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Jun 25, 2026
Meet Marco, alias Porco Rosso, a fighter pilot during World War I, a famous bounty hunter at the time we first see him.
Porco whiles away his days on a secluded island, leaving only to chase and down sky pirates, collect the money put on their heads, and go to the Hotel Adriano, owned by Gina, a childhood friend.
In the film, he's said to have been "cursed" and turned into a pig. We quickly learn that this "curse" is more of an allegory than an actual spell. It was put on him by the war and the loss of his companions. Having witnessed the horrors and
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futility of war, the way all sides send soldiers to their deaths, Marco becomes disillusioned with humanity. He's a pig in his own eyes, and so he appears to all others.
This is a very interesting premise, and one that unfortunately falters in a shallow plot.
The story is a simple one: having had his fighter plane heavily damaged by Curtis, a hotshot from the United States, Porco goes to get it restored. The only problem, for this misanthrope that is also a misogynistic pig, is that the current engineer is a young girl, and that all workers in the shop are now women, since the Great Depression made all men depart looking for jobs. He more or less quickly overcomes his prejudice, and in the company of Fio, the young engineer, he starts to once again believe in humanity, so much so that Fio even gets to see a glimpse of Marco's human face.
We then enter the final act of the film: the rematch between Marco and Curtis. The showdown is at first an impressive display of each's prowess as a pilot, and soon devolves into a show of what it actually is: a sad and futile display of perceived manliness and need to regain or protect one's honour. This is a good take on an old trope (the face off between two men over a woman and their honour), common in the classic Hollywood films this film pays homage to.
So why a mere 6? First off, the slow or even awkward pacing. Secondly, and in line with the pacing, the not-so-riveting action scenes. The animation is sublime, mind you, but there's something lacking, perhaps in the characters or in how engaged the viewer is allowed to be (and this reviewer was not very engaged, to tell the truth). Finally, how some elements of the film appear to serve no other purpose than to simply move the plot along and offer a basic threat. The air force, for instance, never really becomes a menace or a danger to be overcome. It's not a plot point, it's just there to help the plot along at some points.
In short, Porco Rosso might be Miyazaki's weakest work. It's not devoid of ideas, but it fails in executing them.
Reviewer’s Rating: 6
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Jun 23, 2026
Evangelion: Death(true)² is a disjointed recap, an attempt at showing where the key characters are (or aren't) in their personal journeys before the start of the grand finale, The End of Evangelion.
It's assembled in an intriguing fashion, introducing each of the four EVA pilots – or "players" – and their personal struggles one by one. However non-linear it might be, it still manages to slowly notch up the tension and capture Evangelion's core themes and plot points. Bach's pieces greatly add to the overall composition and enjoyment, tying every clip and character segment together in a neat, satisfying (even if a bit puzzling or incomplete)
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bow.
It can only, of course, be fully enjoyed by those who have seen the show. Even so, it provides an interesting take on Evangelion, and to watch it is to have an opportunity to experience Evangelion again in a much shorter yet still captivating manner.
Reviewer’s Rating: 8
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Feb 7, 2025
Nausicaä of the Valley of the Wind is a masterpiece from beginning to end. It's a beautiful epic, woven in words and acts of kindness and folly, in moments of tragedy and joy, of despair and hope. Artwork, story, world and characters are all expertly made. It is a must-read for all manga and Ghibli fans.
It comes as no surprise that it looks, feels and runs like a Miyazaki film, though in a different and much longer form. Themes, structure and characters are in line with those that pervade his other works. It bears most resemblance to Princess Mononoke and, of course, to the
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film adaptation of Nausicaä.
With Princess Mononoke it shares a certain bleakness, both thematic and in incidents, as well as a sense of utter respect for nature. The urgent need for reconciliation with nature, for striking a balance between human civilization and the natural world, present throughout Miyazaki's works, shines most brightly in these two. Both deal, after all, with hubris, with humanity's persistent defiance of nature and the world at large. In both, human folly and vanity can only lead to the downfall of civilization.
