuls that have crashed and burned this fall (check out a recent article I wrote about this alarming trend).

Number one at the box office seems all but certain to go to K-Pop Demon Hunters, which is getting another limited re-release in theaters this weekend. When it got a similar release in August, the movie grossed close to $20 million off of only two screenings a day. Given the lack of competition this weekend, many feel the movie will again hit the top spot, though it seems unlikely to be as big as it was this summer. Expect an opening in the $8 million range.

Given that tomorrow is Halloween, audiences will no doubt be craving some horror, so The Black Phone 2 should easily manage a second-place finish with around $7 million, putting it just ahead of Chainsaw Man: The Movie. While that anime easily topped the box office last weekend, they’re notoriously front-loaded (Demon Slayer: Infinity Castle lost over 70% of its audience in week two). It should make about $6 million, while Colleen Hoover’s Regretting You should manage about $5 million, followed by Bugonia in fifth place with $4 million. Back to the Future is also getting an IMAX re-release this weekend, which should put it comfortably in the top ten.

Here are our predictions:

1. KPop Demon Hunters: $8 million
2. The Black Phone 2: $7 million
3. Chainsaw Man: The Movie: $6 million
4. Regretting You: $5 million
5. Bugonia: $4 million

What will you be seeing this weekend? Let us know in the comments!

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Regarding casting, Iñaki Godoy will be back as Luffy, Mackenyu as Roronoa Zoro, Emily Rudd as Nami, Jacob Romero as Usopp, and Taz Skylar as Sanji. Per the season’s synopsis, One Piece Season 2 promises to “unleash fiercer adversaries and the most perilous quests yet.”

Furthermore, Luffy and the Straw Hats set sail for the extraordinary Grand Line—a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world’s greatest treasure, they’ll encounter bizarre islands and a host of formidable new enemies.

Netflix’s live-action version of One Piece premiered on the streaming platform in August 2023 to rave reviews from both fans and critics. Many praised the show’s spirited performances, while others noted the faithfulness to the source material. The show received a Season 2 renewal just two weeks into its Season 1 premiere, with filming scheduled for June 2024.

Based on Japan’s highest-selling manga series in history by Eiichiro Oda, ONE PIECE is a legendary high-seas adventure unlike any other. Monkey D. Luffy is a young adventurer who has longed for a life of freedom since he can remember. Luffy sets off from his small village on a perilous journey to find the legendary fabled treasure, ONE PIECE, to become King of the Pirates! But in order to find the ultimate prize, Luffy will need to assemble the crew he’s always wanted before finding a ship to sail, searching every inch of the vast blue seas, outpacing the Marines, and outwitting dangerous rivals at every turn.

Are you excited about One Piece returning to Netflix next year? What other anime would you like to see adapted into a live-action series? I’m still waiting for someone to get hip to Boogiepop Phantom.

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Of them all, the Springsteen movie seemed to have the most commercial potential, as the biopic genre is usually consistent, and the film also stars The Bear breakout Jeremy Allen White. Alas, non-Springsteen devotees didn’t show up, with the movie opening in a distant fourth place this weekend with only $9.1 million. Some believe the World Series may have had something to do with the lower-than-expected attendance, but I dunno — it seems like older audiences are likely just waiting for this one to show up on streaming, with it bound for a Hulu release sometime around the holidays.

Instead, this weekend’s box office champ was Crunchyroll’s latest anime release, Chainsaw Man: The Movie, which made $17.25 million. While not on par with what Demon Slayer: Infinity Castle opened with last month, this is far beyond most box office predictions (ours included), making it clear that anime remains a strong force on the big screen. It managed to trounce the latest Colleen Hoover adaptation, Regretting You, which was unexpectedly edged out by The Black Phone 2, showing a stronger-than-expected hold in week two. The Black Phone 2 made $13 million to Regretting You’s $12.85 million. Ironically, both movies star rising talent Mason Thames.

Meanwhile, Tron: Ares continued to sink like a stone, losing another 56% this weekend for a fifth-place $4.9 million finish and a total box office haul in the $63 million range — not good for a movie that cost over $200 million. Aziz Ansari’s Good Fortune didn’t find its wings this weekend despite Keanu Reeves co-starring as an angel, dropping around 50% for a $3.1 million weekend.

Chris Stuckmann’s poorly reviewed horror flick Shelby Oaks didn’t prove to be much of a breakout for Neon, earning $2.35 million in a semi-wide release (according to Comscore, its per-screen average was $1,289, which is relatively poor). Given the low budget, it will still likely turn a modest profit for the studio. Perhaps the only awards hopeful finding an audience, One Battle After Another, was in eighth place with $2.33 million for a $65.4 million total. Roofman (which I loved) began to wrap up its run with a $2 million weekend and a disappointing $19.36 million total (it deserved a lot more), while a re-release of Laika’s ParaNorman squeaked into the top 10 with $991.9K.

Next weekend is Halloween, and theaters will be thankful that Netflix is re-releasing K-Pop: Demon Hunters, which will likely take the top spot easily. Yorgos Lanthimos’ Bugonia, which made over $690k on only forty screens this weekend, is the only wide release, alongside the 40th anniversary re-release of Back to the Future. What will you be seeing? Let us know in the comments.

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What’s going on here? Many assumed a Springsteen biopic was money in the bank, but perhaps director Scott Cooper went too niche by shifting the focus onto one specific moment in The Boss’s life: when he was composing the “Nebraska” album. The B+ CinemaScore is fine, but it seems likely folks are waiting until the inevitable Hulu launch a few weeks from now.

Another unexpected flop is the latest Colleen Hoover adaptation, Regretting You, which will finish with only $13 million (give or take) this weekend. Bad reviews (including our own from Tyler Nichols) and poor word of mouth (a B CinemaScore rating is bad for a romance) are torpedoing this one. Last week’s champ, The Black Phone 2, is looking at a $12 million weekend, which would be about a 56% decline, which is good for a horror film. Chris Stuckmann’s Shelby Oaks, which is earning poor reviews (including our own), is expected to make about $2.3 million for the weekend.

What are you seeing this weekend? Let us know in the comments.  

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Review: There’s nothing quite like going to a screening for an anime movie. After navigating busy Toronto streets (and riding the Toronto Transit Commission for the first time), fans in cosplay crowded my theater. I could see the excitement on their faces, the anticipation of witnessing Tatsuki Fujimoto‘s Chainsaw Man on the silver screen, causing their bones to rattle and shake. It was time to experience something special.

Produced by studio MAPPA, Chainsaw Man – The Movie: Reze Arc, displays its budget promptly with gorgeous, fluid animation that’s a step up from the series adaptation. The film begins with a collection of rotoscoped scenes, featuring Denji and his devil-hunting crew in various movies, from Reservoir Dogs to The Big Lebowski. While adorable and entertaining, the sequence serves a dual purpose. It’s almost to say “look where our animation starts” and “wait until you see what we have in store for you in about an hours’ time.”

