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https://blacknerdproblems.com/the-boy-and-the-heron-review/
We know that The Boy and the Heron is the new critically-acclaimed fantasy adventure from the legendary Studio Ghibli, creators of Spirited Away, Howl’s Moving Castle, and My Neighbor Totoro. Like I said in my film teaser reaction, this film seemed to have glimpses of several older Ghibli films: fire and destruction which may be a nod to war or some great tragedy, unique characters whom we can speculate could be spirits or otherworldly beings, a child entering a unique doorway or gate which looks to lead to a place much different than their own reality with its own set of rules an individual perhaps offering a deal to the main character –and I wasn’t wrong. While watching in a theater, I felt that I saw sparks of some of my favorite Ghibli films and yet…The Boy and the Heron marks a new chapter in the studio’s work. It is something new, an entirely new animal, if you will.
A NOT Spoiler Free Review follows below
The Boy and the Heron follows a young boy named Mahito yearning for his mother. He eventually ventures into a world shared by the living and the dead. This is a place where death and life constantly dance with each other and a person passing in Mahito’s world means that he might find them, or a version of them, in this other world that he has descended to. With that in mind, I’m not overreacting when I say that a lot of The Boy and the Heron is unsettling: there are scenes upon scenes of Mahito, the protagonist of the film, nearly washed away by waves, nearly eaten or piled upon by creatures and animals, or almost falling to his death. One particular scene that left me squeamish (and alarmed) is when the boy is directed to cut open a huge fish creature caught for dinner and as he struggles, the guts of the creature spill out in an explosive fashion–enveloping the boy until he passes out.
The Work Behind the Film
Hayao Miyazaki’s first feature film in 10 years is a hand-drawn, original story written and directed by the Academy Award®️-winning director. I was curious about not just the animation, which is always, always a balm for my weary soul, but its collaborations. I adored an early scene in the film when Mahito is touring his new home and a graceful heron bird flies in close to the boy culminating in a smooth animated sequence that made me appreciate Miyazaki’s approach to continue in what he and the studio do best. They work in the style, aesthetic, and work ethic of what may be seen as formulaic but has worked for decades.
When watching this film in a theater this week I was reminded of a viral clip from a video that pops up on social media from time to time. I think of the clip of the director seeing and being disgusted by the odd computer-generated animation of some grotesque thing he’s been shown on screen. (I’ve included the video clip below.) In short, he hates it and states that it is an affront to life. Word on the street is that this isn’t even a particular recent event and yet Miyazaki’s sentiments echo loudly. We are in an era of too much AI-generated media and art that many of their supporters and champions express delight in the fast creation time of it all. Cue the “Miyazaki is a dinosaur or out of touch” comments, and yet I point to the old age: “If it ain’t broke, don’t fix it.” (The ending credits revealed additional animation from a few Japanese studios including ufotable and production I.G.)
Visually, the film is a masterpiece. Even if moviegoers such as myself and critics don’t catch all the plot points and story beats that the filmmaker, Miyazaki, sought to put into his screenplay for the film and I’m fine with that. I am also reminded of the startling opening scenes of The Boy and the Heron from Mahito’s point of view navigating the streets of a burning city, of a Japan at wartime look and deliberating blurry, hurried. While I explicitly understood them to be scenes of death and great trauma, I understood and felt their impact on the young boy and how fiery images came back later in the film. In short, throughout the film they connected him to his mother as he lost her that night and when another character who deals with fire appears, I quickly was able to connect not just the two but the way fire is used to illustrate life and death, tying together both worlds with Mahito as its moving center. I’d be remiss not to mention that The Boy and the Heron is the first Ghibli film in IMAX theaters ever, which feels momentous in its own right.
The Film’s Core
There’s a lot of The Boy and the Heron that I don’t necessarily feel that I “got” or understand with my first viewing. Which brings to mind much of the “Miyazaki created this film for himself” or for his grandson as a sort of gift or legacy, discourse that’s been floating around in fan reaction and film reviews. My best interpretation of Miyazaki’s latest (that he wrote the screenplay, produced, and directed) is that The Boy and the Heron is an animated film that focuses on boyhood, the obligations of your bloodline and doing your best to seek out and reunite with family.
The Boy and the Heron delves into what mourning and grieving a parent may look like in the eyes of a child–and yet that aspect of the narrative doesn’t fully feel explored to my satisfaction. I watched a mostly stoic boy who kept a soldier’s pace, yearning and looking for his birth mother and also being roped into looking for the woman who would replace her. (It’s later revealed to be his aunt, his mother’s younger sister. In the original work, his new mother is a closer relation which will shock or surprise you).