Mononoke and Nausicaä present, nevertheless, a message of hope, of life, recovery and regrowth beyond all despair, loss and calamity. Humanity endures, even if burdened with the knowledge of the harm it did to the world and to itself; nature, even if forever changed, finds a way to reclaim its place on Earth (Mononoke was, tellingly, the first film Miyazaki worked on after finishing the Nausicaä of the Valley of the Wind manga).
The manga's relationship with its film adaptation is a different matter, though. The film is smaller in length and scope. It's an abridged version, in a way (Miyazaki had only published 16 of the total 59 chapters by the time he started working on the film). It glosses over most of the wider conflict and danger present in the manga and focuses on the Valley of the Wind itself. For a film just shy of a two-hour runtime this was the ideal choice. Nevertheless, the film does add another layer to the manga's enjoyment. It gives colour and sound to an unequal world and story, and is to many their first – and, sadly, to many more, their only – contact with this most sublime work. It gives the audience a taste of many things that the manga explores and develops to the extremes of perfection. However, film and manga are two different mediums and experiences, and this is a case in which the manga clearly takes the prize.
Other, even more obvious, similarities could be pointed out, such as narrative structure, character dynamics and the protagonist’s personality. These are, of course, prevalent throughout Miyazaki’s filmography. Laputa: Castle in the Sky’s astounding pace, for instance, is comparable to Nausicaä and the Valley of the Wind’s rhythm (the manga’s, in this case). There's almost constant action. This, coupled with an impressive plot development, makes Nausicaä the true definition of a page-turner.
It suffices to say that Nausicaä and the Valley of the Wind’s story is exceptional, growing ever in scale as it progresses. All characters are distinct and memorable (some more than others, naturally). The most remarkable, besides the titular character, princess Nausicaä, are, in due order, Kushana, Charuka, Miralupa, Ohma, Namulis and Lord Yupa. Kurotowa, Selm and Chikuku are also, in their own way, interesting, and play an instrumental role in the narrative. Finally, Teto (Nausicaä’s “squirrel-fox”) and Kai (the “horseclaw” Nausicaä rides) also deserve mentioning as two of the titular character’s closest companions.
Miyazaki Hayao is, first and foremost, an animator and filmmaker, and his art style proves it. It's filled with movement and sound, teeming with life and emotion. There's beauty and wonder to be found in even the simplest of panels.
It's interesting to note that there is a clear difference in Miyazaki's artwork between the first and the final volumes. Panels become less cluttered as the story progresses, allowing the characters to stand out more against the backgrounds and the dialogue and action to breathe. This is in part due to the change in scenery (as the landscape of the Dorok lands takes over), but no doubt also due to the author's growing sensibility towards the medium he was working on (after all, more than a decade elapsed between the beginning and end of the manga's release and publication).
It must also be noted that Miyazaki was clearly influenced by European comics, departing greatly from Japanese manga tradition, both in page composition and page dimensions (Nausicaä of the Valley of the Wind was first serialized in A4).
Nausicaä of the Valley of the Wind is in all ways a masterpiece. In a career filled with some of the most beautiful, heart-warming and action-packed films ever made, the seven volumes of Nausicaä stand out as another proof of Miyazaki-san's genius and of what he, as an artist, can achieve. It's a work deserving of greater attention and praise. A masterpiece.
Reviewer’s Rating: 10
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Feb 7, 2025
Natsume's Book of Friends is an incredibly funny and touching iyashikei (healing manga) about estrangement and friendship, loss and discovery, loneliness and belonging. (Please note that this reviewer has not only read the manga, but also watched the anime, and is as such expressing, for the most part, their views on both.)
Some chapters are hilarious, others bring tears to the eyes, and most mix these two extremes to perfection, expertly combining comedy with emotion in a way that never feels forced nor moralizing. It is without a doubt a masterpiece in its genre, a unique and rewarding experience deserving of greater recognition and praise.