The film begins quietly, with Denji enthusiastically agreeing to go on a date with Makima. As the duo embarks on a 10-film movie marathon, Denji and Makima admit to being bored with the movies on display, save for the final film, which moves the couple to tears. It’s an interesting way to frame the duo’s dynamic outside of devil hunting, though not without purpose. Shortly thereafter, Denji meets Reze, a bubbly, beautiful, and adventurous young woman who takes an interest in Denji after he inadvertently flirts with her. The pair becomes fast friends, with skinny dips, mock math tutorials, a trip to the local carnival, and innocent exploration of each other’s hearts and minds happening in the first few days.

Here’s the thing. Denji’s date with Makima and the time spent with Reze, while quiet, intimate, and beautiful to experience both emotionally and visually, slows the film’s pace to a crawl. If I were not already a Chainsaw Man fan, I might be as weary as Denji and Makima during the first nine films of their movie marathon date. Still, the first hour (yes, hour) radiates with beauty, kinship, and explosions of quiet colors that leap off the screen. Patience, my friends, the reason you bought a ticket is close at hand.

At about the one-hour mark, director Tatsuya Yoshihara’s Chainsaw Man movie takes a violent turn when a lethal devil shows up to rip Chainsaw Man’s heart from his body. Almost without warning, the film explodes, becoming a relentless onslaught of violence, creativity, dynamic camerawork, bombastic animation, and excellence unlike anything else I’ve seen this year. I kid you not, there is at least an hour’s worth of this movie that is, without question, one of the most impressive spans of animation I’ve ever seen. I felt like I was riding a roller coaster. Clearly, there’s a reason Sony denied me an at-home screener; they insisted I see the movie in theaters.

I understand entirely why Sony and Crunchyroll wanted me in that cinema. At times, the film was so overwhelmingly impressive that the hoots and hollers from my audience were louder than the explosions on screen. That said, this movie gets loud! There was a point in the film where I’d cursed myself for not bringing my Loops earbuds. Still, nothing could keep me from smiling ear-to-ear as I watched Denji, a chainsaw protruding from his face, riding a shark through a typhoon of debris, flying trains, vehicles, and civilians.

While some could tap out on Reze Arc‘s sleepy and sultry intro, they’d be fools not to wait for the film to go off like a bomb during its second and third acts. There’s so much more I want to tell you about the movie, but it would be far better to leave the best parts for you to discover. Let’s put it this way, I’m still thinking about the movie today. I would watch it again in a heartbeat, especially if I could bring some friends along for the ride. Do you need to have a working knowledge of the story and characters so far? Yeah, you do. However, by the time you get to that second act, anyone who has no idea what’s going on won’t care anymore. It’s that much fun, impressive, and unforgiving in action, spectacle, and emotion.

I genuinely can’t wait for more people to see this movie, especially the fans. I adore the film’s slow burn toward calamity, and it’s one of the best series-to-film adaptations I’ve ever seen, for reasons I refuse to spoil. The mind-blowing action, coupled with the film’s eye-popping visuals, surprising emotional depth, and rip-roaring soundtrack, makes it an unforgettable and unmissable title for anime fans. I implore you, see this movie in theaters. You won’t regret it.

Chainsaw Man

AMAZING

9

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The animated film follows Huntr/x, a K-pop girl group comprised of Rumi, Mira, and Zoey, who lead double lives as demon hunters. Although co-director Maggie Kang had previously pondered what a live-action adaptation would look like, she has since shot down any chances of seeing Rumi, Mira, and Zoey outside the realm of animation.

“There’s so many elements of the tone and the comedy that are so suited for animation,” Kang told the BBC. “It’s really hard to imagine these characters in a live action world. It would feel too grounded. So totally it wouldn’t work for me.“

Kang’s co-director, Chris Appelhans, agrees. “One of the great things about animation is that you make these composites of impossibly great attributes,” he said. “Rumi can be this goofy comedian and then singing and doing a spinning back-kick a second later and then freefalling through the sky. The joy of animation is how far you can push and elevate what’s possible. I remember they adapted a lot of different animes and often times, it just feels a little stilted.“

I haven’t watched Kpop Demon Hunters yet, but judging by the numbers, I seem to be in the minority. Our own Steve Seigh absolutely loved it, proclaiming that the film more than lived up to the hype. “There are many reasons why your social media is blowing up with talk about KPop Demon Hunters,” he wrote. “Firstly, the film drips with confidence. It has something to say, and the filmmakers take every opportunity to deliver something entertaining, emotionally intelligent, and drop-dead gorgeous. The friendship chemistry between Rumi, Mira, and Zoey is aspirational, with each character having a unique energy to add to the movie. Secondly, the drama is real. KPop Demon Hunters isn’t afraid to grab hold of humanity’s inner demons and shake them loose with infectious grooves and wildly relatable lyrics.” You can check out the rest of his review right here.

Although it seems unlikely, do you think a live-action adaptation of Kpop Demon Hunters could work?

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Review: While I never encourage violence of any kind, watching Lady Scarlet feed a nobleman a knuckle sandwich with plenty of mustard is one of the most satisfying aspects of this rough and tumble regency anime. Let’s not dance around the truth. Right now, we’re living in a time when high-ranking individuals are determined to run and ruin the world. So, when an anime comes along that puts those who look down upon the 99% in their place, I can’t help but cheer.

May I Ask for One Final Thing? is off to an entertaining start. The story revolves around Lady Scarlet, the daughter of Duke Vandimion, a powerful, learned, and unconventional young woman of vast intelligence and savvy, possessing magical powers, a silver tongue, and fists of fury. Engaged to the intolerable Prince Kyle von Paristan, Scarlet entertains her fiancé’s abuse until one day, she snaps. The moment when Scarlet loses her cool, we’re off to the races. As she lays waste to an entire ballroom of nobles, the show’s “Eat the rich” theme starts showing its true colors. I am all in.

The show also boasts some wildly entertaining characters. Lady Scarlet is hypnotizing. She moves about the world as if on air, her every move deliberate and graceful. She’s five steps ahead of everyone in the room. Oh, unless you’re Prince Kyle’s more reserved, kind, and clever brother, Prince Julius von Paristan. This guy’s name might as well be Slick Dickly. He’s dripping with confidence, cunning, and precision. He’s got a hardcore crush on Scarlet, as he makes no effort to hide his affection. So far, he’s a good dude. I get the impression that Scarlet’s got eyes for someone else, but give Julius enough time, and I could see his efforts getting returned.

Finally, there’s Nanaka, a male beastkin often confused as a girl due to his androgynous figure and gender-neutral name. Nanaka is quiet, respectful, and eager to please Scarlet, knowing they share similar desires when it comes to bringing the nobility down several pegs. Beastkins, while able to transform into a human, often revert to their animalistic side. Because they’re rare and majestic, Beastkins are valuable victims of the slave trade. While slavery is illegal throughout most (if not all) of the kingdom, that hasn’t stopped various slave traders from enlisting humans and Beastkin into servitude.

Unsurprisingly, Lady Scarlet, Prince Julius, and Nanaka won’t stand for this indignation. If Prince Julius is to be king one day, he would see slavery weeded out, one slaver at a time. Meanwhile, Lady Scarlet wants to crack skulls. She gets a thrill out of it, but only if they’re of the nobility. Between the three of them, the kingdom is in for a serious attitude adjustment.

