The Boy and the Heron (2023)

AKA: Kimitachi wa dô ikiru ka

Hayao Miyazaki comes out of retirement to bring us this fable about a boy grieving his mother who follows a talking grey heron into a fantastical world. Like the best Ghibli films, there's a lot of weird shit going on that doesn't necessarily make sense and lacks rational explanation. It's all about the general vibe, and the blending of lush colors, beautiful animation and a rousing score by Joe Hisaishi. It's not my favorite Miyazaki film by a longshot, but it manages to capture a bit of that magic in its excessive 2+ hour runtime.

3 Warawara out of 5

Ponyo (2008)

aka Ponyo on the Cliff by the Sea

A creepy human-faced fish hitches a ride on a jellyfish, leaving behind its equally creepy-faced siblings. Ponyo, as the free-loader comes to be called, is rescued by five-year-old Sōsuke, and so begins a magical friendship.
At least, that was the idea, but it didn't feel very magical to me for a long time. Besides a spectacular scene involving Ponyo and a storm, the first hour felt more like two. But things changed for the final third. The relationship between the two children grew deeper and it became reminiscent of My Neighbour Totoro (1988). Ponyo's 'everything is new and exciting' attitude became uplifting, and the adventure took on new life. The destructive tides and planets situation seemed a step too far, but the story redeemed itself emotionally, which is what saved it in my eyes. But I won't watch it twice.

3 nap times out of 5

Ocean Waves (1993)

aka I Can Hear the Sea

A produced by Studio Ghibli but made-for-television anime directed by Tomomi Mochizuki. It's a story about youth and maturity, set in a competitive Japanese high school environment and in the wider world. The three main characters are friends Tako and Yutaka and the girl who turns both their heads, a transfer student named Rikako. She's self-centred and takes advantage of Tako's good nature, but that doesn't stop him pursuing her.
It felt somewhat uneventful while viewing. But when the credits had rolled and I'd sufficiently pondered on what had occurred I realised that a fair amount had actually happened. So I decided instead that unassuming or understated was a more appropriate adjective to describe its modest goals.

2½ cultural differences out of 5

Laputa: Castle in the Sky (1986)

Opportunities don't often just fall from the sky, but sometimes inexplicable events do happen. For Pazu, resident of an elaborately constructed mining town, Sheeta is that event – a young girl with a destiny that Pazu helps shape.
Like in Nausicaä (1984), Miyazaki creates empathy for something that isn't human, a feeling that lingers even when the creature is forced by human ambition to resort to violence. Speaking of which, the different manifestations of greed (riches, militaristic power, ego, etc) are subtly graded in their wickedness but for the most part each one is still presented as destructive.
It's a slow-moving adventure for a long time, but the last thirty minutes have a pace that makes everything prior to them fall nicely into perspective.

3½ deep roots out of 5

Tales from Earthsea (2006)

I've not read any of the works that the film is based on, namely Ursula K. Le Guin's Earthsea books and Hayao Miyazaki's The Journey of Shuna manga, so I'm not able to determine if the reason that the film fails to excite is due to an absence of same in the source texts or if it's the fault of the adaptation, but I do feel that the criticisms singling out Dir. Gorō Miyazaki were grossly unfair. It's a weak story in a boring, overused fantasy setting and he didn't take many risks, but labelling him 'worst director' of 2006 is frankly ridiculous. Even if Gorō had risked the ire of his judgemental father by daring to push the Ghibli envelope into areas new, it wouldn't have helped the plodding story any.

2½ true names out of 5

Pom Poko (1994)

When their peaceful but playful way of life comes under threat by "urban development" a tanuki community is forced to abandon the rundown farmhouse in which they live, a building that was previously abandoned by its human occupants. To combat the human push for modernisation the critters call upon the past, rekindling the ancient tanuki art of shape-shifting.
There are references to the role of religion and superstition in the modern world, but foremost is the themes of ethics and nature and how both are often trodden on by an encroaching and money-hungry industry.
It's a Ghibli film directed by Takahata, not Miyazaki, so if you're planning to let kids watch it be aware that there are some unpleasant deaths. And, worse, you may be required to explain what testicles are; good luck with that part.

3½ bald hills out of 5

Only Yesterday (1991)

A twenty-seven-year-old Tokyo resident named Taeko takes a summer trip to the countryside. It's a holiday away from city life, but Taeko plans to work whilst there, helping with the annual safflower harvest. What she hadn't planned was that her ten-year-old self would choose to accompany her.
It's the same person but in two different eras. The adult Taeko replays and relives her memories of fifth-grade, reflecting on the trials of youth, the hopes and dreams she had and how they stack up to where she is now in her life. When combined they make one complete story – one lengthy journey toward an unwritten future. The deliberate undefined edges that some scenes employ suggests that feelings and situations we thought were complete at the time might actually have lines that aren't filled in until years later, provided we're wise and daring enough to make the connections.

