|
Seen all▲▼
|
Rating▲▼
|
Comment▲▼
|
| 07-Ghost (TV) |
Good |
|
| Aggretsuko (ONA) |
Good |
|
| Aggretsuko: We Wish You a Metal Christmas (special) |
Good |
|
| Air (TV) |
Decent |
|
| Air In Summer (special) |
Decent |
|
| Akira (movie) |
Good |
|
| Alice & Zoroku (TV) |
Good |
|
| (The) Ancient Magus' Bride (TV) |
Good |
|
| (The) Ancient Magus' Bride: Those Awaiting a Star (OAV) |
Good |
|
| Anne of Green Gables (TV) |
|
|
| anohana: The Flower We Saw That Day (TV) |
Very good |
|
| Assassination Classroom (TV) |
Good |
|
| Assassination Classroom (TV 2) |
Very good |
|
| Assassination Classroom the Movie: 365 Days' Time |
Good |
|
| Baccano! (TV) |
Very good |
|
| Berserk (TV 1997) |
Excellent |
|
| (The) Boy and The Beast (movie) |
Good |
|
| Cardcaptor Sakura (TV) |
Excellent |
|
| Cardcaptor Sakura The Movie 2: The Sealed Card |
Excellent |
|
| Cardcaptor Sakura: Clear Card Prologue (OAV) |
Excellent |
|
| Cardcaptor Sakura: The Movie |
Very good |
|
| Castle in the Sky (movie) |
Masterpiece |
|
| (The) Cat Returns (movie) |
Very good |
|
| Cat Soup (OAV) |
Good |
There are so many words and phrases one could use to describe this experimental 30-minute short and it's pretty darn difficult to imagine any of them being all that far from the truth: like "Surreal", "Bizarre", "The anime equivalent of an acid trip", etc. (No, I cannot affirm the legitimacy of that last possible tagline based on personal experience, though I actually have heard someone coin "Cat Soup" as "Hello Kitty on acid" before.) To me, the backdrop for this story about an anthropomorphic kitten on a journey to recover his older sister's soul from the land of the dead is a dreamscape where any random little thing goes just... BECAUSE. If one person (or several people) can think up any old spontaneous idea, no matter how weird or creepy, then there's no reason why it wouldn't be incorporated into the one of many pitstops/detours our feline friends take as they go along. For that, I'm kind of fascinated with this project; and such a sentiment in no way works to exclude the creators behind it of course. Following the sequence of events isn't impossible, but nothing is ever spoon-fed to you either, even in terms of dialog selection: stripped down to the bare-bones essentials, used sparingly and only shown to us through text in word bubbles instead of being spoken orally. I would recommend watching the short subject if for no other reason than to just take from it what you will. With this mindset going in,"Cat Soup" (a title that could be seen as both literal and probably figurative by the way) should at least prove to be an interesting visual time-consumer. Although I completely understand if you have given it a chance and could only think something to the effect of "WHAT THE HECK DID I JUST WATCH??!!" afterward. Now, this could be considered a rather hasty generalization made on my part, but I'd say we all have that immediate reaction to some degree once the ending credits begin to roll, (which play to the pleasant yet unsettling tune of the main theme re-imagined as a broken music box heard in the background) it's merely part of the experience ;-) Special thanks to my stepdad Mike for convincing me to try this film out myself :) |
| Chi's New Address (TV) |
Very good |
|
| Chi's Sweet Home (TV) |
Good |
|
| Corpse Princess: Aka (TV) |
So-so |
|
| Corpse Princess: Kuro (TV) |
So-so |
|
| Cowboy Bebop (TV) |
Excellent |
|
| Cowboy Bebop: The Movie |
Excellent |
|
| D.N.Angel (TV) |
Good |
|
| Darker than Black (TV) |
Decent |
|
| Deadman Wonderland (TV) |
So-so |
|
| Death Note (TV) |
Very good |
|
| Death Parade (TV) |
Very good |
|
| Durarara!! (TV) |
Very good |
|
| Durarara!!×2 Ketsu (TV) |
Very good |
|
| Durarara!!×2 Shō (TV) |
Very good |
|
| Durarara!!×2 Ten (TV) |
Very good |
|
| Durarara!!×2 Ten Gaiden!? (OAV) |
Good |
|
| El Cazador de la Bruja (TV) |
Good |
The third and final entry in Bee Train's "girls-with-guns" trilogy after "Noir" and "Madlax". This 26 episode shoot-'em-up chronicles the trials and tribulations of our leading ladies (Nadie and Ellis) as they journey south to a place known as "Winay Marka" (AKA: the "Place of Eternity") in an effort to unravel the mystery behind the latter's somewhat unstable supernatural abilities on top of her amnesiac state of mind. All the while, she is wanted for murder, dead or alive, and their only clue is a beautiful stone called the "Inca Rose" given to Ellis by an aging fortune teller. (Yes, I know the synopsis makes this anime sound just the tiniest smidgen like "Nadia", but trust me, once the plot really gets going, that's where any and all skin-deep similarities stop.) I found one of the most interesting things about this show to be the setting; in, or at least heavily inspired by Mexico, where you will often hear the main characters or passers-by speaking fragments of fluent Spanish; (though without any semblance of an authentic accent to match). In fact, the title itself isn't even Japanese at all, it's Spanish translating to "The Hunter of the Witch"/"The Witch Hunter". While not the masterful hidden gem I thought it would be in terms of story and characterization (for example, having taken note of missed details like one relationship between two specific individuals in the supporting cast being questioned but never elaborated on did prove to be kind of bothersome once I actually sat down and thought about it) when all was said and done, "El Cazador de la Bruja" was still a rather fun watch nonetheless. Heck, Yuki Kajiura's brilliant musical score is reason enough to check it out. It's this composition which not only turned me into a fan of her work, but is also what I would say quite possibly my absolute favorite OST she has ever had direct involvement in composing, period. DO YOU REALIZE NOT EVEN "MADOKA MAGICA'S" SOUNDTRACK CAN BOAST THAT FOR ME??!! XD Two insert songs in particular: "El Cazador", and its precussion-heavy companion piece: "Cazador del Amor", were the first bits of music in anime to really catch my attention and send shivers up and down my spine every time they were played since "Brothers" from "Fullmetal Alchemist", albeit, in a completely different way. And obviously an awesome opening theme performed by the band "Savage Genius" (not to mention an equally flavorful ending theme by "FictionJunction YUUKA") helps too :-D The English dub (brought to us courtesy of Funimation) is reasonably well-acted. (Well, for the most part, Ellis at times might sound a tad flat to some, but for her comedic moments especially, I think that's intentional.) This was my earliest encounter with such vocal talents as Trina Nishimura, Maxey Whitehead, Clarine Harp, Ian Sinclair and Jamie McGonnigal, all of whom, as expected, did a fine job. Although content-wise, like most, I'm not sure I understand why Funi presumably decided to bump the show's rating up from TV-14 to TV-MA. In case it wasn't made rather obvious beforehand, (I mean... "girls-with-guns", that's a pretty self-explanatory sub-genre of entertainment if you ask me) "El Cazador de la Bruja" does indeed contain a lot of shooting; what with Ellis being branded a criminal on the run whilst Nadie identifies as quite the skilled, smart-mouthed bounty hunter herself. But from what I remember, oddly enough, the audience isn't subjected to gratuitous amounts of blood and/or nudity despite all this not-so-friendly gunplay throughout (that always coincides with the severity of the situation our heroines don't even realize they've been entangled in at large). So then, does the apparent lean toward young adults as opposed to teenagers have anything to do with L.A.'s obsessive love for Ellis or the fact that two of the other bounty hunters who go after her head are a very pronounced transvestite couple maybe? :-/ Again, I don't know and I suspect I never will figure it out for sure. |