Because it’s early in the season, it’s challenging to know where the series will go and what kind of surprises await us. I’ve only watched four episodes as of this writing, and am doing my best to abide by Crunchyroll’s strict list of spoiler guidelines. Please trust me when I say there are some fun twists, fights that left me grinning ear-to-ear, and the teasing of romance elements is delicious. Every time Lady Scarlet raises her fists, I know I’m in for a good time. I audibly (and excitedly) yelled at my screen twice while watching the show, hollaring whenever Scarlet cracked a rich asshole in his square jaw.

In my estimation, May I Ask for One Final Thing? exhibits plenty of promise. The comedy is dry yet solid, the action is brief but impactful, romance is wafting through the air, and story elements that could expand the scope and scale of the series are beginning to emerge. I’m intrigued and look forward to watching more.

May I Ask for One Final Thing?

GOOD

7

The post May I Ask for One Final Thing? TV Review: Nana Ōtori’s black comedy takes a swing at the 1% with venom & vigor appeared first on JoBlo.

Review: When I heard that Let’s Play would leave the Webtoon platform after three years of essential reading, I nearly lost my mind. Where would I get my fix of game developer-related romance and slice-of-life comedy? Sure, those things are in abundance on Webtoon. Still, few deliver on all fronts like Leeanne M. Krecic (Mongie)’s Let’s Play. So, imagine my excitement when I discovered that the delightful story I love so much would get an anime adaptation on Crunchyroll. I was overjoyed. However, would the anime live up to my expectations? Could something become lost in the translation? Thankfully, Let’s Play‘s launch state is everything I could hope for, with director Daiki Tomiyasu taking great care to deliver a one-to-one experience for fans.

It’s immediately evident that Tomiyasu takes great care while adapting Let’s Play. So much of what makes the Webtoon an engaging, amusing, and saucy read is here, especially when Sam and Charles exchange disciplinary measures in the workplace. But I’m getting ahead of myself.

Let’s Play is a slice-of-life story about Sam, the creator of an online game called Ruminate. When Sam decides to launch her game on a GOG-like platform, it becomes labeled a success. That is, until Marshall Law, a popular game reviewer and online influencer, trashes her efforts. Marshall’s destructive remarks cause Ruminate’s overall game score to plummet, sending Sam into a downward spiral. How can Sam get Marshall to try the game again? Oh, wait. He’s just moved in next door! That’s not going to be awkward at all!

For the moment, Let’s Play is a light, funny, and fuzzy feeling affair with upbeat characters, a pleasant soundtrack composed by Conisch, and an uncomplicated aesthetic that gives the show a grounded, lived-in feel. The show does veer into fantasy territory when Sam and her friends get together for an EverQuest-style raid, though aside from a bit more Sailor Moon or Goblin Slayer-like flair, the vibes remain the same.

Let’s Play truly levels up when the heat between Sam and Charles turns up. The duo works together at Sam’s father’s company, with Charles in a higher position despite Sam’s relation to the company’s CEO. It’s Charles’s job to ensure Sam is ready to take the company over, so he keeps sher’s best interest in mind, though he’s not always as bright or smooth as he’d like to believe. As soft-spoken as Sam can be, she’s more than capable of rising to an occasion when given proper motivation. Charles will learn this quickly, getting him hot under the collar.

Truly, some of Let’s Play‘s most significant moments come from those spent between Sam and Charles. There’s a spark, a heat between them, which gives the show a sexy, seductive edge. The “will they/won’t they” of Let’s Play is one of the show’s more significant draws, with Sam becoming more desirable with every ounce of confidence she summons.

Ultimately, Let’s Play is off to a fantastic start. Everything that makes Mongie’s Webtoon a must-read page-turner is here for Crunchyroll subscribers to enjoy. Additionally, bringing Let’s Play into animation lets Tomiyasu refine Mongie’s story, tightening up the pacing and introducing Sam’s confidence streak early, giving viewers a glimpse of her more authoritative side (not to mention the mental demons that plague her thoughts).

As a long-time Let’s Play fan, I could not have asked for more from this adaptation of Mongie’s Webtoon. The show is already my most-anticipated release of the season, and I hope (and trust) it will catch on with romance and slice-of-life anime fans. There’s something here for everyone. Whether you’re in the mood for love with a side of epic fantasy, or want to shut the door and feel the heat of inter-office romance with an eventual twist, Let’s Play will always leave you wanting more in the best way.

Let's Play

AMAZING

9

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As Haruo Sotozaki and Hikaru Kondô’s Demon Slayer: Infinity Castle arrives at the North American box office to an astonishing $70 million debut, shortly after Yu Yang’s Ne Zha 2 became the highest-grossing animated film ever with $2.2 billion worldwide, it’s crystal clear that animation from overseas continues to put asses in seats. To help celebrate this welcome upswing in anime’s visibility, we’re sussing out the Top 10 Anime Films of All Time!

A bold task, I know. I’m ready for your torches and pitchforks. However, before you burn me at the stake, consider the assignment. It’s damn-near impossible to play to all tastes, so I’m laying down the gauntlet with my gut, heart, and soul. Animation is one of humankind’s greatest gifts to art and entertainment, and the following films are the cream of the crop. Each title offers something special, infinitely imaginative, and game-changing about animation and expression through pictures and sound. Enjoy the list. Tell me why I’m wrong in the comments. Let’s do this!

1. Akira (1988)

If we were to carve a Mount Rushmore of Anime, Katsuhiro Ôtomo’s dystopian cyberpunk opus Akira would be the George Washington. In this universally celebrated epic, a secret military project endangers Neo-Tokyo when it turns a teenage biker gang member, Tetsuo Shima (Nozomu Sasaki), into a rampaging psychic psychopath whose best friend, Shôtarô Kaneda (Mitsuo Iwata), is the only one who can stop him.

Mention Akira to any anime fan, and they will immediately begin shouting at you, “Tetsuo! Kaneda! Help me!” And rightfully so. It’s impossible not to feel the power of this essential anime overflowing with pangs of Blade Runner, Alita: Battle Angel, and 12 Monkeys. In addition to featuring some of the most mind-blowing animation of the time, the soundtrack from Shōji Yamashiro, filled with ethereal chants, frenzied taiko drums, and atmospheric glitch pop, positively rips. If Tetsuo and Kaneda’s friendship is a legend, and it is, history will write their story in gold ink upon gilded pages in a tome kept safe in a diamond display.

2. Spirited Away (2001)

The debate about which Studio Ghibli film is the best is never-ending. However, if you plant your flag next to Spirited Away, the argument is over, and we can be friends. Hayao Miyazaki’s 2001 epic is a glittering gem in the Infinity Gauntlet of the anime genre. In case you’re wondering, it’s the Soul Stone. During her family’s move to the suburbs, a sullen 10-year-old girl, Chihiro (Daveigh Chase), wanders into a world ruled by gods, witches, and spirits, hoping to rescue her parents who have transformed into ravenous beasts.

