Earwig and the Witch (Âya to majo)

Which is the witch?

(2020) Animated Feature (GKIDS) Starring the voices of Dan Stevens, Richard E. Grant, Taylor Henderson, Vanessa Marshall, Kacey Musgraves, Logan Hannan, Pandora Colin, JB Blanc, Thomas Bromhead, Alex Cartañá, Summer Jenkins, Eva Kaminski, Sherina Munafu, Vivienne Richardson. Directed by Gorô Miyazaki

 

For anime fans, Studio Ghibli is the apex predator, much in the same way Pixar was to computer animation early on (and, some would argue, still is). But while Pixar has specialized in computer generated animation, Studio Ghibli was strictly hand-drawn. That is, until this made-for-TV entry by founder Hayao Miyazaki’s son, based on a posthumously-published novel by Howl’s Moving Castle author Diane Wynne Jones.

A baby is dropped off at St. Morwad’s orphanage by a red-haired witch (Musgraves) who leaves a note that she is being chased by 12 witches and will be back to pick up her child once she shakes off the pursuit, which, she warns, may take years. That baby grows up to be Earwig (Henderson), a somewhat manipulative and not always lovable tyke who has the orphanage running to her specifications and is in no hurry to leave it. She tells fellow orphan Custard (Hannan) as much, shortly before being adopted by Bella Yaga (Marshall), a corpulent blue-haired witch and her domestic partner, the demonic Mandrake (Grant) who is quick to anger and, she is warned, will do awful things if not left alone.

Bella Yaga isn’t looking for a daughter so much as she’s looking for an assistant – slave labor would be more like it – and Earwig balks at the idea of giving away her work for nothing. HOWEVER…if Bella Yaga is willing to teach her spellcraft, things might just work out after all. In any case, Earwig wants to control her new “parents” the same way she controlled the orphanage – only this will take some real magic. When Bella Yaga proves to be less than forthcoming in terms of lessons, Earwig teaches herself, aided by the feline familiar Thomas (Stevens).

Earwig isn’t one of Wynne Jones’ better novels and whereas pappy Hayao fleshed out Howl’s Moving Castle with his own personality and feeling, scion Goro doesn’t really do the same here. There are a few scenes giving Earwig’s mother some back story, but other than that, things are mainly as written. The computer animation, mostly farmed out to contractors around the world, is mainly uneven despite an opening sequence of Earwig’s mom being chased on a motorcycle through traffic that is absolutely brilliant. After that, this turns out more like direct-to-video CGI complete with plastic skin tones, stiff facial expressions and robot-like movement.

While there are some moments of whimsy and humor that are the trademark of Ghibli productions, the main issue here is Earwig herself. She’s not very likable. She’s controlling, selfish, uber-manipulative and often sneers at the adults she has under her thumb behind their backs. It makes for not a very attractive character and it makes it hard for viewers to like her and root for her.

Still, as a Studio Ghibli production, there is quality here, albeit not as much as you’re used to seeing in the course of most of their other productions. One gets the sense that Goro is trying to impress or perhaps outdo his father by taking on productions that are similar thematically to those his father was famous for, but he doesn’t seem to have a knack for it. Perhaps Goro would be wiser to try making features that please himself first and worry about dear old dad afterwards. It’s perhaps not fair to compare him to his father, who is essentially the Walt Disney of Japanese animation, but Goro invites those comparisons by doing projects like this one. I don’t think that this is necessarily a bad production – it really is meant for a younger audience than most Studio Ghibli films – but compared to their high standards it doesn’t quite reach the bar.

REASONS TO SEE: Plenty of that sly Studio Ghibli humor.
REASONS TO AVOID: Surprisingly uneven and Earwig is far too annoying to be relatable.
FAMILY VALUES: There is some mild peril.
TRIVIAL PURSUIT: This is the first film from Studio Ghibli to be completely computer animated.
BEYOND THE THEATERS: HBO Max
CRITICAL MASS: As of 2/12/21: Rotten Tomatoes: 31% positive reviews. Metacritic: 45/100
COMPARISON SHOPPING: The Witches
FINAL RATING: 6/10
NEXT: Blithe Spirit (2021)

The Wind Rises (Kaze tachinu)

Jiro dreams of airplanes.