| Elfen Lied (TV) |
Decent |
|
| ERASED (TV) |
Very good |
|
| Escaflowne: The Movie |
Good |
|
| Excel Saga (TV) |
Decent |
|
| Final Fantasy: Unlimited (TV) |
Decent |
|
| Flying Witch (TV) |
Good |
|
| From Up On Poppy Hill (movie) |
So-so |
|
| Fruits Basket (TV 1/2001) |
Very good |
|
| Fullmetal Alchemist (TV) |
Masterpiece |
|
| Fullmetal Alchemist: Brotherhood (TV) |
Very good |
|
| Fullmetal Alchemist: Brotherhood (OAV) |
Good |
|
| Fullmetal Alchemist: Premium Collection (OAV) |
Good |
|
| Fullmetal Alchemist: The Movie - Conqueror of Shamballa |
Good |
|
| Fullmetal Alchemist: The Sacred Star of Milos (movie) |
Good |
|
| Gankutsuou: The Count of Monte Cristo (TV) |
Excellent |
|
| Ghost in the Shell (movie) |
|
|
| (The) Girl Who Leapt Through Time (movie) |
Good |
|
| Grave of the Fireflies (movie) |
Masterpiece |
|
| Gunslinger Girl (TV) |
Good |
|
| Gunslinger Girl: Il Teatrino (TV) |
Good |
|
| Gunslinger Girl: Il Teatrino (OAV) |
Good |
|
| Haganai (TV) |
Not really good |
|
| Haganai NEXT (TV) |
Bad |
|
| Hell Girl (TV) |
Decent |
|
| Horus - Prince of the Sun (movie) |
Decent |
|
| Hotarubi no Mori e (movie) |
Excellent |
|
| Howl's Moving Castle (movie) |
Excellent |
|
| Inuyasha (TV) |
Good |
|
| InuYasha the Movie 2: The Castle Beyond the Looking Glass |
Good |
|
| InuYasha the Movie 3: Swords of an Honorable Ruler |
Good |
|
| InuYasha the Movie 4: Fire on the Mystic Island |
Decent |
|
| InuYasha the Movie: Affections Touching Across Time |
Decent |
|
| InuYasha: The Final Act (TV) |
Very good |
|
| Jing: King of Bandits (TV) |
Weak |
|
| Kamisama Kiss (TV) |
Decent |
|
| Kamisama Kiss 2 (TV) |
Good |
|
| Kiki's Delivery Service (movie) |
Masterpiece |
|
| Kino's Journey (TV) |
Very good |
|
| Kino's Journey - the Beautiful World- (TV) |
Decent |
|
| Koro Sensei Quest! (ONA) |
Good |
|
| Last Exile (TV) |
Good |
|
| A Letter to Momo (movie) |
Very good |
|
| A Little Princess Sara (TV) |
Very good |
Officially the best adaptation of the original Frances Hodgson Burnett novel I've seen thus far, both in presentation and spirit; and to have that come from an anime is simply astounding. I could tell there was a push from the creative staff at Nippon Animation to tell the story faithfully but not in a way that makes it feel like an uninteresting carbon copy, and in my opinion, their approach proved successful. Speaking as someone who enjoyed the novel "A Little Princess" and even saw two films based on the tale, (the 1939 Shirley Temple classic along with a 1995 remake, which were both charming in their own right but either took creative liberties with the source material that didn't exactly harm anything but still never really needed to be taken, or the stars featured in these movies just did not portray the characters convincingly enough for me). The changes made in this version however, either don't make that much of a difference or, dare I say it, actually improve some parts of the original narrative that Burnett never bothered with! Sara Crewe's Cinderella-esque lot in life eventually becomes more degrading than even the book gave her credit for. Thankfully some fun little escapade will happen every now and again to lighten the mood a bit; plus, Sara has a larger support system of people who always come around to offer their help and hope whenever she needs it most to balance everything out. These same people are either exclusive to this show or are given even more time on screen than on the page, making their existence in the story that much more significant. If possible, my heart went out to Sara more so in this adaptation than all the others, and as such, I experienced feelings of elation in the same way once things finally worked out for her in the end. The only nitpick I have is over a particular scene from the book being omitted which shows Sara at the end of her rope, so much so that she takes her understandable frustration actively out on her beloved doll, thereby letting us in on the reality that though Sara is a princess inside, she can loose her temper just like everyone else. I would assume those who decide to watch this show know what to expect so I can't forsee anyone being terribly dissatisfied with it, but I feel like fans of the original story would take to "A Little Princess Sara" a lot more than those who go in with a clean slate. The animation quality, which can look rather cheap at times (especially during scenes shot on the streets of London where some of the populace look jubilant in their hustle and bustle while others look more like life-size wax dolls standing stock-still in mid-motion with frozen expressions plastered on their faces being used as mundane props) might potentially be a turn-off too if you don't take into account that this series was produced 30 some-odd years ago; which is why my overall rating hovers somewhere between a solid "Good" to "Very good" and not higher. But still, this series served as my first bit of exposure to Nippon's World Masterpiece Theater line and based on what I've been treated to here, it certainly won't be the last! *Hint, hint* ;-) |
| Lupin III: The Castle of Cagliostro (movie) |
Excellent |
|
| Made in Abyss (TV) |
Very good |
|
| Mary and The Witch's Flower (movie) |
Decent |
|
| Metropolis (movie) |
Good |
|
| Mirai (movie) |
|
|
| Mushi-Shi (TV) |
Very good |
|
| My Neighbor Totoro (movie) |
Masterpiece |
|
| My Neighbors the Yamadas (movie) |
Good |
|
| Nabari no Ou (TV) |
Good |
|
| Nadia - The Secret of Blue Water (TV) |
Very good |
|
| Nadia - The Secret of Blue Water: The Motion Picture |
Bad |
|
| Nausicaä of the Valley of the Wind (movie) |
Excellent |
|
| Needless (TV) |
Not really good |
|
| Nichijō (OAV) |
Very good |
|
| Nichijou - My Ordinary Life (TV) |
Very good |
|
| Ninja Scroll (movie) |
Decent |
|
| No. 6 (TV) |
Decent |