The Unsettling Score
What is a Studio Ghibli film without a musical score from Miyazaki’s long-time collaborator Joe Hisaishi? I feel Hisaishi’s work here plays up the unsettling parts of the film too well. I remember most a playful but jaunty tune playing when Mahito, after a threatening encounter with a heron, is in the courtyard outdoors. Viewers find that the boy is sharpening his knife with help of an elderly man (who was happily bribed with cigarettes) and then turns to crafting his own bow and arrow out of bamboo and other supplies he’s found around the place.
It served as an unnerving scene of a boy in preparation of making a killing blow, one that he shouldn’t be contemplating at his age. And yet…if we think of the narrative of The Boy and the Heron of a boy feeling left out, bullied and ostracized to a point in Japan’s history of suffering defeat from war and suffering, it slowly starts to gel together to make sense. Reading an interview with the famed composer and longtime Miyazaki collaborator, I think I may have been onto something when in short he mentioned that he “wants you to feel the movie, not search for meaning”.
Yet by the end of the film when Mahito is holding the hand of the mother he went to retrieve with countless birds on screen–once victims turned perpetrators by their circumstances–and prisoners of another realm escaping, I was in tears. Seeing the boy later upstairs preparing to leave his bedroom and seeing a glimpse of his family downstairs waiting for him, made me wipe my eyes. I explicitly recognize that this young boy was given powers and control on a fantastical land, perhaps well beyond one’s level of comprehension–powers beyond time and space and rejected it for the people he loved and reconciling and reuniting with them. I feel like there may be some narrative threads of maturity and the multifaceted ways that adolescence changes us that I may have lost in the sauce somewhere.
The theme song for the film “Spinning Globe” was penned and performed by global J-pop superstar Kenshi Yonezu, and it is a beautiful song that I actually loved. Unfortunately, I felt a missed opportunity in having it play only when the ending credits started rolling. I felt it was wasted to play only in the credits while I sat in the dimmed theater mostly alone with my thoughts versus a more pivotal scene in the film. I’m hoping most fans and critics did not see it as forgettable but a wonderful addition to such a film.
Having watched the original Japanese language, subtitled version of the film, I perhaps loved Kiriko’s voice actress, Ko Shibasaki, the most. Her character, a woman who is both a fisher and fishmonger, reveals illuminating details about the world Mahito has ventured into. Ko Shibasaki handled surprise, pride, and excitement well as she was the adult she guided the boy the most in The Boy and the Heron’s second half versus where he is hunted, stalked, and tricked. I loved that there were three different versions of her in the film–all doing their best to guide and protect him. She was a grounding and perhaps underrated character in the film for me when the story got murky. I am so excited to hear that the English dub version of the film, (a star-studded affair) has been received well by agencies. I’m game to rewatch the film dubbed as I keep hearing praise from around the internet.
Overall, The Boy and the Heron is a film that I want to revisit and rewatch. It is clear that it is from the house of Ghibli, and yet it is uniquely its own creation. I believe that it should be watched by fans of animation and Ghibli purists, alike. While not taking the number one spot from my all-time favorite films from the studio (Princess Mononoke and Spirited Away, if you were curious), this film wraps together a story about family, literally navigating the avenues of life and death and the pitfalls and triumphs of childhood in a majestic fashion for the eyes. I acknowledge and still appreciate Miyazaki’s approach to storytelling, even if this story didn’t reached me and make me feel the way his other films have. Even if The Boy and the Heron was created explicitly for himself, or as a gift for a family member like his grandson, or for Japanese people as a whole–we, the world still benefit from this labor of love he and Studio Ghibli have brought us.
The Boy and the Heron is still playing in select theaters during its North America run. Find out more about the film, its cast, and creative team here. Find out more information about purchasing tickets here from distributor GKIDS.
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The post A Majestic, Unusual Gift to the World : ‘The Boy and the Heron’ Review appeared first on Black Nerd Problems.
We know that The Boy and the Heron is the new critically-acclaimed fantasy adventure from the legendary Studio Ghibli, creators of Spirited Away, Howl’s Moving Castle, and My Neighbor Totoro. Like I said in my film teaser reaction, this film seemed to have glimpses of several older Ghibli films: fire and destruction which may be a nod to war or some great tragedy, unique characters whom we can speculate could be spirits or otherworldly beings, a child entering a unique doorway or gate which looks to lead to a place much different than their own reality with its own set of rules an individual perhaps offering a deal to the main character –and I wasn’t wrong. While watching in a theater, I felt that I saw sparks of some of my favorite Ghibli films and yet…The Boy and the Heron marks a new chapter in the studio’s work. It is something new, an entirely new animal, if you will.