After its initial and anniversary releases, Studio Ghibli’s Spirited Away is one of the genre’s most successful films, with a global box office of $360M+. Numbers aside, Spirited Away is as whimsical as Labyrinth, as sinister as The Dark Crystal, and as intrepid as The Green Knight. Running rampant with drop-dead gorgeous visuals, a world-building narrative with endless possibilities, and a love everlasting between Chihiro (Rumi Hiiragi) and the mysterious Haku (Miyu Irino), it’s impossible not to feel the magic of one of the Godfather of Anime’s most enigmatic films.

3. Ghost in the Shell (1995)

I’m just going to say it. Masamune Shirow’s Ghost in the Shell walked so the Wachowskis’ The Matrix could run. Considered by many to be the pinnacle of science-fiction action anime, Ghost in the Shell is hard-coded into any 90s-era anime fan. The original film that started a cyberpunk franchise introduces Atsuko Tanaka (Kusanagi Motoko), a cyborg police woman, and her partner, Batô (Akio Ôtsuka), who hunt a mysterious and powerful hacker called the Puppet Master.

Easily one of the most recognizable anime ever, Shirow’s Ghost in the Shell is sleek, sexy, visually daring, action-packed, and relentlessly cerebral. Discussions about Ghost in the Shell could last until sun-up, with themes of identity, the dangers of technology, and organizations pulling strings from the shadows. The list of anime series and features inspired by Shirow’s classic film is infinite, with sci-fi as a genre altered by its influence. Whether Ghost in the Shell was your first anime, sexual awakening, or another feather in your cinephile cap, life is better because you’ve experienced this masterpiece.

4. Perfect Blue (1997)

Whenever someone mentions Satoshi Kon‘s deranged psychodrama Perfect Blue, the typical (and correct) response is, “Yo, that movie is f@&ked up!” Perfect Blue, a film about a pop singer turned actress, Mima Kirigoe (Junko Iwao), navigating stardom and an obsessed fan while descending into madness, is on par with films like The Substance, Promising Young Woman, and Aronofsky’s Requiem for a Dream. Flawless in its presentation, Perfect Blue taps into something dark and sinister as Kon 300 kicks audiences down a jagged rabbit hole of stardom, violence, and nightmarish truths.

Despite its overwhelmingly positive critical reception, Perfect Blue never fared well at the box office, but the film’s cult following is legion. Any anime fan worth their salt knows the traumatic power of Perfect Blue, and how Kon’s cautionary tale serves as a warning for the naive as they swim in shark-infested waters with open wounds.

5. Princess Mononoke (1997)

Hayao Miyazaki’s apologetic love letter to Mother Nature is an unstoppable force of character, confession, and harsh realities laid bare. While seeking to cure himself of a curse, young warrior Ashitaka (Yôji Matsuda) stumbles into a conflict between the people of Iron Town and Princess Mononoke (Yuriko Ishida), a girl raised by wolves, who will stop at nothing to prevent the destruction of her home.

Miyazaki’s cautionary tale about humankind’s hubris and abuse of nature hits hard. It reminds audiences of how greed extracts the planet’s lifeblood, adding its precious gifts to a machine that turns the liquid black and bubbling. Princess Mononoke marries Studio Ghibli’s strength of depicting natural splendor with Miyazaki’s heartfelt character dynamics, while warning of the hell hoisted upon us by war. Seeing Princess Mononoke on the silver screen is an unforgettable experience, though you could watch it on the back of an airplane chair and still feel enraptured by its beauty and power.

6. Your Name. (2016)

My love for Makoto Shinkai runs deep. After hitting me in the heart with back-to-back bangers, Voices of a Distant Star, The Place Promised in Our Early Days, and 5 Centimetres Per Second, his work became essential to shaping my identity as an anime fan. Shinkai started a revolution when he unleashed Your Name. in theaters. It grossed $357.9+M at the global box office, becoming the second-largest gross for a domestic film in North America, behind Spirited Away, and the fourth-largest ever, behind live-action runaway Titanic and Disney’s Frozen. Anime broke through, again. Analysts and critics must pay attention and give credit where it’s due.

In Your Name, two teenagers share a profound, magical connection upon discovering they are swapping bodies. Things become even more complicated when the boy and girl decide to meet in person. Hoisted onto the shoulders of animation greatness thanks partly to Shinkai’s dynamic camerawork, hypnotic lighting, and vivid, sweeping environments, Your Name. reminds us to carry on, that we’re never truly alone, and that connecting with others is essential to discovering parts unknown within ourselves.

7. Weathering With You (2019)

Three years after wowing audiences worldwide with Your Name. Makoto Shinkai returned with Weathering With You, a mesmerizing Shōjo-style teen romance set during stormy weather. High-school boy Hodaka Morishima (Kotaro Daigo) runs to Tokyo from his troubled rural home and befriends an orphan girl, Amano Hina (Nana Mori), who can manipulate the weather.

What Hina shows Morishima is nothing short of a miracle. Her magical ability lifts a veil from the young man’s heart, prompting him to see the world from alternate perspectives. Considered by many to be one of Shinkai’s most visually spellbinding animations, Weathering With You summoned $192.3M+ worldwide, once again breaking the box office for an underappreciated genre. I challenge anyone to watch Weathering With You with someone who’s never seen it and not witness that virgin viewer’s jaw drop to the floor. It’s a film that begs you to think about that special person in your life who serves as a lighthouse in the fog of your malaise.

8. Blood: The Last Vampire (2001)

Blood: The Last Vampire is often my go-to recommendation when someone is curious about watching anime. I don’t want to overwhelm this person with a 100+ episode series, and a feature too complex could scare them away from exploring all anime has to offer. With a runtime of 48 minutes, Hiroyuki Kitakubo’s Blood: The Last Vampire is an essential “get in, get ’em hooked,” experience.

The story revolves around Saya, a Japanese vampire slayer whose next mission is in a high school on a US military base in the 1960s. The animation is exquisite, beautifully lit, and meticulous in execution and style. The soundtrack drips with hot, sweaty jazz, thunderous orchestral pieces, darkwave, industrial constructs, and lo-fi beats to chill to. The vampiric events emerge on Halloween, adding an inherent spookiness to the Gothic themes, drama, and slice ‘n dice action. It’s a tradition in my house to watch Hiroyuki Kitakubo’s Blood: The Last Vampire once a year around Halloween season. It’s a ritual I’ve kept for 24 years counting, and I plan to make it 25 soon. While The Last Vampire didn’t break the bank, it’s a cult favorite among Vampire Hunter D: Bloodlust and Kizumonogatari fans.

9. The Boy and the Heron (2023)

Despite Hayao Miyazaki touting The Boy and the Heron as his swan song, I never truly believed him. The Boy and the Heron is a beautiful, frequently trippy tribute to the act of honoring the memory of a loved one and forging a new path that begins with healing. After his mother dies during WW2, a young Japanese boy, Mahito Maki (Soma Santoki), is sent to live with his Aunt, Natsuko (Yoshino Kimura), with whom his munitions factory owner father is trying to start a new family. Traumatized by the death of his mother and struggling to accept his circumstances, Mahito finds himself lured into a fantasy world out of time and space by an antagonistic grey Heron (Masaki Suda). As Mahito struggles to make sense of the new macrocosm, he ends a vicious cycle of generational trauma, ultimately making peace with his new surroundings by accepting the winds of change.