(2013) Animated Feature (Touchstone/Studio Ghibli) Starring the voices of Joseph Gordon-Levitt, John Krasinski, Emily Blunt, Martin Short, Stanley Tucci, Mandy Patinkin, Mae Whitman, Werner Hertzog, Jennifer Grey, William H. Macy, Zach Callison, Madeleine Rose Yen, Eva Bella, Edie Mirman, Elijah Wood, Darren Criss. Directed by Hayao Miyazaki

The French poet Paul Valery wrote in 1922 “The wind is rising, we must try to live.” As with most symbolist poems, the concept can be taken in a lot of different ways.

Jiro Horikoshi (Gordon-Levitt) is a young man who has dreamed of airplanes ever since he was a schoolboy (Callison). He had dreams in which his idol, Italian aeronautical engineer Count Giovanni Caproni (Tucci) shows him fantastic creations filled with family and friends, floating above endless sunlit grassy plains and meadows. In this dream kingdom shared by Caproni and Jiro, the wind blows ceaselessly. In fact, that wind blows through Jiro’s life events both tragic and wonderful.

As Jiro is travelling to university in Tokyo from a visit back home, the train he is riding in is stopped short when the Kanto earthquake of 1923 devastates Tokyo. He meets a young girl named Naoko (Blunt) who is travelling with her maid. Her maid breaks her leg in the incident and Jiro carries her back to Naoko’s home, along with Naoko. He leaves without giving the grateful family his name. When he goes back to inquire about the two girls, he discovers their home has burned to the ground in the fiery aftermath of the earthquake.

After graduating, Jiro gets a job at Mitsubishi along with his close friend Honjo (Krasinski). They work on a design for a plane commissioned by the Japanese Navy. The project is overseen by Kurokawa (Short), an unpleasant and energetic height-challenged person who turns out to be a pretty decent guy. Overseeing Kurokawa is the more kindly-natured Hattori (Patinkin).

The project ends up in failure but his superiors recognize that Jiro is a budding innovator and sends him to Germany to study their impressive efforts. Jiro, accompanied by Honjo, is disturbed by the increasing militarism of Germany and frustrated by their unwillingness to share anything but the most basic information. Jiro recognizes some of the same militarism emerging in his own country.

Once back Jiro is given another Navy plane project but on its test flight the plane crashes. Disheartened and exhausted, Jiro is sent by his concerned employers to recover at a mountain resort. In a bit of serendipity, it turns out  that the hotel is owned by Satomi (Macy), the father of Naoko who Jiro falls deeply in love with. However, she has contracted tuberculosis, a disease that also killed her mother. The outlook for Naoko looks bleak but in an effort to fight off the disease and get healthy, she agrees to go to an alpine clinic to get better.

In the meantime Jiro has resumed working on a radical new design that will make his planes lighter, more maneuverable and faster. However, his conversations with a German pacifist (Herzog) at the resort have attracted the attention of Japan’s secret police who want to take Jiro away – so Mitsubishi hides him at the home of Kurokawa and his wife (Grey). Naoko realizes she’s not getting any better so she decides to go to Jiro and marry him, spending whatever time she has left with the man she loves. While Jiro is realizing his dream to create beautiful aircraft, he is troubled by the eventual use of his planes, knowing that this militarism will eventually destroy his own country. However, he labors on, trying to get the most of his time with Naoko who encourages him even as she weakens.

First of all, this is a gorgeous movie with beautiful curved lines nearly everywhere. The aircraft portrayed in the movie are largely fantastic. Adding a bit of whimsy to the proceedings, nearly all of the mechanical sounds are made by humans, from the roar of the earthquake to the sputter of engines turning over. It’s a marvelous touch that is delightful to both young and old.

Unlike Ponyo which was aimed squarely at the very young, this is most certainly a movie for older audiences. It moves at a stately, majestic pace which the younger crowd will be far too restless to tolerate. In fact, some older audiences may have the same problem – the middle third of the movie is almost glacial as it moves from the terrifying earthquake/fire sequence to the love story.

There are those who are criticizing Miyazaki and the film because Jiro is designing a fighter plane that would be used to take lives (I thought mistakenly that it was the Zero that he was working on and while he did eventually design that plane, the one shown in the film is its predecessor the A5M. The movie does to an extent gloss over the carnage Jiro’s creations unleashed on the Allied forces in World War II. Left-leaners have tended to opine that Miyazaki should have at least criticized the militaristic nationalist leanings of Japan and questioned whether someone who designed weapons should be glorified with a feature film. Ironically, conservatives in Japan have labeled the movie “anti-Japanese.” What’s a venerable animator to do?