A NOT Spoiler Free Review follows below
The Boy and the Heron follows a young boy named Mahito yearning for his mother. He eventually ventures into a world shared by the living and the dead. This is a place where death and life constantly dance with each other and a person passing in Mahito’s world means that he might find them, or a version of them, in this other world that he has descended to. With that in mind, I’m not overreacting when I say that a lot of The Boy and the Heron is unsettling: there are scenes upon scenes of Mahito, the protagonist of the film, nearly washed away by waves, nearly eaten or piled upon by creatures and animals, or almost falling to his death. One particular scene that left me squeamish (and alarmed) is when the boy is directed to cut open a huge fish creature caught for dinner and as he struggles, the guts of the creature spill out in an explosive fashion–enveloping the boy until he passes out.
The Work Behind the Film
Hayao Miyazaki’s first feature film in 10 years is a hand-drawn, original story written and directed by the Academy Award®️-winning director. I was curious about not just the animation, which is always, always a balm for my weary soul, but its collaborations. I adored an early scene in the film when Mahito is touring his new home and a graceful heron bird flies in close to the boy culminating in a smooth animated sequence that made me appreciate Miyazaki’s approach to continue in what he and the studio do best. They work in the style, aesthetic, and work ethic of what may be seen as formulaic but has worked for decades.
When watching this film in a theater this week I was reminded of a viral clip from a video that pops up on social media from time to time. I think of the clip of the director seeing and being disgusted by the odd computer-generated animation of some grotesque thing he’s been shown on screen. (I’ve included the video clip below.) In short, he hates it and states that it is an affront to life. Word on the street is that this isn’t even a particular recent event and yet Miyazaki’s sentiments echo loudly. We are in an era of too much AI-generated media and art that many of their supporters and champions express delight in the fast creation time of it all. Cue the “Miyazaki is a dinosaur or out of touch” comments, and yet I point to the old age: “If it ain’t broke, don’t fix it.” (The ending credits revealed additional animation from a few Japanese studios including ufotable and production I.G.)
Visually, the film is a masterpiece. Even if moviegoers such as myself and critics don’t catch all the plot points and story beats that the filmmaker, Miyazaki, sought to put into his screenplay for the film and I’m fine with that. I am also reminded of the startling opening scenes of The Boy and the Heron from Mahito’s point of view navigating the streets of a burning city, of a Japan at wartime look and deliberating blurry, hurried. While I explicitly understood them to be scenes of death and great trauma, I understood and felt their impact on the young boy and how fiery images came back later in the film. In short, throughout the film they connected him to his mother as he lost her that night and when another character who deals with fire appears, I quickly was able to connect not just the two but the way fire is used to illustrate life and death, tying together both worlds with Mahito as its moving center. I’d be remiss not to mention that The Boy and the Heron is the first Ghibli film in IMAX theaters ever, which feels momentous in its own right.
The Film’s Core
There’s a lot of The Boy and the Heron that I don’t necessarily feel that I “got” or understand with my first viewing. Which brings to mind much of the “Miyazaki created this film for himself” or for his grandson as a sort of gift or legacy, discourse that’s been floating around in fan reaction and film reviews. My best interpretation of Miyazaki’s latest (that he wrote the screenplay, produced, and directed) is that The Boy and the Heron is an animated film that focuses on boyhood, the obligations of your bloodline and doing your best to seek out and reunite with family.
The Boy and the Heron delves into what mourning and grieving a parent may look like in the eyes of a child–and yet that aspect of the narrative doesn’t fully feel explored to my satisfaction. I watched a mostly stoic boy who kept a soldier’s pace, yearning and looking for his birth mother and also being roped into looking for the woman who would replace her. (It’s later revealed to be his aunt, his mother’s younger sister. In the original work, his new mother is a closer relation which will shock or surprise you).
The Unsettling Score
What is a Studio Ghibli film without a musical score from Miyazaki’s long-time collaborator Joe Hisaishi? I feel Hisaishi’s work here plays up the unsettling parts of the film too well. I remember most a playful but jaunty tune playing when Mahito, after a threatening encounter with a heron, is in the courtyard outdoors. Viewers find that the boy is sharpening his knife with help of an elderly man (who was happily bribed with cigarettes) and then turns to crafting his own bow and arrow out of bamboo and other supplies he’s found around the place.