"No. 6" wins the award for WEIRDEST anime I've seen in a while, not because of a certain comedic style being exploited over and over in terms of timing, gags, wisecracks, etc, or even due to the dystopian setting that the futuristic city at the heart of the story (and the embodiment of the series' title) makes for itself. On the contrary, this is a show that never seems to be trying to get a laugh out of its audience, yet some positions the characters find themselves in, as well as how they respond to such circumstances (often in totally unconventional ways) are so awkward you can't help but find them funny! :-D Take one of, if not THE most shockingly straight-forward love confessions I have ever heard in, well... not even anime, just media in general as a prime indicator which pops about at the beginning of episode 2. Although, I admit, my uptight levels of modesty actually left me feeling... shall we say, positively mortified by this particular scene rather than amused, (unlike the person who specially requested that I watch "No. 6" in the first place: my dear friend Autumn; but that's beside the point!) *Nervous chuckle* :-/ Still, I mean, seriously, biologist or no, WHERE DO YOU GET OFF, SAFU??!! AND WHAT THE HECK KIND OF WOODEN REACTION WAS THAT, SHION??!! :-[ Anyhow, what gives "No. 6" its hard-to-grasp but strangely captivating identity would be those characters, to be more specific, their wacked-out interactions and overall relationships; as supporting cast members like Safu, Dogkeeper, (or Inukashi according to the Japanese transliteration, whatever you want to call him/her/it) Rikiga, and even Shion's mother Karan are never given too much screen time, nor too little either, just enough so that they can (and will) leave memorable impressions on the audience, and in their own unique ways, possibly prove themselves to be quite endearing/sympathetic; again, very odd to say the least, but one does manage to feel for them nonetheless. The same thing goes for our two main protagonists; the aforementioned idealistic airheaded Shion and an angsty jack-of-all-artistic-trades known as Nezumi (a name which literally means "Rat" or "Mouse" when translated to English, yes, this piece of information is important, I promise) who share a sense of camaraderie between one another that takes the cake; as it is undoubtedly dysfunctional but also strong, genuine, and heartfelt at the same time. Nowhere does this dynamic become clearer than in the final two episodes thanks especially to the wary, desperate, and later broken performance of seiyuu Yoshimasa Hosoya who played Nezumi in the Japanese version; which captured vocally every nuance of the intense, horrid, emotional drainage of what his character was experiencing alongside Shion to an absolute T all throughout a crtical turn of events that encompassed the show's climax as well as its aftermath :) From my perspective, the opening and ending themes used in this anime stand out somewhat, if only for the colorful crystalline visuals that were treated to us courtesy of Bones in "Spell"; and I think Autumn hit bullseye when she described "Night of Sixth Magnitude Stars" as being, and I quote, "the shippiest ending ever" XD "No. 6" offers up its own spin on the always popular sub-genre of dystopian fiction, which unfortunately is hindered by the fact that most stories so complicated and large in scale honestly shouldn't get condensed into a series spanning a mere 11 episodes such as this, otherwise you're pretty much doomed to turn in a final product that's at least a little rough around the edges with a narrative that just isn't nearly as fleshed out as it could be if given the chance to finish tying up any loose plot threads having been left unattended. That is to say, "No. 6" does sort of fall into this trap, but thankfully not without coming to a definitive resolution which I would think, more often than not, satisfies the average viewer's expectations fairly well. Where we left off isn't the problem, it's how we got to this stopping point that's arguably a little sketchy; if you catch my drift ;-) What with the anime's namesake being a technologically advanced, stiflingly sterile enviroment to which its citizens must pledge their "unflagging loyalty" or risk being shut away in the nut house, every one of them are constantly tracked by government authorities should any individual slip up, and to make matters worse, parasitic bees start infecting residents from the inside out, forcing their bodies to rapidly deteriorate so that they drop dead within seconds! =-O (I know, it's crazy! :-D) I couldn't even begin to guess what the connection was throughout most of the show. The bad news? Well, once some exposition, meant to give this situation a reason to be, finally comes along during episode 9 as well as parts of 10 and 11, (followed by equally wild plot-twist after wild plot-twist) it feels rather fragmented, almost confused, and more questions are raised than answered. Maybe I'm over-analyzing here, but I also never fully understood what was baiting the populace of No. 6 into going along with the oppressive system aside from not being cast out into the barren wasteland that surrounds this society (and five others) or if they've all simply been conditioned to submit and that's what the correctional facility was for, kind of like in "Brave New World". I'd say the writers did an even more vague job of explaining what established No. 6 as a fabricated utopia before dirty secrets are discovered that unveiled the illusion and depicted it as the Hellish dystopia which Nezumi (justifiably) hates so much from there on out :-/ But honestly, again, any flaws that the series has can easily be blamed on its short length. I agree with Autumn that this storyline (unlike many others in anime) probably would have been better served if the episode count was extended from 11 to 24 since as I've come to understand from what she tells me, the manga that "No. 6" was based upon was only 9 volumes long and its TV counterpart had adapted most of that source material faithfully but still managed to leave things out which made the home stretch seem less convoluted than the show made it out to be, what a shame! :( Overall though, I DID enjoy "No. 6"; maybe not nearly so much as Autumn did because it's so mind-boggling, but like another considerably longer series you may find a ways farther down the list, even if one can't effectively explain why, at least, not without a helping hand for point of reference, it works :) |
| Ocean Waves (movie) |
Decent |
|
| One Punch Man (TV) |
Very good |
|
| Only Yesterday (movie) |
Excellent |
|
| Origin ~Spirits of the Past~ (movie) |
Decent |
|
| Ouran High School Host Club (TV) |
Very good |
|
| Overlord (TV) |
So-so |
|
| Pandora Hearts (TV) |
Very good |
|
| Place to Place (TV) |
Good |
|
| Pokémon 2000 - The Movie (movie 2) |
Decent |