I find the criticism to be invalid. Miyazaki damns the militarism by showing its affects on Japanese society without making comment on it. He allows people to draw their own conclusion – the success of which can be inferred by the many differing opinions about the movie’s message. I have to admit that as an American I was very aware that the “beautiful machines” that Jiro was designing would be used to take American lives and that felt a little strange to me. I also found myself able to put that part of me aside and take the movie as a whole without allowing my prejudices to influence my ultimate opinion. War is a terrible thing, as some of the images near the end of the movie show – but Miyazaki recognizes that it is also the catalyst for technological advance.

The imagery is gorgeous, flowing and sweeping across the screen. The early scenes of early 20th century Japan are bucolic and lovely, the earthquake sequence terrifying and beautiful and the scenes at the resort pastoral and also lovely. The colors are bright and harmonize beautifully together and the score enhances the movie subtly. It is not Miyazaki’s best – I still think The Princess Mononoke is and Spirited Away and Kiki’s Delivery Service are both superior to this, but it is definitely up in their category. While I did like Frozen when I saw it late last year, this should have won the Oscar for Best Animated Feature. Period.

REASONS TO GO: Gorgeously rendered. Innovative and clever. Wonderful love story at the center of the film; Jiro is an amazing character.

REASONS TO STAY: Runs a little bit too long. Drags in the middle third a bit. Somewhat low-key.

FAMILY VALUES:  There are some disturbing images of fantasy and war.

TRIVIAL PURSUIT: The 72-year-old Miyazaki initially announced that this would be his final animated feature but on December 31, 2013 he withdrew his retirement during an interview on a Japanese radio program. It is said he is considering a sequel to Ponyo as his next project.

CRITICAL MASS: As of 3/8/14: Rotten Tomatoes: 88% positive reviews. Metacritic: 83/100.

COMPARISON SHOPPING: The Aviator

FINAL RATING: 8.5/10

NEXT: 3 Days to Kill

New Releases for the Week of February 28, 2014

NON-STOP

(Universal) Liam Neeson, Julianne Moore, Nate Parker, Scoot McNairy, Michelle Dockery, Lupita Nyong’o, Omar Metwally, Linus Roache, Shea Whigham, Anson Mount. Directed by Jaume Collet-Serra

A Federal Air Marshal on a transatlantic flight receives a message that someone on the plane will die every 20 minutes unless a ransom demand is met. When it turns out the message is deadly serious, he has to discover who’s sending those messages – only to find out that there is something far more devious going on than a mere hostage situation.

See the trailer, clips, an interview,  a promo and footage from the premiere here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Thriller

Rating: PG-13 (for intense sequences of action and violence, some language, sensuality and drug references)

Odd Thomas

(RLJ/Image) Anton Yelchin, Willem Dafoe, Patton Oswalt, Addison Timlin. A nondescript fry cook in a nondescript small town has a special gift – he can see dead people. When a mysterious stranger brings in an entourage of truly nasty demonic sorts, Thomas realizes that a disaster of apocalyptic proportions is upon them. From writer Dean Koontz and director Stephen Sommers who has The Mummy on his resume.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Horror

Rating: NR

Raze

(IFC Midnight) Zoe Bell, Doug Jones, Sherilyn Fenn, Tracie Thoms. After being abducted, a woman wakes up in a concrete bunker and is forced to fight in a tournament of 50 women. If she loses or refuses to fight, her loved ones will be murdered.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Action Horror

Rating: NR

Repentance

(CODEBLACK) Forest Whitaker, Anthony Mackie, Mike Epps, Sanaa Lathan. A life coach with a dark past takes on a man fixated on his mother’s recent passing mainly to get some cash to bail out his brother who is deeply in debt to the wrong people. However, it turns out his new client is far more than he seems to be and his issues run far deeper.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Thriller

Rating: R (for violence including torture and language)

Shaadi Ke Side Effects

(Bataji) Farhan Akhtar, Vidya Balan, Vir Das, Ram Kapoor. A young married couple who had a very difficult time getting their wedding pulled off finds that the most difficulty comes after the wedding.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Son of God

(20th Century Fox) Diogo Morgado, Roma Downey, Nonso Anozie, Amber Rose Revah. From the producers of the hit cable series The Bible comes this focus on Jesus of Nazareth.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Faith

Rating: PG-13 (for for intense and bloody depiction of The Crucifixion and for some sequences of violence)

Stalingrad

(Sony Classics) Thomas Kretschmann, Pyotr Fyodorov, Sergey Bondarchuk, Maria Smolnikova. An epic retelling of the crucial battle that broke the Nazi stranglehold on Europe and eventually turned the tide of the war. Shown from a post-Soviet Russian point of view.