It served as an unnerving scene of a boy in preparation of making a killing blow, one that he shouldn’t be contemplating at his age. And yet…if we think of the narrative of The Boy and the Heron of a boy feeling left out, bullied and ostracized to a point in Japan’s history of suffering defeat from war and suffering, it slowly starts to gel together to make sense. Reading an interview with the famed composer and longtime Miyazaki collaborator, I think I may have been onto something when in short he mentioned that he “wants you to feel the movie, not search for meaning”.
Yet by the end of the film when Mahito is holding the hand of the mother he went to retrieve with countless birds on screen–once victims turned perpetrators by their circumstances–and prisoners of another realm escaping, I was in tears. Seeing the boy later upstairs preparing to leave his bedroom and seeing a glimpse of his family downstairs waiting for him, made me wipe my eyes. I explicitly recognize that this young boy was given powers and control on a fantastical land, perhaps well beyond one’s level of comprehension–powers beyond time and space and rejected it for the people he loved and reconciling and reuniting with them. I feel like there may be some narrative threads of maturity and the multifaceted ways that adolescence changes us that I may have lost in the sauce somewhere.
The theme song for the film “Spinning Globe” was penned and performed by global J-pop superstar Kenshi Yonezu, and it is a beautiful song that I actually loved. Unfortunately, I felt a missed opportunity in having it play only when the ending credits started rolling. I felt it was wasted to play only in the credits while I sat in the dimmed theater mostly alone with my thoughts versus a more pivotal scene in the film. I’m hoping most fans and critics did not see it as forgettable but a wonderful addition to such a film.
Having watched the original Japanese language, subtitled version of the film, I perhaps loved Kiriko’s voice actress, Ko Shibasaki, the most. Her character, a woman who is both a fisher and fishmonger, reveals illuminating details about the world Mahito has ventured into. Ko Shibasaki handled surprise, pride, and excitement well as she was the adult she guided the boy the most in The Boy and the Heron’s second half versus where he is hunted, stalked, and tricked. I loved that there were three different versions of her in the film–all doing their best to guide and protect him. She was a grounding and perhaps underrated character in the film for me when the story got murky. I am so excited to hear that the English dub version of the film, (a star-studded affair) has been received well by agencies. I’m game to rewatch the film dubbed as I keep hearing praise from around the internet.
Overall, The Boy and the Heron is a film that I want to revisit and rewatch. It is clear that it is from the house of Ghibli, and yet it is uniquely its own creation. I believe that it should be watched by fans of animation and Ghibli purists, alike. While not taking the number one spot from my all-time favorite films from the studio (Princess Mononoke and Spirited Away, if you were curious), this film wraps together a story about family, literally navigating the avenues of life and death and the pitfalls and triumphs of childhood in a majestic fashion for the eyes. I acknowledge and still appreciate Miyazaki’s approach to storytelling, even if this story didn’t reached me and make me feel the way his other films have. Even if The Boy and the Heron was created explicitly for himself, or as a gift for a family member like his grandson, or for Japanese people as a whole–we, the world still benefit from this labor of love he and Studio Ghibli have brought us.
The Boy and the Heron is still playing in select theaters during its North America run. Find out more about the film, its cast, and creative team here. Find out more information about purchasing tickets here from distributor GKIDS.
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The post A Majestic, Unusual Gift to the World : ‘The Boy and the Heron’ Review appeared first on Black Nerd Problems.
Jemal Countess/ Getty Images By Melissa Noel ·Updated December 15, 2023
Tennessee Representative Justin Jones posted a somber reminder on social media about the impact of guns on children, marking the 11th anniversary of the Sandy Hook massacre on December 14 and highlighting recent incidents, including the Covenant School shooting in Nashville, where six people lost their lives.
“Today marks 11 years since the Sandy Hook massacre where 20 children’s lives were taken who should be teenagers now. Last year, it was 19 at Robb Elementary in Uvalde. This year, it was six at Covenant School in Nashville,” Jones posted on X, formerly known as Twitter. “Our kids deserve a country that protects them, not guns,” he wrote.
Today marks 11 years since the Sandy Hook massacre where 20 childrens’ lives were taken who should be teenagers now.Last year, it was 19 at Robb Elementary in Uvalde.This year, it was 6 at Covenant School in Nashville.Our kids deserve a country that protects them, not guns.