It's not
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always perfect (some stories are better than others, as would be expected from such an episodic narrative), but overall it manages to keep the reader engaged and entertained. If the first few volumes feel uneven, containing several weaker episodes, the later ones more than make up for them, offering greatly improved stories, storytelling and artwork.
The characters and the interactions between them play a large role in holding the reader's attention and care, building a strong foundation that slowly and gratifyingly evolves. There is always more to learn about the human cast, their personal past and family history. The yôkai, their idiosyncrasies, desires and designs bring a lot of diversity, fun and adventure to each chapter’s plot.
Each character is unique, and some, such as Natori, Matoba and Nanase, create an interesting contrast with the protagonist, Natsume Takashi. Others, especially Taki, Tanuma, Nishimura and Kitamoto (as well as Natori), give Takashi a support group and a chance to grow as a person. As an orphan that had until the story’s beginning been regularly shuffled between households, as well as mistreated and shunned by everyone, these new friendships mean a lot to Takashi, as does the couple that takes him in: Tôko and Shigeru-san, distant relatives on his father’s side.
Natsume's Book of Friends begins with Takashi having recently come to stay with them, his new foster parents, in the town in which they live. This town happens to have been one his maternal grandmother, Natsume Reiko, had dwelt in for a while, a coincidence which accounts for the numerous yôkai acquaintances in the area.
While the newly formed bonds of friendship and family ties bring comfort to Takashi-kun, they also become a source of anxiety for him. Not only does he have to try and keep his ability to see and interact with yôkai a secret from most people, but he also has to worry about keeping others safe from the yôkai that pursue him for various reasons (generally to seek and attempt to steal the Book of Friends Reiko left behind). Used to being on his own (and to dealing with problems on his own), Takashi learns little by little to trust his friends more, namely Taki, Tanuma and Natori, those that know of his abilities and of his inheritance. Nevertheless, he still tends to worry about worrying others, especially Tôko and Shigeru.
Enter Nyanko-sensei, Takashi's self-proclaimed bodyguard and, even if he refuses to admit it, closest friend. The relationship between the two is perhaps the manga’s (and the anime’s) strongest point. Though they do help each other, it is Nyanko-sensei’s knowledge and power that allows Takashi-kun to lead a more or less peaceful life.
All in all, both manga and anime feel like home. The world of Natsume's Book of Friends is a reassuring environment, a safe and happy place (despite the dangers involved in dealing with both yôkai and exorcists). Even if some chapters are weaker and the artwork is at times somewhat lacking or confusing to follow, this manga is outstanding and quite memorable (and the anime, devoid of the aforementioned shortfalls, even more so). It is, therefore, a commendable work and a more than worthwhile read.
Reviewer’s Rating: 9
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Nov 28, 2024
Stranger by the Shore's anime adaptation is too short and incoherent. It simply doesn't work as a film, requiring previous knowledge of the material to be actually enjoyed and, to a certain extent, understood. To a viewer unfamiliar with the manga, it becomes a guessing game and ultimately fails to bear any emotional impact, as the plot moves along too quickly to let the dust settle and to allow feelings of empathy with any of the characters to bloom.
The animation is beautiful, though, and there are some truly touching moments. It's just unfortunate that everything's so condensed and fast-moving. This could easily have been turned
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into a terrific miniseries. As it stands, it leaves much to be desired.
Why 7, then? Well, even if the characters and their relationships are underdeveloped and/or left unexplained, there are just enough glimpses of near excellence to merit a good rating (and to give a taste of what the manga may be like). Moreover, there are cute cats and same-gender relationships, which, in this reviewer's mind, is always a plus.
In short, although this film will be best appreciated by those who have read the manga, those who haven't can still enjoy watching it. It is, all things considered, a solid BL and a fine slice of life, however concise it may be.
Reviewer’s Rating: 7
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Oct 30, 2024
Flying Witch is a small and light-hearted story. It's a slice of life filled with kindness and peace. All characters act their age and in a natural manner (for a world in which witches and magic exist, of course).