See the trailer here.

For more on the movie this is the website.

Release formats: IMAX 3D

Genre: Historical War Drama

Rating: PG-13 (for mature thematic material and brief strong language)

The Wind Rises

(Touchstone/Studio Ghibli) Starring the voices of Joseph Gordon-Levitt, Emily Blunt, John Krasinski, Martin Short. A young Japanese dreamer sees the breathtaking work of early aviation pioneer Caproni and dreams of flying aircraft. His extreme nearsightedness prevents him from becoming a pilot but he determines to design the planes that will bring Japan into the air age. Acclaimed director Hayao Miyazaki says this will be his final film and it may well be one of his best; it has been nominated for a Best Animated Feature Oscar for this Sunday’s ceremony.

See the trailer, a video and interviews here.

For more on the movie this is the website.

Release formats: Standard

Genre: Anime

Rating: NR

Tales From Earthsea (Gedo senki)

 

Have fun storming the castle!

(2006) Animated Feature (Disney) Starring the voices of Timothy Dalton, Mariska Hargitay, Willem Dafoe, Cheech Marin, Matt Levin, Blaire Restaneo, Kat Cressida, Suzanne Blakeslee, Pat Fraley, Jessica Gee-George, Tara Platt, Liam O’Brien, Terrence Stone, Karen Strassman. Directed by Goro Miyazaki

 

We are often driven by forces within us that we ourselves don’t understand. When asked why we do the things we do, sometimes all we can shrug and say “I dunno.” Usually, that’s not a sufficient answer.

Arren (Levin) is a prince of the realm in the world known as Earthsea. His father is a well-beloved king who is preparing Arren for a reign of his own but one dark night in the castle, Arren cold-bloodedly murders his father and steals his enchanted sword, fleeing into the night and away into the most distant lands of the realm.

Arren himself doesn’t understand why he killed his own father – he loved him. He is being pursued by a strange shadowy figure who frightens Arren although the prince should be paying more attention to the wolves who gather around him. It looks like Arren will receive karmic justice but he is rescued at the last moment by a sorcerer named Sparrowhawk (Dalton).

It turns out that Sparrowhawk is one of the greatest mages in the land. He seeks to return balance to his world, which of late has been beset by dragons. Not necessarily a bad thing, but certainly unexpected since dragons were thought to have left the world. At one time dragons and humans lived in harmony together but those days are long gone.

Into this mix comes Cob (Dafoe), another sorcerer albeit one whose intentions are far less benign than Sparrowhawk’s. Cob means to find immortality and doesn’t care if he has to blast Earthsea into nothingness in order to do it. The key to his immortality rests with Arren. Sparrowhawk knows that he must protect Arren from Cob at all costs and is joined by ex-priestess Tenar (Hargitay) and her disfigured teenage ward Therru (Restaneo) to help defeat Cob and restore Earthsea into harmony.

Although released in Japan in 2006, the movie didn’t make it to American shores until 2010. Much of that had to do with rights issues – the movie is based on the work of American author Ursula K. LeGuin (and mostly on the third book of her Earthsea saga, The Farthest Shore). Much has been made about the movie’s PG-13 rating, which is the second film from Studio Ghibli to receive such a rating (The Princess Mononoke was the first) and the first animated feature from Disney to get that particular rating. It certainly isn’t for small children.

The animation is gorgeous for the most part, not unlike a watercolor come to life. The dragons are nicely realized and there are some very nice bits of business here. However, this isn’t Hayao Miyazaki in the director’s chair, it’s his son Goro and the younger Miyazaki’s inexperience shows in places. The pacing can be downright slow (a crucial mistake in an animated feature) and the characterization is pretty shallow. For some reason, the decision was made to make Cob look a bit like David Bowie in his more androgynous phase and give him Willem Dafoe’s raspy voice. The combination is jarring to say the least.

LeGuin’s source material is rich in background and while she has disassociated herself from the movie, at least the palate that the filmmakers and writers drew from is vibrant. This feels like a lived-in world, for better or for ill.