Long-time Miyazaki collaborator and Japanese composer Joe Hisaishi (Spirited Away, Ponyo, Kiki’s Delivery Service) fills the air with melodic soundscapes throughout the adventure. Hisaishi dedicated five years of his life to the soundtrack, composing dreamy, urgent, and playful orchestral arrangements to guide audience members through a gauntlet of emotions and wondrous settings. Watching the film, I became lost in its themes, spellbinding animation, and layered storytelling. In addition to tackling feelings of loss, Miyazaki’s story questions loyalty toward a higher power, relinquishing control over what may come, and accepting that it’s not on us to make a better world but instead to take the world we live in and try to make it the best we can. In other words, by improving ourselves, we bring something better to the world we’ve got.

While other Studio Ghibli films like My Neighbor Totoro, Kiki’s Delivery Service, and Howl’s Moving Castle hold a special place in the hallowed halls of anime history, The Boy and the Heron is a culmination of Miyazaki’s lasting legacy, imagination, and talent for establishing worlds unlike our own that still manage to reflect who we are and where we’re heading.

10. Tokyo Godfathers (2003)

The second film from Satoshi Kon to make our list is the legendary filmmaker’s tragic comedy Tokyo Godfathers. It revolves around three homeless individuals—middle-aged alcoholic Gin (Tôru Emori), transgender woman Hana (Yoshiaki Umegaki), and teenage runaway Miyuki (Aya Okamoto)—who discover an abandoned infant while dumpster diving for Christmas gifts. Left with clues about the child’s identity, the trio attempts to reunite the orphan with her biological family.

Tokyo Godfathers offers an escape from Kon’s headier and introspective features like Paprika and Millennium Actress for a grounded Christmas tale about a found family rescuing an innocent from hardships they’ve endured as societal castaways. Tender, beautifully rendered, and packed with emotional gut-punches, Tokyo Godfathers reminds us to care for one another and not measure a person’s worth by appearance, but by deeds, actions, and the kindness in their heart.

Honorable Mention: Summer Wars (2009)

Also known as my favorite anime, Mamoru Hosoda’s Summer Wars is a visual feast for the senses. It is filled with an unforgettable cast of characters, Defcon 1-level danger, and a budding romance that will have you cheering before the credits roll. Summer Wars tells the story of a student who tries to fix a problem he accidentally caused in OZ, a digital world, while pretending to be the fiancé of his friend at her grandmother’s 90th birthday.

Summer Wars is everything I want in an animated feature. Every time I watch it, I discover something new and fall deeper in love with Natsuki Shinohara and Kenji Koiso’s endearing relationship. Summer Wars is a film you surrender to, letting it take you deep inside OZ, where the film’s visuals surpass my wildest fever dreams and expectations. For me, this is the real number one.

The post Top 10 Anime Films of All Time appeared first on JoBlo.

Review: Everyone wants the opportunity to start over. Maybe not from the beginning, but given the chance to fix a few pivotal mistakes, you’d likely take it. In the anime New Saga from Sotsu and Studio Clutch studios, based on the novel by Masayuki Abe, swordsman Kyle travels back in time after a powerful gem returns him to a time before a war between demons and humanoids can wipe his people off the planet. It’s a plot that typically lends itself to twists, turns, and surprises, so why does New Saga have none of those? How does something as intriguing as changing the past become a paint-by-numbers mission?

I’m not going to sugarcoat this. I did not like New Saga. Nothing upsets me more than watching something that feels like wasting my time, and New Saga remains relatively uneventful throughout, lacking even fun character chemistry to push through the boredom. My chief complaint about New Saga is how easy Kyle’s journey is from start to finish. Because he knows everything about his people’s downfall, he can sidestep any event that could throw a wrench into the works. Traditionally, changing the future has its own repercussions, but not here. Everything is so cut and dry that there’s never any sense of danger, whether it’s to the mission or Kyle’s traveling party.

New Saga isn’t all bad. The series is often peppered with dry humor, but not enough to keep the laughs coming throughout the 12-episode run. Each character represents an anime stereotype that feels all too familiar in a fantasy setting. Liese, Kyle’s monk brawler with A-Cup angst, is your garden-variety jealous type, making angry eyes at every girl in Kyle’s orbit despite never making any advances herself. Seran Leila is “the Big Guy.” Seran’s horny, clueless, and all-too-serious when battle gets hot. He never learns, repeatedly steps in his own s**t, but is as loyal as they come. Despite being considerably more potent than the others, Urza Ekses, the elf-girl summoner, routinely calls on the same two entities to power her most devastating attacks. Finally, there’s Sildonia Zeeles, the snack-happy humanoid version of Kyle’s magic weapon. Sildonia brings a fair amount of humor to the party, though they’re mostly talking with their mouth full of cookies for most of the series.

In addition to feeling like Kyle’s mission is far too easy to execute, the saga is relatively uneventful. Fights that look like they could pose a challenge are over before they begin, and there’s little flash to make them visually arresting in any meaningful way. There’s also an off sensation of abandon that comes with a pivotal fight toward the end of the series that I found confusing. Marching into “the toughest battle yet” with what is essentially a “meh” attitude is baffling.

To New Saga‘s credit, the show did make me laugh out loud on occasion. Most of the chuckles came from unexpectedly funny dialogue or line delivery, so at least there’s that. I’ll tell you what I don’t appreciate, though. There’s a smattering of homophobia and racism throughout the series, which, while not entirely out of the realm for anime, is always unnecessary. Do better. I can handle the blatant fan service, but once you’re openly mocking characters for being androgenous, it’s time for us to talk. Again, do better.

Ultimately, New Saga feels like a trudge of squandered potential. Time travel is such a fun story conceit. Still, what’s the point if you don’t do anything creative with the premise? Kyle’s mission could have taken him in unexpected directions, changed relationships within his party, and revealed new details that help him grow as a hero. None of that transpires. We’re along for the journey with little standing in our way of making sweeping changes to the world. That happens when you follow a well-worn path through familiar territory.

Anime

NOT GOOD

4

The post New Saga TV Review: The anime adaptation of Masayuki Abe’s novel is an uneventful, offensive slog through familiar territory appeared first on JoBlo.

Review: After debuting a killer, manic first season, there’s only one way to ratchet up the fun factor for an equally engaging follow-up. You could turn the volume up to eleven and risk going too loud. Or, you do what Fūga Yamashiro does for Dan Da Dan Season 2: dial the presentation’s breakneck pace down a few notches, explore characters and relationships like never before, and ultimately, tell a more focused, cinematic-like story.

The second season of Dan Da Dan is all about progress. Throughout the saga, Okarun, Momo, and Aira explore their powers, honing their volatility, and discover new tricks and limitations. This focus brings the show into fresh territory by ditching the first season’s “monster-of-the-week-ish” format for a more continual and progressive narrative. Momo steadily falls for Okarun, while Momo’s childhood friend, Jiji, throws a wrench into the works after being possessed by Evil Eye, a child-like and malevolent entity. Meanwhile, Momo doesn’t like how Aira is sniffin’ on her man, and Granny Seiko is acting more distant and hands-off than ever. Then there’s Turbo Granny, still trapped in the body of a Lucky Cat statue come to life, whose role is more significant as she trains the kids for the battles ahead.