I think we can all agree that the absolute best thing about this movie is "Lugia's Song", a piece of music so magical as it is epic that I can hardly believe the composer for both this film and the "Pokemon" TV show (Shinji Miyazaki) are one and the same. The cynical side of me kind of pokes fun at Ash Ketchum being the "Chosen One" simply because... well, he's Ash, but that the main character is the divine solution to all the world's problems is usually a given with these types of productions, particularly those aimed at a younger audience (but not beyond getting rehashed for other such productions aimed at older audiences either, I'm sure) so I won't complain too much in this regard. Although, I am curious as to whether or not his default name, (Satoshi) was actually mentioned in the prophecy for the original Japanese version as it was in the English dub, in ryme even! I should probably look into that at some point :) I would also say it's a gimmick-y move on 4-Kid's part to re-title their release of the second installment flick "Pokemon 2000" as a wink to the year the dub was completed and made widely available to everyone in the United States specifically; yeah, I see what you did there 4-Kids! But then again, the company as a collective no doubt thrived on gimmicks, I mean, look at THAT name, for crying out loud! XD 4-Kids? As in the number 4... KIDS??!! Anyway, the constant one-sided ship teasing initiated by Melody which hints at Misty's possible (if hopeless) crush on Ash tickles me and of course it's always enjoyable to see Team Rocket get in on more of the action, this time around they actually play a fairly pivotal role in our hero's success towards the end, what more could you ask for?! :-D This may not be my favorite film in the franchise, not even close really, but I will give "The Power of One" credit for making the transition from television format to cinematic format rather smoothly, more so perhaps than the first "Pokemon" movie that came before it despite the subject matter being pretty standard. |
| Pokémon 3 - The Movie (movie 3) |
Very good |
Out of all entries in the "Pokemon" film franchise, this one has always been (and will always be) my personal favorite. "Spell of the Unown" (formally called "Lord of the Unown Tower" according to primitive U.S. trailers) takes off when Professor Spencer Hale is pulled from our world into another dimension while studying some old relics connected to the Unown (a group of mysterious one-eyed psychic pokemon with 28 separate variants that either resemble a punctuation mark or one of each letter of the English alphabet) on a research trip to their ruins. Heartbroken over the apparent loss of her papa, five-year-old Molly Hale inadvertently unleashes real Unown from the ancient tiles recovered by him before his sudden disappearance, who in turn conjure up a telepathic legendary pokemon (Entei) to not only serve as Molly's new father figure but also a medium with which these Unown use for the purpose of fulfilling her innermost desires. Ash, Misty, Brock, and others happen to be relaxing nearby just as the Hale mansion (along with the surrounding town of Greenfield) becomes engulfed in crystal and Entei swoops down, kidnapping Ash's mother Delia at the request of his "daughter" who wants a replacement for her own mama, said to have disappeared as well. (Supposedly in the original Japanese version, I guess Molly's mother left and was sent to an insane asylum after the break-up... but seeing as I've only ever watched the English dubbed version of this film the whole way through, it would be best not to quote me on that; still though, wow, this IS a "Pokemon" movie... right?) I haven't come across anything so tragic in the anime series since Sabrina's backstory from "Pokemon: Indigo League" :( Thanks to clever writing, (at least, more clever, thus better rendered in this film than in any other cinematic product that had come before "Pokemon 3", or would come after as far as I'm concerned) for once, there is no real villan to defeat, just a lonely, confused little girl desperately trying to compensate for everyone and everything she's lost or has never had the opportunity to experience, and a legendary pokemon, who isn't driven to help Molly cope with the sorrows in her life due to being forced into it, but rather because, like her doting father, he would do anything to make Molly happy. Which is why I applaud the fact that Dan Green provides us with a credible performance as both the warm Professor Hale and the majestic Entei. (As was the task for Naoto Takenaka in the Japanese version.) Coincidence? I think not! XD The stakes being raised here are entirely personal, still significant but not so much so that the fate of the world depends on whether or not our heroes can solve the main problem at hand, all individuals who would be most affected by this conflict (which always traces back to Molly and her dreams made real courtesy of the Unown's psychic power) are confined to a single area. Ash is primarily concerned with saving his mom throughout the film but even Delia, though she does want to be saved, sees the tragedy of the situation long before anyone else gets a clue, creating remarkably genuine emotional baggage. The focus is constantly on Molly which I don't mind because amid all her struggles she is still a child; curious and chipper even as Ash and company infiltrate her crystal fortress in an attempt to get Delia out unless the root of her motives is properly exposed. True, the central cast of characters from "Pokemon's" TV show are merely roped in to further the plot and nothing else, but when has that ever not been the case with these movies anyway? Jessie, James, and Meowth get pushed to the sidelines again, as they are usually kept from the limelight in every other "Pokemon" film except for select moments of "2000", thankfully that doesn't mean our beloved Team Rocket trio is not allowed to crack a joke for the audience or do a bit of good whenever it feels welcomed though ;-) The final battle of "Pokemon 3" excites me a great deal even years later (especially when you take into account which two pokemon are fighting against each other and who is on Ash's side prior to the film's bittersweet climax, let's just say it is quite the epic butting of heads! :) My only issue with this otherwise wonderful addition to the movie series is how the Unown are depicted as having immensely potent psychic energy which can be very misleading and by extension, annoying for first-time players of the video game/trading card saga who come to find out that an Unown is anything but a force to be reckoned with competitively; a discrepancy between the two (or more) types of media that's even sillier than the Iron Masked Marauder being able to somehow turn the pokemon he captures with a Dark Ball super strong and evil in the next flick to follow: "Pokemon 4Ever", (see below) while in the video games all they really did was make it easier for trainers to catch pokemon found at night and in caves! :-D |
| Pokémon 4Ever (movie 4) |
Decent |
I don't have too much to say about this one apart from pointing out yet another instance of 4-Kids overtly applying a gimmick to their newly christened titles; for the flick: "Pokemon 4Ever" in this case. (You know, the number 4 with "Ever" tacked onto it) which was either done intentionally by the English dub licensing staff as a reference to their company name, or as a none-too-subtle statement that yes, this is the fourth installment in the "Pokemon" film franchise. (I like to think it was both ;-) Also, how about the fact that "Pokemon's" fourth season opening theme (played in full at the start of "4Ever" as we had come to expect from "Pokemon" movies in conjunction with the show itself at the time) directly recycles two sets of lyrics from the first season's classic opening theme! :-/ (In terms of the U.S. release anyway.) All that jazz aside, I do get a little kick out of the movie's surprise reveal concerning Sammy's true identity at the end which I'm willing to bet no one saw coming whether you're a child or even an adult watching it. (Though in hindsight, that last part may be a bit of a stretch XD) Plus, the main plot device introduced here alone, centered around time travel, as it is implemented by Celebi of course, is kind of neat. But with that said, since Celebi is already filling the typical role of legendary pokemon exploitation as this film's primary focus, what's a Suicune doing in there? Less than any other "Pokemon" movie does a legendary's cameo (other than, again, the one who is thrust into the spotlight for marketing purposes) actually serve the story that is being told... okay, so maybe I DO have a lot to say about this particular addition to the film series. *Shrugs* Oh, well :-D |
