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Mirai no Mirai (2018)

Mirai no Mirai (2018)

Rebecca HallDaniel Dae KimJohn ChoCrispin Freeman
Mamoru Hosoda


Mirai no Mirai (2018) is a Japanese,English movie. Mamoru Hosoda has directed this movie. Rebecca Hall,Daniel Dae Kim,John Cho,Crispin Freeman are the starring of this movie. It was released in 2018. Mirai no Mirai (2018) is considered one of the best Animation,Adventure,Drama,Family,Fantasy movie in India and around the world.

The movie follows a 4-year old boy who is struggling to cope with the arrival of a little sister in the family, until things turn magical. A mysterious garden in the backyard of the boy's home becomes a gateway allowing the child to travel back in time and encounter his mother as a little girl and his great-grandfather as a young man. These fantasy-filled adventures allow the child to change his perspective and help him become the big brother he was meant to be.


Mirai no Mirai (2018) Reviews

  • The Japanese family concept manifested in a fun and clever film


    A few short days after watching Ambiguous Places and feeling that I don't get Japanese humor, I got a chance to mend things between me and the Japanese sense of humor. This is a very Japanese family story, that manages to be universal at the same time. Charming witty and fun, all the way through. Superb animation of nature, nature's phenomanons (think of the falling snow) and city surroundings. The people as always with Japanese anima, are secondery. but it doesn't hurt the overall result. One of the best real life fantasies I've seen from Japan or anywhere else in a very long while. Kids will love it and will identify with the four years old hero and his lovely family. Adults will love its wit and wisdom.

  • Patience and perspective


    Kon Ichikawa's 1962 film "Watashi wa nisai" was translated to "Being Two Isn't Easy" for English-speaking audiences. Without seeing it, you get a fair idea of what the film is about from the title alone. Mamoru Hosoda's "Mirai" (or "future") isn't quite such an obvious title, though naming it "Being Four and Becoming a Big Brother Isn't Easy" wouldn't quite give the game away either. A semi-autobiographical work, Mamoru Hosoda's film tells of learning patience and perspective in a film that is both close to reality and fantastical. These switches can perhaps annoy, but anyone living with a toddler will be able to sympathise to some extent, but your overall reaction to "Mirai" might be dependent on your life situation, and indeed, like a two year-old, your current mood. Four year-old Kun's parents have just had a second baby: daughter Mirai. This new addition angers Kun, no longer the sweet little one of the household, able to walk and talk, he is not given the attention he is used to. Fighting his parents, he also tries to fight his little sister. Frequently left frustrated, whenever passing the oak tree in his architect father's quirkily-designed house, in true "Christmas Carol" tradition, he meets a spirit that gives him a life lesson. Their pet dog as a prince, felt abandoned since Kun was born; a teenage Mirai letting him know her feelings as to his behaviour towards her; his mother at his age - not the strict disciplinarian she has become; and his great grandfather who teaches him to be brave. Switching between the household base and the various scenarios in time, Kun is not quick to learn from his family members' teachings. But, as for any toddler, it takes time and reinforcement for him to finally realise Mirai as his little sister and see himself as the big brother he is needed to be. As the film's opening shows, this is a film of exquisite detail and has been carefully considered. The detail in the animation is rich, giving "Mirai" an almost 3D feel. The character movements and mannerisms are well thought-out and realistic and recall the opening moments of a Studio Ghibli film. To some extent, the reality of the scenario also has this same level of due care and attention, reflecting Hosoda's own life experience as a father to an older son and younger daughter. One cannot help but relate to the mother and father's predicament: the father taking on the parenting while working from home while the mother goes back to work. This is designed so that each character can see the world from the perspective of the others. The father is now a "better dad" compared to his involvement in raising Kun, being at home all day and having to take on more responsibility. Kun is not the only one who has to see things from the viewpoint of another. And a few parents in the audience might agree. However, as the parents do not get as much airtime as Kun, their scenario isn't fully developed enough to make this a film aimed at adults struggling to raise young children. While one can relate to the struggles, the realism is more in Kun's mannerisms and behaviour, rather than the film's story and conclusions. The parents' dialogue can perhaps be a little too open, direct and articulate to accurately reflect the struggle. And for some, the revelations may seem obvious for the amount of struggle to get there, but so much in life is, until taking a step back. Like a toddler's mood and behaviour, the film switches continuously. The changes to the future and past selves can make this more a collection of life lessons for Kun, rather than a complete whole. But each day comes with its own challenges and having to start again from scratch. As such, "Mirai" doesn't drag on or bore. The more fantastical elements might be a little difficult for some to take, myself included (and why I do not watch as much anime as I could - in fact, this is a film I might normally avoid). These can somewhat detract from the realism approach in the present day scenario, though his meeting with his younger mother leads to some of the strongest visual elements of the film. The ending, however, feels a little too far into the fantastical. With the film's strengths more in the subtle nuances of Kun's behaviour, the ending feels a bit more blatant in its delivery of fear factor and can feel a little disappointing, and more in-line with more young adult-aimed anime. Having a hint of "Spirited Away" in its conclusion, the ending could have perhaps been more refined. But with both good and bad elements, "Mirai" is very much like a child. Parents will be able to relate to Kun's difficult behaviour and frustration, and this may give it enough to overlook the weaker points, as they would their own children. Without this standpoint however, "Mirai" might not have the same effect and feel like a lot of bumpy emotion rather avoided. Essentially, being four and becoming a big brother isn't easy, and watching it isn't either, and your response might be down to your level of patience and perspective.