3½ apple pieces out of 5

Nausicaä of the Valley of the Wind (1984)

It was officially released before Studio Ghibli existed but many of the themes and techniques that the studio is known for were birthed in Nausicaä.
The valley residents harness the power of the wind to survive, but the wind also carries poisonous spores from the polluted forests and swamps that cover the Earth. The relationship between man and nature is a delicate one that's thrown into turmoil when a warlike nation pushes their ambition too far. The titular Princess finds herself in the middle, forced to weigh her reverence for all life against the need to preserve and protect the innocent.
The three-decades-old animation is less sophisticated than modern Ghibli, but when placed in its own time it really shines, with the compassionate, level-headed Nausicaä on her glider being especially memorable.
The ending is abrupt but the scenes played over the credits compensate.

3½ angry ohmus out of 5

The Kingdom of Dreams and Madness (2013)

A documentary by Mami Sunada that transports us into the heart of Japan's Studio Ghibli, showing the animators at work and spending a great deal of time with its most famous face, Hayao Miyazaki, a spry seventy-two-year-old.
It's more a film for fans of the animation process than it is for folks who simply enjoy the films themselves. It moves at a slow, peaceful pace; purposely in tune with the studio atmosphere, perhaps? But it did make me wonder how candid it really was. The cynic in me nurtured a feeling that it merely skimmed the surface of the process, not delving too deep out of respect and reverence. If it is 100% representative of reality then it's a refreshing and beautiful environment in which to be. Ushiko, the studio cat, would surely agree.
Have you ever wondered, debated or even argued with friends about how 'Ghibli' should be pronounced? The film gives the definitive answer.

3½ daily rituals out of 5

Kiki's Delivery Service (1989)

Tradition dictates that at age thirteen a young witch should leave her home in order to continue her training elsewhere. For Kiki it's an adventure that ends up being equal parts hard work; but she's headstrong when necessary, and with the help of her friend Jiji (a cat) she strives to make her mark.
Through delicate pacing it teaches us that each person has a purpose, even if they aren't aware of it or don't consider what they do to be anything special. If you dare to rise to a challenge, do your best for yourself and for others, then the rewards can more than equal the effort put in.
It's not action-packed and doesn't need a dramatic setting to be appreciated (you can watch it on a sunny day), but it's refreshingly sincere, and the attention to detail in the environments is noteworthy, making the houses feel lived-in, which gives them a beauty all of their own.
There's a scene during the credits, so don't turn off too soon.

4 uplifting winds out of 5

KAGUYAHIME NO MONOGATARI [2013]

aka
The Tale Of The Princess Kaguya

After an absence of nearly 15 years, director Isao Takahata marks his return with the lengthiest Studio Ghibli film yet, The Tale Of The Princess Kaguya.
Based upon the ancient Japanese folktale, The Tale Of The Bamboo Cutter, the film follows the story of a vibrantly delicate girl who was born from within a glowing bamboo plant, only to lead a life of misery while being showered with grandeur. It's delicately hand drawn with a beautiful simplicity that heightens the sparse, yet warm, watercolor backgrounds and shines on the care put into the sensitive movements of each character.  It's heartbreaking morals revolve around happiness and the search for it, with most of us looking in all the wrong places until it's too late.  Without a doubt it'll attract the already established fans but with it's lengthy running time and occasionally empty storytelling non-fans will be checking their watches more often than they'd prefer.  

3½ uber-growth spurts out of 5

Howl's Moving Castle (2004)

A chance encounter with a stranger results in a young girl being burdened with some old problems in this anime loosely based on the fantasy novel by British author Diana Wynne Jones. It injects a number of fascinating child-like ideas into the genre, but struggles to make them fit with more clear-cut notions of age, wisdom and inner beauty. The girl's story is fine, but outside of that things aren't well-defined or sturdy enough for the usual kind of Miyazaki magic to take hold often. There are too many random elements that don’t hold up under scrutiny.

3½ black feathers out of 5

My Neighbours the Yamadas (1999)

The Ghibli film that often gets forgotten, and with good reason. The pseudo-watercolour visual style, far removed from the usual template, would work well as a picture book but as an animation it's too empty, with little or no backgrounds. That emptiness could've been compensated for by filling the story, by having a solid beginning, middle and end that carried the viewer along an emotional track, but that doesn't happen. Instead, it's a collection of vignettes that attempt to reflect real life. Some are wry or ironic, and some are touching and heartfelt, but it's not enough.