I enjoy a lot about Dan Da Dan in general. The show never runs out of ideas, and the characters feel fully fleshed out and like they’re on an actual journey of discovery, not just going through the motions. The animation is slick, inventive, unruly, and intimate when necessary. Season 2 exhibits all these factors in spades. One character who makes this obvious is Jiji, whose transformation into Evil Eye brings some of Dan Da Dan‘s best drama. His arc is a testament to the show’s ability to turn characters around. At first, Jiji was slightly obnoxious and took up space. However, his inner battle to co-exist with Evil Eye is brilliant, emotional, and drives the bulk of Season 2.

By that same token, but on the opposite end of the spectrum, is Kinta, a perverted, sci-fi-obsessed otaku who cannot comprehend how Okarun manages his relationships with so many young, beautiful, and enigmatic women. It’s a mystery he must solve, but holy s**t is it a task to watch him try. I’ll be straight with you. I don’t like Kinta. He’s rude, immature, excruciatingly inappropriate, and needs to learn to take a hint. Still, knowing Dan Da Dan‘s ability to turn characters around, will he grow on me? Will I eventually become a Kinta defender? Kinta is an outcast; we could say the same of Momo, Okarun, Jiji, and Aira. One of Dan Da Dan‘s primary mantras is that there’s always more to see behind the curtain. I’ll reserve too much judgment for now.

Despite Season 2’s vibe shifts, Dan Da Dan is as outrageous as you’d like it to be. Throughout the season, we confront a twisted cult family, a suicide worm, killer composers of classical music (for some of the season’s most stunning animation), a disappearing, reappearing Kaiju (or UAP), and more! While the search for Okarun’s testicles is ongoing, there’s far less talk about genetalia in Season 2, within reason. I appreciate this. It’s not like I’m above it. Quite the opposite, actually. Still, the show has better things to do: a better story to tell, characters to mature, and animation experiments to execute.

For all my praise, I think the season’s pacing stumbles throughout the episodes “I Want to Rebuild the House” and “The Secret Art of Being Attractive.” Yes, this is when Kinta comes into the picture, but this is as close to “filler” territory as we get with Dan Da Dan. I thought it odd that after achieving such outstanding momentum, the show would pump the brakes like it does for these two episodes. Thankfully, the excitement ramps with “Hey, it’s a Kaiju,” followed by a season finale that will leave your jaw slack with disbelief. The words “Girl, you did not,” come to mind.

Despite some pacing issues later in the season, Dan Da Dan continues to be a must-watch anime for anyone who likes their romance with a side of strange. Season 2’s more cohesive presentation elevates the show unexpectedly, while the characters continue to grow exponentially. Dan Da Dan continues to feel unique in anime, where the impossible always happens, and artistry is forever upping its game. I count myself among other Dan Da Dan fans eagerly awaiting the third season, and can’t wait to see where this show goes next.

Dan Da Dan

GREAT

8

The post Dan Da Dan: Season 2 TV Review: The manic anime gets a more focused story that helps bring the presentation to new heights appeared first on JoBlo.

Review: Making a well-rounded fantasy epic is an art, and delicately balancing action with imagination, a smattering of humor, and a grand sense of scale is perilous. However, Yûji Iwahara’s Clevatess makes it look easy as the adaptation of the popular manga brings every weapon in its arsenal to the stage, then proceeds to slice and dice like we’re in the heady days of Ninja Scroll and Berserk. While territorial pissings are nothing new to anime, Clevatess presents a well-worn land grab story exceptionally well, with an exciting cast of characters doing much of the heavy lifting.

In Clevatess, a gathering of five territories belonging to separate factions represents what the humans know and control. Beyond that collective border lies darkness, stretching out as far and wide as the eye can see, controlled by Dark Lords of shadow and unnatural things. In the kingdom of Haiden lies a forge capable of crafting weapons to battle the darkness, with the promise of expansion and the unknown as the prize for the spoils of war.

When the demon king Clevatess slays all but one from a group of legendary heroes, the only survivor of the slaughter, Alicia Glenfall, infused by the demon king’s dark ichor, becomes enslaved to Clevatess so she can look after a baby left in his care. Meanwhile, everyone wants a crack at the Haiden Forge, knowing its secrets hide the key to expansion into the dark border. It’s pretty standard stuff, but damn, it’s entertaining as hell!

Clevatess is a total package anime series. It combines well-rounded character work with 90s-style action that often cranks the violence factor to eleven. No joke. I audibly shouted many times, basking in the ultra-violence, watching characters get dispatched in outrageous and diabolical ways. A warning: Don’t get attached to anyone, especially the “extras.” Still, while bandits suffering from main character syndrome are hardly a concern, Clevatess‘s primary cast truly shines.

Alicia Glenfall is a brave, mouthy, spitfire, hellbent on avenging her father’s death by killing Dorel, one of several generals after the Haiden Forge. Alicia’s sense of discovery throughout the series is fun to follow, as she learns new talents inspired by the demon king’s dark ichor flowing through her veins.

Clen, a humanoid yet still very magical manifestation of Clevatess, controls Alicia. Clen is curious about the human race and wants to understand more about it before wiping it off the planet. Clen’s sardonic and efficacious nature makes him a joy to watch, especially if dry wit is your catnip. Nelluru, the ultra-tough wet nurse tasked with caring for Luna (the boy who would be king of Haiden and keeper of the Forge), is as sweet and innocent as they come. She adds an airiness to the series, and the decision to turn her into a high-spirited muscle mommy is inspired.

Dorel isn’t the only villain making trouble for Alicia, Clen, and their band of travelers. Maynard, a powerful wizard able to control insects, and Naie, a metal manipulator, bring plenty of drama to the field, though their methods could be more effective. While an entertaining, scenery-chewing baddie with malice as his modus operandi, Maynard is surprisingly ineffective during his larger moments. I still love him, though. He’s capable of much more, and he’ll likely return with a vengeance in the second season. As for Naie, I’ve not read the manga, but I could see her becoming a valuable ally down the road. She’s sleepy, sassy, and unopposed to sharing her gifts, even with the enemy. I like her.

This is all to say that Clevatess is overflowing with well-written characters. The show manages to subvert most tropes and course-correct anime trappings at nearly every turn. The story takes unexpected turns for the uninitiated, and as I’d said, the action is top-notch. I want to shout to Nobuaki Nobusawa for his excellent score. The music suits the Dungeons & Dragons-like vibes, and the series’s intro track, “Ruler,” by Mayu Maeshima, is a heavy metal banger.

Clevatess is exceptionally well-paced. The need to protect Luna and get him to the Forge creates a sense of urgency that feels earned and compelling. Later episodes in the season introduce much lore about the Forge’s secrets. These revelations carry a stern warning about the abuse of power and how knowing the truth behind what you seek could be dangerous and lead to disillusionment. Be careful of what you wish for, and who writes the stories we accept as gospel.