This isn’t an easy property to bring to the screen, considering the hero commits patricide in the first few minutes of the film. You are left wondering if he is the villain from that point (if you’re not familiar with LeGuin’s work) and it takes a good long time to get behind Arren as the hero. Dalton, as Sparrowhawk, gives great depth and color to his character, projecting the gentle nature of the archmage as well as his infinite patience (Arren isn’t always the easiest companion to hang around with). Of all the characters in the movie, it is Sparrowhawk who remained with me the longest.

Even LeGuin admitted this isn’t a bad movie – in fact it’s a pretty damn good one, despite the fan base that decries it (both that of LeGuin and Studio Ghibli). It isn’t an easy movie to get behind in all instances but if you don’t give up on it, you might find yourself warming up to it as I did. This is far from the best film to come from the studio but it isn’t the worst either. Faint praise, I know – but believe me, this is a very good movie, worth looking up however you get your home video.

WHY RENT THIS: Gorgeous animation. Dalton does a fine job vocally. LeGuin’s world is very much worth exploring, even if it isn’t exactly the way she wrote it.

WHY RENT SOMETHING ELSE: The film lacks spark and passion. It also drags in places.

FAMILY VALUES: Some of the images are fairly graphic and violent.

TRIVIAL PURSUIT: Studio Ghibli founder Hayao Miyazaki originally petitioned author Ursula K. LeGuin to direct the movie but she was unfamiliar with his work and turned down his request. After she saw My Neighbor Tortoro she was sufficiently impressed and changed her mind; however by that time he was too deep into making Howl’s Moving Castle to direct himself and as a result his son Goro made this his feature film debut. LeGuin was seriously disappointed with the final results and said so on her website.

NOTABLE DVD EXTRAS: There is an interactive map and trivia game for previous Studio Ghibli features.

BOX OFFICE PERFORMANCE: $68.7M on a $22M production budget; the movie was a hit.

FINAL RATING: 7/10

TOMORROW: A Separation

Ponyo (Gake no ue no Ponyo)

Escaping a tsunami in a small car is never a good idea.

(2008) Animated Fantasy (Disney) Starring the voices of Cate Blanchett, Noah Cyrus, Matt Damon, Tina Fey, Liam Neeson, Frankie Jonas, Lily Tomlin, Betty White, Cloris Leachman. Directed by Hayao Miyazaki

Perhaps the most honored and beloved director of Japanese anime is Hayao Miyazaki. An Oscar winner for Spirited Away, he’s also directed some of the most enchanting and beloved anime films ever, including Nausicaa of the Valley of the Wind, My Neighbor Tortoro, Howl’s Moving Castle, Kiki’s Delivery Service and my personal favorite, Princess Mononoke among others. He remains one of the few feature animation directors working exclusively in the hand-drawn animated style that established Disney (who distributes the output of his Studio Ghibli here in the U.S.) and is as imaginative a director working anywhere in any medium today.

His latest may well be one of the most beautiful animated features in recent memory. It begins with a 5-year-old named Sosuke (Jonas) finding a goldfish trapped in a jar on the seashore which he names Ponyo (Cyrus) – the fish, not the seashore.

But Ponyo is no ordinary fish. She is the daughter of Fujimoto (Neeson), a sea wizard with incredible powers who has renounced his humanity to rule under the sea. When Sosuke takes her from her natural environment, it causes the balance between the sea and the land to be sundered and soon tsunamis are buffeting the small port town where Sosuke lives.

He brings the fish to his mother (Fey) who is having issues with her husband Koichi (Damon), a merchant sailor who is away more than he is at home. When he visits the retirement home his mom works at, a trio of the residents (Tomlin, White and Leachman) there realize immediately that Ponyo is no ordinary fish.

Sosuke has a paper cut and when Ponyo licks the cut and magically heals it, the taste of human blood allows Ponyo to take on the attributes of a human and she magically grows arms and legs. This causes further imbalance which even Fujimoto is powerless to prevent.

When Sosuke and her mom get separated by the tsunamis, Ponyo transforms a toy boat into a large sailing vessel to go searching for her in the now flooded town. However, the cost of all this magic is taking its toll on Ponyo and the continued imbalance between sea and land threatens to completely undo the world – unless Sosuke and Ponyo can intervene.

The tale told is a simple one, and it is meant to be appealing not just to the adults who make up the core of Miyazaki’s audience to date, but also to small children, a market he hasn’t really gone after up to now. Quite frankly, he’s successful at capturing both with this film which is destined to be considered among his very best.