2 proverbs out of 5

Porco Rosso (1992)

Watch enough Miyazaki films and you'll notice recurring themes; wind is one of the most obvious, so it was inevitable he'd make a film about a pilot.
There's nothing in this one for kids beyond the bright colours. That should've meant an enhanced emphasis on adult concerns, but it isn't as successful as I'd hoped. His decision to make Porco a mystery denied me the emotional connection that is Ghibli's usual currency. Perhaps the (rumoured) upcoming sequel will address that. It's still an entertaining period piece, but lives in the shadow of Miyazaki's other works. Perhaps the biggest failing is that Porco is Italian and yet he (and everyone else in the Adriatic) speaks Japanese.

3 barrel rolls out of 5

Grave of the Fireflies (1988)

Fireflies is an immensely powerful story of two siblings, a teenager named Seita and his baby sister Setsuko, as they struggle to survive during the attacks on Japan during World War II.
Their relationship is the heart of the film; it's a heart that beats in defiance of adversity because it's fuelled by love and family values. The responsibility placed on Seita could crush even the strongest adult, but his feelings for his sister keep him focused and determined.
For a film that's built around tragedy, there's a lot of joy and beauty to be found in the subtext.

4 Sakuma drops out of 5

Whisper of the Heart (1995)

Ghibli is known for transporting viewers to dazzling worlds filled with incredible scenery and amazing exploits. But Whisper of the Heart isn't about fantastic adventures or chimerical lands. It's about the adventures we create ourselves. It's a sweet, quiet little coming of age film that beautifully shows what it's like to discover your passion.

Whisper of the Heart may be short of fantasy, but it's still full of wonderfully detailed backgrounds you could stare at all day. The animation isn't quite on par with some of Ghibli's later films, but it's still solid, and the movie as a whole is very well made. There's a romance subplot that feels almost unnecessary, but I like it anyway. It's the sort of movie that doesn't weave a story as much as capture a snapshot in time, and when it comes to tales like that, I enjoy the little extras.

4 almost magical antique stores out of 5

My Neighbour Totoro (1988)

If you've avoided Totoro up to now thinking it's a kiddy film, then you've denied yourself the rekindling of childhood joy and wonder that comes from a viewing; perhaps your maturity has oppressed you more than you ever thought possible. For a short time Miyazaki shows a world filtered through young eyes. Adult concerns exist but the children don't have a name for them yet, so they hold a different kind of mystery.
Disney would sell their soul (if they had one) to make something as perfect as Totoro. Even the parts that make me sad are welcome and fully embraced.

5 Susuwatari out of 5

Princess Mononoke (1997)

There’s often an environmental message in Miyazaki’s works, but it’s much more aggressive in Mononoke than in anything he’d made before. It’s Nature Vs Industry in a war that neither side can win. Trapped in the middle is Ashitaka. He’s unwilling to take sides, but at the same time is determined to end the conflict. He’s even prepared to die if necessary.
The historical coexists with the fantastical elements and each one gets its own colour palette that reflects its traditionally perceived beauty.
I don’t think it’s a coincidence that the threat comes from the West.

5 kodama out of 5

From Up on Poppy Hill (2011)

I love the fantastic, magical worlds brought to life in Ghibli movies, but there's a very special place in my heart for the films that are a little closer to reality. Still, I wasn't sure about this one. It was directed by Goro Miyazaki, who gave us the lackluster Tales from Earthsea. I felt a little uneasy when I pressed play, but my fears soon faded.

This isn't on par with Ghibli's best but it's still a very good film. It's a sweet, simple love story that caught me a little by surprise - I wasn't expecting it to be so moving. The animation is excellent, and the backgrounds are stunning. I loved the town and its characters, and the music was wistful and lovely. I wish this had a little more whimsy, but it's still charming.

4 fights with a cat out of 5.

The Secret World of Arrietty (2010)

The Borrowers has been adapted so many times that Ghibli doing this movie felt almost disappointing. I was a fan of the books as a kid, but a part of me wanted to see them bring their magic to a different childhood classic. But in spite of my objections, I walked away from Arrietty satisfied.

Arrietty is a simple, quiet movie with lush visuals that threaten to steal the show. I'm pretty sure I could watch the movie with the sound off and be perfectly entertained. There's not a whole lot of plot here, but that works for me. Instead, it's a tale of yearning and how beautiful the world can be. This isn't Ghibli at their best, but it's still pretty great. Watch this one subbed if you can, because there's some cheesy music added in dubbed version.

4 sugar cubes and tissues out of 5.