There's no real plot. Just characters interacting with each other and their environment in a heart-warming way. Though not particularly funny (but it does have its moments), it's an easy and entertaining enough watch.
The premise shares some similarities with Kiki's Delivery Service. Both are about a young witch's experiences as she leaves home and sets herself up in a different town. Bonds of friendship and/or family flow
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with the world that surrounds them. Furthermore, there is in Flying Witch a theme of growing, healing and caring, expressed clearly in the characters' dealings with nature. From greeting the coming of spring to cultivating a small plot of land or allowing for the regrowth of herbs by collecting no more than needed, our characters show the utmost respect and love for the natural world, and you can't ask for a more Miyazaki-like trait than that. There's also an episode (episode 11) that uses imagery very similar to that of Laputa: Castle in the Sky.
Finally, the animation isn't bad and fits the style and mood of the show. The main issue is perhaps the soundtrack. Music plays over every scene, and although low and subtle, it can at times feel somewhat intrusive.
All things considered, it's a good watch and a great slice of life. Simple and short, it gets its job done. Definitely worth watching.
Reviewer’s Rating: 7
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Oct 24, 2024
Neon Genesis Evangelion justly deserves the praise it gets. It's far from perfect, but in the end its strengths make up for its shortfalls. It starts out slowly and more or less falls into the monster of the week trope, as if trying to find a good pace and a way of expressing its ideas. It's not an easy watch at first, and only after finishing it do its qualities come to light.
The director's cuts of episodes 21 through 24 are without a doubt superior to the original versions and tie in perfectly with the End of Evangelion (which is a must watch). Though I
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found the original run and ending to be quite satisfactory, it must be acknowledged that the director's cut and the End of Evangelion are what truly elevates and saves the series.
With memorable and well-defined characters, an interesting plot, a both oppressive and mysterious atmosphere, a great OST, and an animation that feels aged but not outdated, managing to create quite impressive and standout imagery, Neon Genesis Evangelion lives up to expectations and deals with issues such as intimacy and divinity in a unique way (the struggle with intimacy, from which arises the struggle for divinity, is the driving force of the show). As such, it is truly worthwhile and a must-watch for all anime fans.
Reviewer’s Rating: 8
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Oct 24, 2024
Demon Slayer is a dull and poorly structured show, and watching it proves to be an excruciating experience. On screen flash annoying characters, boring action sequences and the faintest semblance of plot development. No words suffice to express how overrated it is. It's undeserving of all fame and praise.
The first few episodes lay down the show's premise. What follows is a training arc that feels devoid of any purpose. Only after the trial needed to become a demon slayer does our protagonist learn of the existence of someone who is apparently behind the proliferation of demons and could maybe reverse his sister's transformation (and who
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is, furthermore, the demon that massacred his family).
If Tanjirou (the protagonist) had learnt of this earlier, his training wouldn't have felt like something he decided to do without any actual end in sight. Until then he only had a vague hope of finding a way to save his sister by slaying demons. Once he learns about Michael Jackson's existence (i.e., the antagonist, with his impressive character design) he gains an actual goal, and his journey and skills acquire actual meaning.
At this point, it felt like the show was gaining traction. This glimmer of hope didn't last long, though. Soon our protagonist and antagonist cross paths in an anticlimactic way and Michael Jackson sends his minions after Tanjirou and his sister. We then get an atrocious fight scene which dares to span more than one episode (one demon uses balls as weapons, the other has eyes in his hands).
Later, we get to a mountain inhabited by a family of demonic spiders. This is where season 1 supposedly reaches its climax. It is also where its utter lack of proper narrative structure comes most glaringly to light. What should have been the season's finale is followed by another training arc, this time at Demon Slayer HQ, where we are greeted by the most preposterous cast of characters imaginable: the Pillars.