Miyazaki’s imagination seems boundless, and his underwater scenes are filled with strange beauty, the kind heretofore found in nature films but given a touch of wonder that is entirely man-made. Miyazaki is telling on one hand a cautionary tale; the sea bottom is badly polluted with trash and sludge, while above the waves the adults are blissfully (and perhaps criminally) unaware of the damage their society is inflicting on the sea, which doesn’t endear them to the powerful creatures – including Ponyo’s mother, Gran Mamare (Blanchett) who is literally a goddess.

There are other lessons as well, with the familiar “we all must be who we are, not who others want us to be” which is a staple in children’s films, but certainly the ecological issue seems to be the one most pointedly presented.

Miyazaki isn’t all about the fantastic, however; the human characters have a great deal of depth to them. Sosuke’s parents aren’t the perfect couple; they squabble and bicker, and neither one is wrong and neither one is right. Lisa is frustrated with having to raise her child essentially alone, and Koichi certainly isn’t doing what he does by choice; the family needs the income he brings in to survive, and when additional work is available, he has no choice but to take it. It’s a problem that isn’t an unfamiliar one in tough economic times.

Even peripheral characters like the three elderly women from the retirement home have distinct personalities and play crucial roles in the story. The mark of a great storyteller is not that he creates characters that move the story along (how often do we see characters in movies both live action and animated that exist only to perform a singular function in the film) but that he utilizes the characters he has to make the story flow; in other words, the characters belong in the story and they drive what happens in it, rather than exist as a reaction or an action within that story. It’s all a bit complicated, I know, but trust me – I can recognize great writing when I see it.

Japanese culture has a thing about cute; you can see it in everything from Hello Kitty to Sailor Moon. At times, that cuteness goes over the top and makes you feel like you just drank a gallon of Kool-Aid with twice the sugar added; you just want to gag. Miyazaki is not known for embracing that cultural element, but it does appear from time to time in this movie, and while I can understand that it helps to make the movie relatable to small fries, I have to admit as a curmudgeonly middle aged man it was annoying to me.

Be that as it may (and it is an admittedly personal bias) I can still give this movie a very strong recommendation. For those who might be skeptical about Japanese anime, be assured that there are no subtitles here; the story is recorded completely in English with an all-star cast as you can see in the credit list at the top of the review. Disney has made a great effort to make this very special movie work in an American market, hiring Melissa Matheson, screenwriter of E.T. the Extra-Terrestrial to pen the Japanese translation, and the opening and closing sequences were redone to be more appealing to American audiences (on the Blu-Ray if you choose the Japanese language version you will see the Japanese openings; if you choose the English language you’ll see the American version).

This is a marvelous movie whether an animated feature or not; you will probably not see a movie so beautifully drawn as this for a very long time. Those who are admirers of Miyazaki have probably already seen it, and will no doubt look to purchase the Blu-Ray version which is packed with features enough to keep you occupied for awhile. Those unfamiliar with his work can do worse than to start here. It’s well worth your effort to do so.

WHY RENT THIS: Miyazaki creates an imaginative world that you want to explore. This is one of the most beautiful animated films of the past decade. The characters are strongly written and are more than one-dimensional cardboard cutouts to advance the plot along.

WHY RENT SOMETHING ELSE: The plot is a bit simplistic, aimed squarely for younger children. The Japanese penchant for the overly cute rears its head here.

FAMILY VALUES: Although there are some scenes of jeopardy for Sosuke and Ponyo, the movie is certainly meant for small children and can be recommended for all audiences on that basis.

TRIVIAL PURSUIT: The character of Sosuke is based on Miyazaki’s son Goro when he was five years old.

NOTABLE DVD EXTRAS: Not surprisingly, the Blu-Ray version of the movie is chock full of interesting features, including a visit to the Studio Ghibli compound, with one specific feature showing how the establishment of a day-care center led directly to the creation of Ponyo and very nearly became a setting for the movie. We also visit the village on the Seto Inland Sea that became a model for the one in the film, and examine the father-daughter relationship at the center of the film, and how it relates to Japanese culture. There is also a marvelous interactive guide to the World of Ghibli, which depicts the various films released by the studio as locations on an island, several of which you can visit (and is tied in to the video release of three other Ghibli films for the first time in the U.S.).

BOX OFFICE PERFORMANCE: $201.7M on an unreported production budget; the movie was a major hit.

FINAL RATING: 7.5/10

TOMORROW: Montana Amazon