| Pokémon Heroes - Latias & Latios (movie 5) |
Decent |
|
| Pokémon Origins (special) |
Good |
|
| Pokémon Ranger and the Temple of the Sea (movie 9) |
Good |
|
| Pokémon: Destiny Deoxys (movie 7) |
So-so |
|
| Pokémon: Jirachi Wish Maker (movie 6) |
Good |
|
| Pokémon: Lucario and the Mystery of Mew (movie 8) |
Good |
|
| Pokémon: Mewtwo Returns (special) |
Decent |
|
| Pokémon: The First Movie (movie 1) |
Decent |
|
| Pom Poko (movie) |
Good |
|
| Ponyo on the Cliff by the Sea (movie) |
Very good |
|
| Porco Rosso (movie) |
Very good |
|
| Princess Jellyfish (TV) |
Excellent |
"Princess Jellyfish" is MY "Ouran Host Club". I first stumbled upon this 11 episode romantic comedy (which follows the quirky exploits of a timid young girl with an affinity for all things jellyfish, stemming from childhood memories of her long-since deceased mother, who finds herself indebted to a brash yet beautiful lady... except this quote-on-quote "Stylish" lady, as it turns out, isn't a lady at all. "She's" a "he", and he's a cross-dresser; and not just any cross-dresser, he is Kuranosuke Koibuchi, the illegitimate son of one of Japan's most famous political figures who is much more interested in becoming a distinguished fashionista, as was his mother whom Kuranosuke has no contact with, rather than a stuffy politician like his no-nonsense father and older half-brother, much to their everlasting embarrassment) while browsing in the anime section on Netflix one day near the end of my Sophomore year in high school. This is worth mentioning because at the time I mistakenly wrote the show off as another one of those stupid harem romps that are a dime a dozen where I assumed, especially when taking into account that the main heroine Tsukimi Kurashita lives in a women-only apartment building with several other tenants, Kuranosuke would rent an apartment disguised as a woman himself, Tsukimi as well as her roommates inevitably find out who he is and of course swear to keep his gender a secret from some snooty authorities no matter what happens which results in every one of them falling head over heels in love with him but Kuranosuke only has eyes for Tsukimi and, as one of three cliches generally offered to us in these ecchi series (along with many more old-fashioned romcoms, true, though I'd argue that tropes like these are poorly executed, and as such, teeth-grinding more so in shows with overwhelming amounts of fan service getting stacked up against them quite needlessly) tend to play out, they both either: A) realize their feelings for each other at a snail's pace, B) desperately want to confess but try to do so at the most inopportune moments possible, thus keep getting interrupted, or C) bitterly choose to restrain themselves out of fear over what the other's reaction might be if he/she did decide to take this leap of faith, blah blah blah. I didn't actually break down and give the anime a chance untill the later part of summer vacation; (on behalf of my mom's assurance that its overall sense of humor really was in good taste despite what I had been led to think by the incredibly simplistic Netflix plot summary). Boy, my extraordinarily low expectations for "Princess Jellyfish" couldn't have been more unfounded in the end and thank goodness they were! :-D Tsukimi does indeed share this "sacred nunnery" with a cohort of beyond socially awkward otaku women just like her, known collectively as the "Sisterhood", none of whom have the slightest interest in keeping up with the latest trends, let alone dating men; in fact, among them is a sufferer of full-blown Social Anxiety Disorder who can hardly leave the comfort of her own bedroom, and for whatever reason, harbors an intense hatred toward men despite being a best-selling yaoi mangaka... yeah, I defy you to figure out the logic in that! XD But the question of whether or not Tsukimi's friends will discover Kuranosuke's secret at any point never really becomes an issue as she is the only one who knows, and he, in the guise of "Kurako", actually manages to pass himself off as a chick pretty well in front of the other tenants. Even during occasional moments where he slips up in some way, inadvertently causing the discretion of his gender to be jeopardized while doing so, times like these are played for laughs, thus, with Tsukimi's (both direct and indirect) help, her fellow "Amars" remain blissfully ignorant. What's more, Tsukimi, Chieko, Banba, Mayaya, and Jiji DO at least (begrudgingly) learn to tolerate Kuranosuke's constant presence in their dwelling even though he, one of the shallow "Stylish" people that this "Sisterhood" fears so much, might as well be from another planet. So then, you may be wondering, in what way does romance become relevant to these oddballs and their immediate concerns exactly? Well, to be honest, feelings of romantic love only ever factor in for a few select characters as the story goes on; who are all more or less expressing a genuine interest in someone for the first time in their lives and as such, don't know what the heck to do with it, almost to the point of being in denial! Two out of three of the possible romances between individuals that "Princess Jellyfish" sets up for itself, I have no problem getting behind if only because I REALLY love said characters and the way they bounce off of one another so much. Tsukimi in particular has to be THE absolute most relatable protagonist I've ever had the pleasure of coming across in anime, period; even my mom says that she and I are cut from the same cloth. Since Tsukimi is passionate but introverted, humble, plain, and more concerned with being herself than about being pretty, (actually, she, not unlike her roommates, is downright terrified of getting dolled up under any circumstances, which everyone's favorite drag queen tries to nip in the bud any way he can of course) I... at least HOPE there's a grain of truth in what Mom was thinking ^///^ Meanwhile, Kuranosuke is as charismatic as he is fashion-forward, crude, pushy, and insensitive. From the other residents at Amamizukan (all of whom are equally as enthusiastic about their own niche likes as Tsukimi is with jellyfish, a fitting example would be Banba's obsession with trains or Mayaya's addiction to records of the Three Kingdoms) to those that frequent the Koibuchi mansion such as kookie old Uncle Saburota, (otherwise known as the prime minister of Japan) Shu, (Kuranosuke's stick-in-the-mud yet surprisingly endearing older brother) and Hanamori, the straight-faced