  • Wonderfully enjoyable, but stutters in its early stages


    Director Mamoru Hosoda is up there as one of the brightest talents in modern anime, having brought us gems like Summer Wars, Wolf Children and The Girl Who Leapt Through Time. For me, Mirai unfortunately isn't his greatest work, largely due to poor pacing throughout the first two acts, as well as the seeming lack of depth and introspection compared with his other films, which proves extremely frustrating up until the excellent final act, which eventually helps Mirai come good. Before we get into that, however, I will say that Mirai is a fairly enjoyable film right the way through. Far more family-friendly than Hosoda's previous works, it has the quirky charm of some of the lightest Ghibli movies, and with that effortlessly beautiful animation throughout, it's hard not to find yourself smiling from time to time. With a young boy as the film's main character, I'm sure that younger viewers will have a wonderful time with Mirai, as a lot of its central themes focus on those that those even as young as four or five years old can relate to, as we see Kun, the young boy, find himself frustrated and jealous as his parents turn their attention to his newborn baby sister. It's a pleasant story throughout, and unless you're averse to hearing children screaming (because there is quite a lot of that here), it keeps you engaged and entertained right the way through. However, in comparison to Hosoda's previous works, there's nowhere near as much depth of emotion in Mirai, and its central themes come off as a little simplistic, which can be disappointing if you're expecting something a little bit more captivating. Certainly, we've all been through that feeling of jealousy much like young Kun, but for older viewers, it's a theme that's a little too far back and simplistic to really provide a deep emotional impact. Of course, it's an enjoyable story nonetheless, but over the course of the film's first two acts, I found myself rather underwhelmed that the plot wasn't going anywhere beyond that simple line of focus. What's more is that those first two acts move at a painfully jittery pace, as we flip between the present, and Kun's various adventures to eras past and future as he visits his relatives through time. In all truth, Mirai doesn't do a good enough job at tying those two parts of the story together, and although there are clear emotional parallels between the past, present and future, the way that the film transitions between those two main parts of the story is rather jagged and abrupt, which proves hugely frustrating as you look for some sort of flow in the film. Fortunately, while I can't say I was all too impressed by the first two acts, the film's final vignette proves a stunning conclusion, finally bringing about the depth of emotion and sense of wonderment that everything before was so disappointingly lacking in. For one, seeing a young boy effectively travelling through time should inspire an incredible sense of wonderment and awe, yet the first two acts seem strangely normal in their presentation of this. However, in that final act, we see Kun transported to a world filled with bizarre and dazzling things, and as he becomes more and more aware of his situation, the gravity and emotion of what he's going through finally hits home for you too. As I said earlier, the film's central theme is a little simplistic compared to what Hosoda has brought in the past, however, come the finale, he finally crafts a scenario that allows the raw emotion and drama of what the story is about, and with an equal improvement in the screenplay's depth, Mirai comes to a stunning and moving conclusion. Overall, then, I found Mirai a little bit of a mixed bag. Starting off in rather underwhelming fashion with a jittery and underwhelming first two acts, it does eventually come good with an exceptional finale that finally brings about some strong emotion and drama. It is still a pleasant and enjoyable film throughout, and it's undoubtedly more family-friendly than any of Hosoda's other films, so while it's not perfect, it's definitely still worth the watch.

  • An honest in depth review (Before you judge, read my review)