Clevatess is a blast for anyone looking to dive into a character-rich, wildly gnarly, and full-of-potential brand-new series. I’m adding it to my must-watch list, and might even read the manga to get ahead in the interim. While there’s no shortage of great anime, Clevatess delivers on all fronts to present a 12-episode epic filled with magic, over-the-top action, and surprises waiting behind fun twists and turns.

Clevatess

GREAT

8

The post Clevatess: Season 1 TV Review: Yûji Iwahara’s action fantasy epic is a compelling and viscerally violent tale of succession appeared first on JoBlo.

Expect the unexpected. That seems to be the definitive description of the box office this fall, with a few huge surprises already shaking up the industry. The biggest shocker so far was The Conjuring: Last Rites opening with nearly double what anyone had predicted. But last weekend’s real twist was Demon Slayer: Infinity Castle, which stormed theaters with a jaw-dropping $70 million debut — the biggest anime opening of all time in North America.

This weekend, Demon Slayer: Infinity Castle is headed for the typical steep anime drop-off, but it should still dominate the top spot with around $25 million.

Second place will likely go to Him. Once considered a breakout contender thanks to its creepy trailers and Jordan Peele’s producing credit, early reviews have been poor (ours is coming later today). As a result, it looks set to debut in the $18 million range — solid, but not the breakout Universal hoped for.

Third place is locked for The Conjuring: Last Rites, which should scare up another $12 million as it cements its status as the highest-grossing entry in the franchise by a wide margin.

Fourth place looks shakier. Kogonada’s A Big Bold Beautiful Journey, starring Colin Farrell and Margot Robbie, was once considered an awards hopeful but skipped the fall festival circuit and now sits at just 44% on Rotten Tomatoes. Despite the star power — and Robbie’s first film since Barbie — the film is tracking for a muted $9 million. That would make it yet another box office stumble for Sony (though at least they can claim Demon Slayer as a win).

As for fifth place, it’s a toss-up. Angel Studios is rolling out The Senior, starring Michael Chiklis, but their non-religious pickups (it was produced independently) rarely connect with their base. The safer bet is Downton Abbey: The Grand Finale, which should take around $8 million and may even outgross Journey if word-of-mouth is strong.

Here are our predictions:

1. Demon Slayer: Infinity Castle: $25 million
2. Him: $18 million
3. The Conjuring: Last Rites: $12 million
4. A Big Bold Beautiful Journey: $9 million
5. Downton Abbey: The Grand Finale: $8 million 

What are you seeing this weekend? Let us know in the comments.

The post Box Office Predictions: Him will be no match for Demon Slayer’s 2nd weekend appeared first on JoBlo.

Review: Blissful Ignorance Breathing, Seventh Form! Allow me to explain. Before watching Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle, I’d only seen the first episode of the core series. While this leaves me at an insane disadvantage, considering the positioning of this new story, it also provides me with a unique perspective. Does Demon Slayer: Infinity Castle work for someone going in blind? To my astonishment, the answer is yes. Hell yes!

There’s nothing quite as confounding and entertaining as being dropped into the middle of an Avengers: Infinity War-style story arc with next to no frame of reference as to why everyone is fighting. Thankfully, Infinity Castle has so much good stuff going on that I didn’t mind embracing the unknown for much of the film. To its credit, Demon Slayer: Infinity Castle made me want to go back to the beginning and experience the story from the start. Isn’t that the filmmaker’s hope when concerned about a virgin audience?

In this new, box-office-breaking anime, directors Haruo Sotozaki and Hikaru Kondô plunge the Demon Slayer Corps into the Infinity Castle, where Tanjiro, Nezuko, and the Hashira face terrifying Upper Rank demons in a desperate fight as the final battle against Muzan Kibutsuji begins.

Thanks to the talented team at Ufotable, the film immediately establishes itself as a visual marvel. The marriage of 2D hand-drawn digital animation and pure CGI elements is flawlessly rendered and visually striking. The combat sequences are kinetic, flashy, drop-dead gorgeous, and filled with flourish and surprise. The film begins with our cast cascading down some of the Infinity Castle. This MC Escher-style kingdom is a cross between Christopher Nolan’s Interstellar, Mark Z. Danielewski’s House of Leaves novel, and Vincenzo Natali’s sci-fi cult classic Cube.

Throughout the film, we join different characters on their respective missions, whether out for revenge, honor, love, or power; most narratives are entertaining and emotional yarns that break up the action with a healthy dose of drama. As I’d said, not every thread is fun to pull on. Shinobu Kochō’s story is by far my favorite of the bunch. As a warrior out to avenge the death of her older sister, Shinobu matches moves with Doma, a charismatic and nihilistic Upper Rank 2 demon who loves to chew the flesh of his enemies as well as the scenery. I felt rapt by this duo’s scenes, and their tit-for-tat battle was vastly entertaining.

Having limited exposure to Demon Slayer, I was unprepared for how visually arresting the film would become, particularly during intense battles. I dig everything about the franchise’s look, from the character designs to the various fighting styles and the painterly look of the named attacks. Many of the effects remind me of flowing ink, like an alive tattoo or calligraphy with a pulse. The battle sequences and overall look of the Infinite City alone made the film worth my time.

I enjoyed the film despite being dropped into a story with no real beginning, middle, or end. By the end, I was invested in the characters and impressed with the world-building, and I wanted to watch more. By that, I mean to go back to the beginning and experience the whole shootin’ match. I want to see what led to this conflict and how the group ended up at the Infinite Castle, as well as better understand the relationship dynamics.

While the film does a decent to excellent job of filling in some story gaps, it often encounters pacing issues. As much as I enjoyed Akaza’s backstory, his compelling narrative slowed the film’s climax to a crawl. I could feel time warping around me, making a 2 1/2 hour movie feel like infinity. As much as I genuinely wanted to experience that story, there could have been a more succinct way to execute its delivery. Then again, what do I know? I’m sure there are droves of fans that’ve been dying to see that aspect of the character unfold.

Look, as a Demon Slayer n00b, I won’t be able to give you a hardcore analysis of Infinity Castle‘s events. There’s too much going on. There were cool characters I met during the opening credits that I never saw again until the end credits. Who the hell are they? When do we get to see their time in the Infinity Castle? How many years do we have to wait until the story continues? I have questions.

Speaking of questions: Where is the soundtrack to this movie? I’m not trying to be cute or rude. I don’t recall any music except for a single stand-out track that plays while Tanjiro Kamado, Giyu Tomikoa, and Akaza prepare for an exhaustive (but excellent) battle. Was I paying attention? Of course. The soundtrack is not too memorable, nor did it stand out, which is a shame because a movie as bombastic as this deserves a kick ass set of songs to amp up the action and drama.

Ultimately, I think Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle is a wild ride and a shining example of how a feature presentation of a series’ story arc can elevate its overall appeal. The highest compliment I can pay a movie-watching experience like Infinity Castle is that I’m hooked. I now see the appeal of this manga and anime property in passing, at the mall, and dominating the t-shirt rack at our local Spencer’s Gifts and Hot Topic. I’m one of you now. I want to watch and learn more. Let’s f@&king go!