Enough about the "plot". As for side characters we get the worst ones possible. It's genuinely painful to watch any scenes that feature them. One is bellicose and impulsive and wears a boar's head as a mask, the other is a coward who is a good fighter when he faints or falls asleep. Oh, and his hair is yellow because he was struck by lightning once (seriously). Do they have any other traits? No. Do they change or grow as characters? Not really. Do they matter? They don't.
Moving on. The animation isn't all that great, sometimes relying so heavily on blatantly digital imagery that it becomes hard to watch. The OST is, to say the least, forgettable. Only in episode 19 does it play a role in building up a scene (apparently episode 19 is praised by many, even though Tanjirou's father's fire dance comes out of nowhere to save the day, and the following episode undoes Tanjirou's achievement).
Never did fight scenes feel more uselessly drawn out. They are encumbered by endless internal monologues which sometimes only describe what just happened. Every obstacle is overcome by prolonged internal debate and decision-making. These scenes go on and on, taking up entire episodes, trying hard to be epic and failing every single time. Boring, boring, boring. (It should also be noted that pretty much every demon that is slain feels relieved and finally freed. This is an interesting idea if done once or twice, not if it happens almost every single time. As it is, it just feels lazy and is ultimately meaningless.)
What else is there to say? All details that were left out of this review would only serve to reinforce the argument made: Demon Slayer is a diabolical mess that from early on shows its many faults and at a certain point becomes utterly unbearable. It holds no value and no redeeming qualities.
Reviewer’s Rating: 2
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Oct 24, 2024
More of the same. This is this season's main drawback. Season 1 of Spy x Family had its ups and downs, but overall kept a good rhythm going and never lost its comedic edge. Season 2, on the other hand, feels at times flat, dull and stuck in a rut. It runs like a fun but already used up concept in dire need of some sort of change or development. It's at most times devoid of pacing and stakes, seemingly forgetting its main driving force and actual plot (getting close to Damian's father).
Season 1 already had some weaker episodes and moments, but these nonetheless felt
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somewhat bearable and forgivable, especially since they were coupled with far superior ones and the concept was yet new. Season 2, however, fails at achieving even this. It trudges on and rarely feels fun, with some episodes looking more like a collection of sketches than an actual episode.
Nothing is necessarily bad, but in the end, it is just more of the same, an already used up formula running on old gags, solutions and character interactions. It's not a waste of time, but it certainly isn't a must-watch.
Reviewer’s Rating: 6
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Oct 12, 2024
Remina is a planet-sized fiasco. All the potential it held of becoming an interesting sci-fi short story fades away in the first few pages, as our protagonist finds herself shot to stardom overnight just for having a planet named after her. Fanclubs are formed, all eyes are on her and all people talk about is her. It’s impossible to come to terms with the sheer unbelievability of it all.
Soon after, the planet Remina starts moving towards Earth, and this is where the story begins to unfold (or fall apart) in the most absurd way possible. Everyone decides to blame Remina and her father for the
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planet's actions and intent, pursuing them with hate and believing salvation would come from their (father and daughter's) deaths. A cult appears out of thin air and leads the hunt. The planet approaches and licks the Earth, sending it spinning round and round and allowing the survivors to fly over the fast-rotating lands and seas (Junji Ito must have some fixation with people being able to fly, since it also happens in Uzumaki).
This is, in essence, the "plot" of the book: Remina being pursued. The planet Remina itself is a mere MacGuffin. It serves no real purpose beyond being a threat and the cause of said pursuit. The supposed "happy ending" is the cherry on top of this planetary mess.
There are no real characters or great moments - there is only a most ludicrous plot and a few exceptional panels. (Let's not forget the predictable twists.)
It's unfortunate that the story didn't focus more on the erratic planet Remina itself, as the idea of a star and world-eating planet/creature was without a doubt the highlight of this manga (especially with Junji Ito's hand creating such impressive imagery as it did).
In conclusion, it was a lost opportunity. It should only be read (if at all) for the amusement it brings. It's laughable, though that certainly wasn't what the author intended it to be. At least it's short and doesn't overstay its welcome.
Reviewer’s Rating: 3
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