family driver with a weakness for high-class cars. I couldn't even bring myself to hate the spiteful, manipulative real estate developer introduced later on (although, by all accounts, she is more than worthy of a royal bashing) due to her petty tantrums being able to get a good chuckle out of me! :-D A small but still significant part of what makes this cast so adorable in my opinion comes from the immersive, distinct, rather ideal vocal performances of the actors and actresses hired to portray each character for Funimation's English dub. Favorites of mine in regards to the voice acting include Maxey Whitehead and Josh Grelle as our two main leads; before this I had only ever been able to think of Maxey as either Aaron Dismuke's replacement for Alphonse Elric, or Ellis from "El Cazador de la Bruja". While she did a completely serviceable job with both of these roles prior to "Princess Jellyfish", at the same time I never felt like they served as proper vehicles for Whitehead to truly come into her own as a voice-over artist because in the case of "FMA: Brotherhood" I'll be so bold as to say that what would determine her success with taking over as Al had ridden (at least partially) on whether or not she could emulate Dismuke (if not, then Rie Kugimiya) as much as possible, which in a sense is great for us fans but not so great for Maxey as an actress since Alphonse was never really HER role to begin with; she was just chosen to recapture the spirit of a role that had already been established a certain way for English speaking audiences once before, (although again, to positive effect.) Tsukimi Kurashita however, is not only one such character for whom Maxey Whitehead gave her own unique spin to first and forever, (in English anyway) perhaps because Tsukimi exhibits a much juicier persona and displays a much wider range of sporatic emotions a lot more than past characters like Ellis ever did, she's also a role in which Maxey's deft acting chops shine through and were put to good use in their own right. In short, Tsukimi for me represents the point where Whitehead's capability to set herself apart from all the other voice talents in Funi's arsenal without any rough shoving was fully realized :-) Josh Grelle I had never consciously heard of in a Funimation dub until now, (nor Mariela Ortiz who played Banba for that matter) but nonetheless he breathed so much life into both the masculine and feminine sides of Kuranosuke that it's almost scary, but in the best way; (seriously, if I were to run into this guy on the street while he was dressed in drag, I don't think I would be able to tell that he's a man posing as a woman, not a woman in actuality; yet there are also plenty of scenes where Kuranosuke isn't parading around in girl's clothes, and whether these scenes are meant to be die-hard hilarious, somewhat heart-wrenchingly emotional, or, as is most often the case, an awkward spot in between, Grelle never misses a beat with any of them!) The late Jerry Russell (God rest his soul) is so enjoyably off his rocker as Uncle Saburota; in a manner that is very obviously harking back to his take on Mr. Cho from "Witchblade" I might add! ;-) Finally, we have Monica Rial playing the aforementioned loud, overly excitable, Three Kingdoms extremist Mayaya in a strikingly different, much lower tone of voice than one would usually care to associate with Rial's work (which I myself never imagined she could muster, let alone pull off without once stepping out of character). In fact, Monica gets so lost in this role that you wouldn't even guess it's her behind the mic! :-D The comedic nature of "Princess Jellyfish" generated a reaction from me that "Ouran High School Host Club" couldn't. (I feel obligated to compare these two shows a bit because, in a way, they're kind of similar.) While "Ouran" defines itself as a satire of Shoujo and reverse harem-centric anime, "Princess Jellyfish" relies mostly on one-liners laced with sly digs aimed at pop culture in order to get a laugh from its audience; even the opening theme ("Just Between Us") is really nothing more than a giant mishmash of pop culture references accompanied by a cute song; (and oh, man was it ever CUTE! So was the ending theme song, actually! <3) Oddly enough, during my first run-through of the series, (which I happily binge-watched all at once into the wee hours of the night with my mom, now how rare is that!) I may not have completely understood all of the references trying to be made, but unlike "Ouran", I could at least recognize the moments when these types of verbal/visual jokes were taken a crack at and due to their original sources being so culturally ingrained in our society over the last several decades, (as far as famous films and social norms go, if anything) still found them funny without feeling as though a ton of background knowledge was required of me beforehand. I personally think "Princess Jellyfish" has the edge over "Ouran High School" in terms of showing off (though granted, sparingly) deeper, more serious facets of character building/storytelling as well. Please keep in mind this statement merely boils down to a preference I have for softer, subdued drama that's by and large down-to-earth as opposed to the same sort that is still sincere but also more than a little corny at times, no offense intended. Even with all of those factors combined however, what really makes "Princess Jellyfish" stand out from every other lighthearted anime, romantic or no, I have seen (and I've seen quite a few at this point) would be the bits of philosophy it brings to the table in service to the development of the characters, most notably Tsukimi and her friends, such as the belief that all little girls blossom into princesses when they grow up... just not in the way one might traditionally expect; and yes, as you surely must have picked up on by now, "Princess Jellyfish" IS a series that caters to female audiences more so when compared to the typical male audience, but then, so was "Ouran" and I've heard of plenty of manly men who got into it just fine, besides, what person, especially being of the female persuasion like myself, wouldn't love this idea? :) Unfortunately, as my friend Autumn was kind enough to point out during her review of the show, whatever inspiring message its creators were trying to convey as to whether or not being true to yourself, regardless of how you may be perceived in the public eye as a result is more important than coming out of your shell in order to make a difference, even if that means putting up with certain people and situations you'd otherwise avoid or vice versa becomes muddled since Tsukimi and Kuranosuke represent both sides of the extreme that we as the audience can learn something from, yet they never seem to learn much from each other. (I suspect if they were given enough time together to come to a mutual understanding, a middle ground would be established so that to honor the integrity of the two concepts, a give-and-take system goes down without saying.) Although, I kind of let this lack of resolution concerning the moral drop because it falls under an array of things that could so easily be