    I love anime. I love classics like Ghost in The Shell, Akira, Ninja Scroll, Grave of the Fireflies, and much more. I was expecting something amazing like Spirited Away, but this movie is seriously the worst animated movie I have ever seen. I'll explain why. This movie is pretty much the exact same story as The Simpsons' episode, "Lisa's First Word." Young boy gets a new baby sister, he becomes jealous because everything "was" about him, he treats the sister badly, and in the end he (kinda) learns a lessons.The only difference is that The Simpsons' episode is only 25 minutes, while this movie is stretch to 90 minutes. I have never fell asleep in a movie theater before, and I came so close to sleeping while watching this movie. Ok, so the story is not very original, that is fine. It is all about the execution. Spirited Away is very similar to Alice in Wonderland, but the magic of Miyazaki made it very special. The worst thing about this movie is the main boy character, Kun. I asked myself while watching this, "Did the director really needed to make the main boy character the most annoying brat ever put in an animated movie?" 20 minutes in the movie I was actually telling myself, "I hope this kid doesn't act like this throughout the movie." Sad thing is he acts like a total unlikable brat for 85 minutes, and then the final 5 minutes we are suddenly supposed to accept the fact that this boy suddenly cares about his baby sister, who he often smacks on the head with a toy train out of anger. There is absolutely nothing to like about the main character, and there is NO STORY ARC. He complains about everything, yells at his parents, and throws toys everywhere just to make his parents angry. Ok, he wants attention, we get it! Geez. Things in this movie just happens, there is no reason behind it. There is no reason why suddenly the dog that Kun's family has had for years can now just transform into an adult male and talk to Kun in his backyard. There is no reason why Kun suddenly meets his adult sister from the future. She just appears out of nowhere, without any explanation. At first I thought they were just a figure of Kun's imagination, but they are actually there. They walk around the house and hide from the father. There is no real story with them, it just suddenly ends. The movie just suddenly ends without finishing any story arcs. There is no narrative structure with this movie at all. The best I can say is that things just randomly happen for no reason. This movie doesn't build up to anything, it is just scene 1, then scene 2, then scene 3, without having any real link between them. Example~Kun hits baby sister, then a few days later his dog suddenly turns into a man, then Kun takes the tail and turns into a dog running around the house ~ then Kun suddenly meets his adult sister and she tells him to remove a statue ~ then suddenly Kun wants to learn to ride bike and complains ~ then suddenly he becomes a brat and wants to run away because he wanted to wear yellow instead of blue. There is zero story structure with this horrible film. It all builds up to a short 2-3 minute where basically Kun is told that "Everything happens for a reason and that he needs to stop being a brat." Kun suddenly then makes a 180 degree character turn and becomes a good boy. What a cheap, lazy, lame, and horrible way to "try" to make the audience care about this character. Another horrible thing about this movie that "almost" made me walk out of the theater was the voice acting for Kun. I saw the Japanese version. All he does is say "Otosan!!!! Okasan!!! Otosan!!! Okasan!!! (Father, Mother)" throughout this entire movie. I was pulling my hair out and had NEVER EVER had a theater experience like this in MY ENTIRE LIFE. I was tossing and turning on my chair, trying to hold my anger in. He complains and whines for the majority of his dialogue, and this Kun character is hands down the worst thing ever created from a Japanese studio. I rather listen to Navi from Zelda go "Hey Listen, Hey Listen, Hey Listen, Stop, Watch out," for 90 minutes than watch this movie again. I DO NOT KNOW HOW THIS MOVIE GOT SUCH HIGH REVIEWS FROM CRITICS! I get that this director is legendary and did some great movies, but we have to judge things not from their line of work, but from what is in front of us. He might have made some of the greatest anime movies of all time, and now he has just made the very worst anime movie ever. The only good thing about this movie is that the animation is superb, and there is a very cool looking "stop motion" creature at the tail end of the movie. There is no memorable music, and the characters are not interesting at all. I CANNOT BELIEVE HOW BAD THIS MOVIE IS, and I give it a 2/10 just because of the nice animation. Honestly, this is one of the worst movies I have ever seen in my life.

  • Uneven, but with some really great flashes of brilliance


    Mirai is the story of Kun, the eldest child of a pair of young professionals. He, at the start of the movie, ends up becoming a big brother. The new addition to the household of course creates some new tensions, and the way Kun ends up dealing with the divided attention of his parents is by travelling through time to meet his family members in different points in time. Like you do. Mamoru Hosoda, the director, is a real up-and-coming name in the anime industry, with some true gems under his name. Wolf Children and Summer Wars to name a few. His second to last film, The Boy and the Beast, did not impress me all that much, but fortunately Mirai is a slight uptick from that. And I've always liked his animation style, and I still do. The almost too simplistic character designs set against elaborate backgrounds are a joy to watch and there's a really great sense of movement in everything he does. I like the idea of Mirai, on paper. A young boy, settled with new responsibilities, turns to make-belief and fantasy in order to grow as a human being and as a big brother. Unfortunately the focus of the film is on his temper tantrums and his difficulties in accepting that he is not the sole focus of his parents' love. The problem with that being that almost the entirety of the film is him acting like a total brat. And it's hard to get behind a character like that. This film sorely needs a bit more sugar to make the medicine go down, if you know what I mean. I would also have liked for the movie to confirm that he is in fact imagining all these things. Now it's a weird "is it or is it not" that pleases no one. Then again, some of the individual segments are really great. I especially liked the bit about his great-grandfather with its post-war aesthetics and its focus on looking ahead and not giving up no matter what the circumstances. Is it the best movie Mamoru Hosoda has ever done? No, not by a long shot, but it's still a very well animated movie with some truly inspired pieces. The main character is a bit hard to swallow, but then again he's a four-year-old boy. None of them are angels to begin with.


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