Demon Slayer: Infinity Castle

GOOD

7

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Tatum would walk the red carpet at the premiere of Demon Slayer with his daughter, Everly. According to The Hollywood Reporter, Tatum and his daughter’s passionate fandom of anime is what motivated him to sign up for a role in the movie. Tatum spoke with Entertainment Tonight at the premiere and explained, “We’ve been watching this for so long.” Tatum’s daughter would then add, “It’s beautifully made and has an incredible storyline, and I love anime in general. It’s beautifully animated.”

Tatum also posted on his social media, “Walking the #DemonSlayer: Kimetsu No Yaiba Infinity Castle carpet with Evie by my side was honestly a dream come true. She’s been my anime inspiration from the start, and sharing this moment with her made my first time voicing Keizo extra special. Having a project we both love in theaters now just feels unreal-heart is full and fanboy levels are off the charts!”

Per THR, “Here’s the backstory on that character: Keizo is a kind widower whose wife took her own life shortly after their daughter, Koyuki, was born. He owns a dojo where he takes care of his sick daughter and teaches students in the ways of the bare-fisted Soryu fighting style.”

The 21 Jump Street star is also receiving accolades for his performance in Roofman after screening at this year’s TIFF. Our Chris Bumbray said in his review, “I think it’s safe to say that Channing Tatum, at this point in his career, has more than proved early naysayers wrong. He’s delivered a string of excellent performances, but with Roofman he truly delivers one of the most affecting performances of the year in a role that would feel tailor-made for him were it not based on a true story. Tatum, after his early roles, reinvented himself as a lovable goof, and that’s kind of exactly how his character, Jeffrey Manchester, comes off.”

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However, this is different: Demon Slayer is playing limited runs, meaning many theaters are only showing it a few times a day. Screenings are packed to the gills, giving it an insane $21,100 per-screen average. It’s Sony’s biggest opening of the year by far, and another smash for their Crunchyroll label.

Last weekend’s champ, The Conjuring: Last Rites, turned out to be extremely front-loaded, losing a hefty 69% of its audience. However, given how high the opening was, I doubt anyone at Warner Bros. and New Line is too upset. After only two weeks, it’s only about $3 million away from being the highest-grossing film in the Conjuring franchise (including the spin-offs, which we ranked here).

Another franchise that’s supposed to be wrapping up this weekend is Downton Abbey, with The Grand Finale opening stronger than the last installment, A New Era, making a solid $18.1 million. That’s impressive considering Downton’s audience skews older, and given that the franchise is even more popular overseas, this third movie is poised to clean up for Focus. Maybe they were premature in bringing it to an end.

Another movie that did pretty well was Lionsgate’s Stephen King adaptation, The Long Walk, which notched an impressive $11.5 million. Given it sports a largely unknown young cast (with Mark Hamill as the baddie), that’s a solid number for a fairly low-budget movie. With a cost in the $20 million range, it should break even domestically and turn a nice profit by the time it hits VOD. Consider this one a single rather than a double or home run at the box office, but it still gives Lionsgate a much-needed win.

Another strong showing came via two limited-run Disney engagements. First up is Toy Story, celebrating its 30th anniversary (let that one sink in, folks), with a $3.5 million take. Hamilton, in its second weekend, continued to draw audiences, earning $2.2 million for a $14.9 million total. Not bad if you consider both are streaming in 4K on Disney Plus. Sandwiched between them was Weapons, which added $2.72 million to its incredible $147 million total, making it one of the year’s biggest sleeper hits.

Disney’s Freakier Friday started to wrap up its run this weekend, with $2.1 million added to its domestic haul of $91 million—it won’t crack the magical century mark. Meanwhile, Spinal Tap II: The Legend Continues had an abysmal opening, with only $1.6 million and a crummy $872 per-screen average. That said, it was always unlikely to make much money at the box office. Even the original 1984 classic only made $5.8 million during its entire run (it was home video and cable that made it a classic). Adding insult to injury, it was nearly outgrossed by the 60th-anniversary re-release of The Sound of Music, which earned $1.48 million.

Next weekend sees the release of the Jordan Peele-produced Him. Does it have a chance of topping the box office? Let us know in the comments!

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Meanwhile, last weekend’s champ, The Conjuring: Last Rites, is tumbling a steep 65% to $29.7 million in its sophomore frame. Given its huge debut, Warner Bros. won’t be shedding any tears — the film has already surpassed the lifetime domestic grosses of every prior entry in the franchise.

Elsewhere, Downton Abbey: The Grand Finale is putting up a strong performance, with estimates around $19 million — higher than the opening of its predecessor, A New Era. Given the significantly older-skewing audience, that’s an impressive showing, and it could even push past $20 million by the end of the weekend. While billed as the final Downton Abbey film, these movies remain reliable earners, so don’t be surprised if the franchise continues in some form — perhaps even with a Lady Mary–focused spinoff.

Lionsgate’s Stephen King adaptation The Long Walk is also showing solid traction, with an $11–13 million debut projected. That’s a healthy number for a film featuring such a young cast and a grim premise, and it should ultimately turn a tidy profit for the studio.

No early word yet on how Spinal Tap II: The End Continues is faring, but we’ll have a full update tomorrow.

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If you’d asked me a few days ago what I thought the number-one movie this coming weekend would be, I wouldn’t have hesitated: The Conjuring: Last Rites. However, while doing some research, I checked in with one of the best forecasting sites out there—BoxOfficePro—and to my absolute shock, they’ve got an anime film, Demon Slayer: Infinity Castle, pegged for the top spot with a massive $60–75 million opening. WTF?

Now, I know anime has been steadily growing in popularity in North America, but those numbers feel insane. That said, BoxOfficePro shouldn’t be underestimated—they get it right more often than not. Plus, Infinity Castle has already racked up over $200 million worldwide, so maybe I shouldn’t be so surprised.

Still, I have a hard time buying into those projections. My prediction? The Conjuring: Last Rites holds onto the number-one spot with around $35 million, while Demon Slayer: Infinity Castle comes in second with a very strong $25 million. I see Downton Abbey: The Grand Finale sliding comfortably into third with $20 million. That franchise has a built-in audience, and being billed as the grand sendoff will only help. The only caveat: Downton’s core fanbase skews older, and they’re not always first in line on opening weekend.

In fourth, I’m putting the Stephen King adaptation The Long Walk at around $12 million. The King name will draw people in, and if word-of-mouth is good, it could have legs. But its bleak tone might keep it from breaking out wider. Finally, I think Spinal Tap II: The End Continues will bring in its cult fanbase for about $7 million—enough to round out the top five and edge out holdovers like Weapons.

My Top 5 Predictions for the Weekend Box Office:

1. The Conjuring: Last Rites — $35M
2. Demon Slayer: Infinity Castle — $25M
3. Downton Abbey: The Grand Finale — $20M
4. The Long Walk — $12M
5. Spinal Tap II: The End Continues — $7M

Am I way off base, or will this weekend play out just like I’m calling it? Let me know what you think in the comments!

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