expanded upon in a potential next season; speaking of which, WHY ISN'T THERE A SECOND SEASON???!!! Good grief, "Princess Jellyfish" is a worse off victim of the "Fruits Basket" Effect than "Fruits Basket" itself! :'( I know the likelihood of a project getting the go-ahead to continue after a six-year hiatus is very slim, but hey, I can dream, can't I? Anyway, there is more than enough manga material left to adapt by now with 16 volumes to date, which the 11 episodes we do have only cover one fourth of at the most. Plus, there was even a live-action movie adaptation of the original manga that came out in Japan a couple years back! So I think I speak for Mom and, well, all the other fans out there when I say: "Come on Brain's Base, we want more; Princess Jellyfish Season 2, you can do it!" Never before, or since has such a small, simple minded anime caused my inner fangirl to go positively nuts as this one does; (yet below the surface, "Princess Jellyfish" could be well on its way to becoming a series that is anything but small and simple) effectively sending me a friendly little reminder that there is absolutely NO shame in embracing the passions you hold most dear (however geek-y they may be) not to mention another feel-good outlet that has also proved useful whenever I need a sure-fire mood-boost once in a while, much like my favorite sitcoms, (but again, in a slightly edgier, more emotionally invested sense, nothing too heavy though! ;-) |
| Princess Mononoke (movie) |
Masterpiece |
|
| Princess Tutu (TV) |
Very good |
|
| Project A-ko (movie) |
Decent |
|
| Puella Magi Madoka Magica (TV) |
Excellent |
|
| Puella Magi Madoka Magica the Movie Part 1: Beginnings |
Very good |
|
| Puella Magi Madoka Magica the Movie Part 2: Eternal |
Very good |
|
| Requiem from the Darkness (TV) |
Good |
|
| Revolutionary Girl Utena (TV) |
Masterpiece |
WARNING: The magnificence of this series is much easier to feel in my gut than it is to expIain but I'll still try to do so in a way that at least sounds like I know what I'm talking about without coming off as too flowery; though, if I should fail, please keep in mind I didn't put emphasis on the word "TRY" for nothing. I went into this show with absolutely no intention of interpreting the heavy symbolism and opted to take everything it threw at face value instead, but that didn't stop me from wanting to piece together the meaning of what I was being given both as I watched and long after the fact, even when taking that symbology out of the equation. I heard by word of mouth that the director's stated goal for this project was to deconstruct/subvert Shoujo anime, fairy tales, and I would argue gender roles within fairy tale conformity, while also addressing every shortcoming of character we experience as teenagers struggling to break free into adulthood. The great thing about that though is there is no right or wrong way to analyze how those points are being made. Each and every character, (and there are a lot of them) even Utena herself, has their own inner demon that manifests as an adolescent foible which we all can understand whether we realize it or not because everyone who has been a teenager once had to go through what they are going through at some point, not only making the cast complex and as such, interesting, but also relatable, so much so that I found myself willing to overlook the fact that these individuals are merely catalysts made to represent each foible when it's being explored and that there is not much else to them when you get right down to it, which for me is unbelievable; perhaps because the audience is often led to think they are of sound mind, that is, untill they admit to their true feelings about someone or something which always serves to throw a wrench into those first impressions dead center, thereby changing our perception completely, (basically the second story arc in a nutshell). In this way, I wouldn't blame anyone for labeling "Revolutionary Girl Utena" as manipulative, pretentious, flat out disturbing really; and I won't lie, it IS all of those things, plus more actually, in the sense that what defines its nature simply comes down to the (usually selfish) choices characters make as well as how their choices affect others in the long run, with no individual being totally incapable of committing these kinds of immoral acts at all, though he or she still may be, (or may have been) good at heart. (I'm looking directly at the eventual main villan when I say that of course.) Even while an occasional sex scene played its way within the context of the story, I was less disgusted and more intrigued than I normally would be in any other case; granted they were brief, extreamly subtle, and I knew they would happen ahead of time, but to watch them all the whole way through without batting an eye once, especially when you consider how/why they ended up happening, is the very embodiment of a shocking first for me; if anything, I was and still am freaked out that... well, I wasn't more freaked out! I also heard that "Utena" was produced on a shoe string budget, and... yeah, this really does show in the animation department half the time; not because the character designs look "dated" or that it's entirely hand-drawn, (as honestly, fans should expect the vast majority of anime series released before the early 2000's to be) but because it relies on the heavy re-use of bank footage at the most convenient moments like nobody's business. Take for example, the "Absolute Destiny Apocalypse" sequence during which the titular character ascends a long flight of stairs in the exact same way every single time a duel is about to take place, or observe the duels themselves for a while and just tell me you can't pinpoint the precise poses and sword strokes that signal the climactic end of each one. *Smug grin* ;-) However, what this series lacks in animation, it more than makes up for in music. My gosh, I swear "Revolutionary Girl Utena" must have hands down the most amazing original soundtrack (consisting by and large of choral rock, orchestral pieces laced with jazz influence, as well as a little J-pop here and there) for any anime I've ever heard, and no, I am not saying that lightly; if asked to pick a lone favorite song from said OST, I would find doing so to be literally impossible! :-D On top of everything, the show can also be very funny. Sometimes entire episodes will be dedicated at random to examining the possibilities of decidedly weird "What if...?" senarios that have nothing to do with furthing the plot (often tailored at the expense of one character in particular who frankly, needs to be the brunt of everyone's jokes) for no reason other than it can and does darn well at it too! :) All of these factors combined turn this saga of a young girl striving to become a prince despite the odds being automatically stacked against her while she also finds out what devoting yourself to a life of nobility truly means, into quite the work of art that engulfs itself in as much of a distinct, abstract, classical style along with an equal amount of substance just as JesuOtaku once said. I have no idea who to recommend "Utena" to, but if any