— Rep. Justin Jones (@brotherjones_) December 14, 2023Jones’ comments come just two months after he filed a federal lawsuit against the state House Speaker and House administrative officials alleging that Republicans repeatedly violated his constitutional rights after he was expelled from the state legislature for joining protesters to demand tougher gun laws. Here’s the latest on where things stand.
Federal Lawsuit
Jones filed a federal lawsuit against the state House Speaker and House administrative officials, alleging repeated violations of his constitutional rights, USA Today reports. This action followed his expulsion from the state Legislature for participating in the gun reform protests.
“Tennessee Three”
Jones, along with fellow Democrats Rep. Justin Pearson and Rep. Gloria Johnson, faced expulsion for participating in gun reform protests following the Covenant School shooting; they were dubbed the “Tennessee Three.” Jones and Pearson were expelled in April, but Johnson was not. The two Black lawmakers were reinstated days later.
Legal Argument
The federal lawsuit alleges that the expulsion deprived Jones of committee appointments and affected his legislative tenure, potentially impacting his eligibility for retirement benefits, according to USA Today. He also claims that after his expulsion, he had to spend $70,000 and resources to mount a second election campaign. The lawsuit also claims that the expulsion proceedings violated the Fourteenth Amendment due to a lack of due process. Jones claims the period between his expulsion notice and hearings was insufficient for a proper defense.
The lawsuit also challenges the constitutionality of new rules established during a special session, which allowed the House to block a lawmaker from speaking if they cause a substantial disruption or “impugn the reputation” of another House member. The rules also banned signs in House galleries and committee meetings. The new rules sparked controversy as members of the public, including mothers advocating for increased gun safety regulations, were ejected from a committee meeting for carrying signs.
Additionally, the complaint alleges that the defendant’s actions have burdened the public, claiming that they “disenfranchise the citizens of the 52nd House District by depriving them of representation in the people’s house by the person they have now elected twice within the past nine months to speak for them.”Jones asks for the “full restoration of the benefits, rights, and privileges” he claims he lost due to the defendant’s actions. Jones — who still has not been reinstated to his committees — alleges that he lost a number of his state emails and additionally claims the expulsion resulted in an “ongoing deprivation” of his “duly earned retirement benefits.”
TOPICS: TennesseeThe post ‘Tennessee Three’ Lawmaker Justin Jones Filed A Lawsuit Over His Expulsion. Here’s Where Things Stand Now. appeared first on Essence.
Have you made some time for your Imaginary Friend today? If not, they might be in peril. At least according to Ryan Reynolds and John Krasinski’s new movie, IF. Why IF as a title. Well, as the IF trailer explains, it’s short for “Imaginary Friend.” And apparently, all our Imaginary Friends are quite proud of that acronym. We imagine there’s also a less literal interpretation because IF invites you to ask. “What If?” What if all your Imaginary Friends were actually real and really missing you right now? Well, luckily for them, they have Ryan Reynolds and his movie-daughter on the case to save the day.
You can take a look at the IF trailer below and immerse yourself in this fantastical world of cute but cooky creations.
Okay, I can’t be the only person in the world who had a humanoid imaginary friend, right? But we guess we understand why this movie leans into very cartoonish childish creations that are at once adorable but kind of creepy. This is really giving Monsters Inc. in a way. In the IF trailer we see everything from a toasted marshmallow on its last breaths to a walking and talking teddy bear (thankfully not of the horror variety), to dragons, sentient bananas, and dancing sunflowers, oh my. This movie really had fun with its imaginary friends. And hopefully, we’ll have fun watching it.
Alongside the trailer, IF shared its official synopsis which notes:
From writer and director John Krasinski, IF is about a girl who discovers that she can see everyone’s imaginary friends — and what she does with that superpower — as she embarks on a magical adventure to reconnect forgotten IFs with their kids. IF stars Ryan Reynolds, John Krasinski, Cailey Fleming, Fiona Shaw, and the voices of Phoebe Waller-Bridge, Louis Gossett Jr. and Steve Carell alongside many more as the wonderfully unique characters that reflect the incredible power of a child’s imagination.
But we prefer Ryan Reynolds’ rendition of the movie’s elevator pitch, “Get ready for a heart-warming, all-family film from the director of A Quiet Place, the star of Deadpool, and the studio that brought you Annihilation.” Love it.
When Does Ryan Reynolds’ IF Movie Release?
IF‘s release date is May 17, 2024. So you have lots of time to connect with your imaginary friend before going to see it.
The post IF Trailer: Ryan Reynolds Is on a Quest to Save Everyone’s Imaginary Friends appeared first on Nerdist.