of what I've typed out in this beyond lengthy comment has piqued your interest even by a small margin then you'll probably enjoy it as much as I did, though again, I can't vouch for everyone, and regarding those out there who have seen this anime and don't like it at all, I'm not going to act as if I don't understand where you're coming from. Heck, I myself am still somewhat baffled as to how and why "Revolutionary Girl Utena" grabbed me so much even now! (ONE FINAL NOTE: In the event that you do decide to give this series a shot, I would kind of recommend listening to the original Japanese version first and foremost; as the English dub formally distributed by Central Park Media is a real mixed bag. Specifically, it IS rather entertaining to think that over half of the voice actors/actresses hired to portray these parts in the English version would go on to work with 4-Kids, playing their famous roles in "Pokemon" for several years to come around the same time, but I go back and forth between really liking and really not liking their performances here in spite of, or perhaps, because of that.) I'd say Jimmy Zoppi as Miki, Mandy Bonhomme as Juri, and especially Sharon Becker as Anthy come off as more than a tad bland, or, to put it in a gentler way, uninspired. Jack Taylor's take on Saionji is much too hammy; and Crispin Freeman, though I actually thought he did well as Touga for the most part, sort of had that problem too, at least in the opening episodes; but not nearly so bad. Ted Lewis, no thanks to his overly mature sounding voice coupled with an altogether underwhelming delivery of his lines is miscast to me as Elementary-school student Mitsuru. Lumped in probably the worst of the bunch, we have Leah Applebaum as Nanami, Mandy Bonhomme as Keiko, Carol Jacobanis and company as the Shadow Girls, and Jimmy Zoppi as the vocalizing triplets. On the opposite side of the spectrum is the aforementioned Crispin Freeman, Dan Green as Souji Mikage, Lisa Ortiz as Shiori, or even Kerry Williams as Kanae, (mainly for their chilling elevator confessions) and Rachel Lillis as Utena, (who sells her lead character's angst-filled emotional state in the last few episodes just as convincingly as Tomoko Kawakami) with others in the broad line-up ranging from equally iffy to passable at best. Not that I couldn't see what the English cast members were going for, it's just, in my opinion the Japanese voice-over artists were able to capture the essence of these roles much better, not to mention with a lot more consistency. |
| Revolutionary Girl Utena: The Movie |
Good |
|
| Rosario + Vampire (TV) |
Awful |
|
| Rosario + Vampire Capu2 (TV) |
Awful |
|
| S.A (TV) |
Decent |
|
| (The) Secret World of Arrietty (movie) |
Excellent |
|
| (The) Seven Deadly Sins (TV) |
Very good |
|
| (The) Seven Deadly Sins -Signs of Holy War- (TV) |
Good |
|
| A Silent Voice (movie) |
|
|
| Snow White with the Red Hair (TV) |
Good |
|
| Snow White with the Red Hair (TV 2) |
Very good |
|
| Soul Eater (TV) |
Very good |
|
| Sound of the Sky (TV) |
Very good |
|
| Spirited Away (movie) |
Masterpiece |
|
| Steamboy (movie) |
So-so |
|
| Summer Wars (movie) |
Very good |
|
| (The) Tale of the Princess Kaguya (movie) |
Excellent |
|
| Tales from Earthsea (movie) |
Decent |
|
| They Were 11 (movie) |
Good |
|
| Trigun (TV) |
Very good |
|
| Trigun: Badlands Rumble (movie) |
Good |
|
| Tsubasa RESERVoir CHRoNiCLE the Movie: The Princess in the Birdcage Kingdom |
Not really good |
|
| Tsubasa Tokyo Revelations (OAV) |
Very good |
|
| Tsubasa: RESERVoir CHRoNiCLE (TV) |
So-so |
|
| Vampire Hunter D (OAV) |
Decent |
An anime B-movie if I've ever seen one. Rather campy with a great many plot threads that never added up/made sense to me once I really started to think about them; like for starters, how and/or why does D have a talking symbiote in his left hand? :-/ The violence can get a little over-the-top in regards to one specific gruesome yet strangely comical death toward the end. The animation is also quite choppy, (particularly during those skirmishes between our main protagonist and Rei Ginsei) to the point where it becomes a bit disorienting to keep up with what's going on, and as such, pretty easy to believe that this was produced with the normal budget of something more along the lines of a TV show made in the mid-80's as opposed to a full-scale film, but for an OVA released at that time, what did you expect? (Although, that assumption probably wouldn't be too accurate since I guess the movie did fill viewing slots in Japanese theaters despite what its label suggests.) Let me clarify though, I don't mean any of this to insult "Vamp Hunter D"; actually, what should make this supposedly futuristic horror movie (in all its cheesy, synthesizer-ridden glory) nothing more than a painful ordeal turns it into a kind of awkwardly entertaining experience instead! :-D The 1992 Streamline Pictures English dub, the only version I've bothered to see so far, is just as cheesy as the film itself, if not more, stereotypical Transylvanian accents and all; which can either be thought of as a good thing or a bad thing. For Streamline's standards, I wasn't surprised. Carl Macek's adaption definitely could have been a lot better but it also could have been a lot worse; for what it's worth, I would listen to the Streamline dub of "Vampire Hunter D" over "Akira" any day of the week. Besides, I truly did enjoy Michael McConnohie's performance as D's left hand much more than D himself, and I want to believe that these voice actors/actresses were TRYING to make due with what they had, it's just that their efforts didn't seem to pay off as well as they should have. Of course, I am aware this flick was re-released on Blu-ray disc, featuring a brand new English dub by Sentai Filmworks no less, only last year; (which actually DOES surprise me, I mean... a stand-alone, B-grade OVA nearly three decades old getting redubbed after 20+ years? =-O) Until I have the chance to compare and contrast them both along with the original Japanese version myself however, I won't be able to say for sure which one is easiest on the ears according to personal preference. On the whole, I don't regret watching "Vampire Hunter D", even though I think a lot of my tolerance for its initial dub as well as the film in general comes from having been lucky enough to see it in the same way my dad did when he was younger than I am now; only by means of the internet and not a grainy video tape :) If you're a fan of old-school horror pictures, anime or otherwise, then this will be an hour and twenty minutes of your life well spent; it may not be a fabulous piece of work, but it isn't scarring either. |
| (The) Vision of Escaflowne (TV) |
Good |
|
| When Marnie Was There (movie) |
Excellent |
|
| Whisper of the Heart (movie) |
Masterpiece |
|
| (The) Wind Rises (movie) |
Masterpiece |
|
| Witchblade (TV) |
Decent |
|
| Wolf Children (movie) |
Excellent |
|
| (The) World of Narue (TV) |
Good |
|
| xxxHOLiC (TV) |
Good |
|
| xxxHOLiC the Movie: A Midsummer Night's Dream |
Good |
|
| xxxHOLiC: Kei (TV) |
Good |
|
| xxxHOLiC: Shunmuki (OAV) |
Good |
|
| your name. (movie) |
Excellent |
|
