It's obvious from nearly the first scene of acclaimed director Mamoru Hosoda's newest film that Scarlet draws from the Shakespearean play Hamlet. Character names and basic plot points are ripped straight out of the play—and Scarlet herself is an obvious female proxy to the titular prince. However, for the most part, the connections between the works are skin deep, with Hamlet being used as little more than narrative shorthand to get us into the main story within the realm of the dead as quickly as possible. Characterization, interpersonal relationships, and themes vary widely from the original Shakespearean inspiration—except in one case. Revenge is undoubtedly the central theme and driving motivation in both works.

Scarlet is driven to kill Claudius—be that in our world or the next. And after facing constant betrayal both in life and after death, she becomes a solitary, untrusting creature—one all but devoid of empathy. It is then that she encounters Hijiri, a man who is nothing but empathy.

He is a pacifist to the extreme. Not only is he willing to treat the pair's injured enemies, but he actively tries to prevent Scarlet from killing them. Time and again, he throws himself in harm's way for others and takes a beating for it—only for his kindness to win people over again and again. But this isn't a film where idealism and pragmatism clash only for idealism to win every time, however. Even Hijiri learns that there is a time to stand up and fight for what you care about. That said, the point is clear: lethal force should only be a last resort.

As the two continue their quest to find Claudius, Scarlet learns through Hijiri not only the power of compassion but the power of mercy as well. She also becomes aware of the large difference between killing for your own reasons and killing in the defense of the defenseless. In a very real way, Scarlet's adventures in the wastelands of the afterlife are the crucible to mold her into a wise and beloved ruler. There's only one thing standing in the way: her need for revenge.

Throughout the film, Scarlet is forced to confront the idea of forgiveness. Can she forgive Claudius for killing her father? Should she? And what about the men who actually did the deed? Or the soldiers who follow Claudius in the afterlife in the vain hope of getting into heaven?

The real core of the story is whether Scarlet can forgive herself. She was not responsible in any way for her father's death. But the guilt of feeling like she should have been able to do something—anything—to prevent it is a still bleeding wound on her soul. Rather than confront it, she has covered it with an all-consuming need for revenge—preventing her from becoming the ruler she was born to be.

While the film is thematically solid, the presentation has its ups and downs. Visually, the film is stunning. The desolate afterlife, with its literal sea floating above the clouds, is instantly memorable. The dragon that appears to render divine judgment is suitably awe-inspiring, and the mix of people from across both the ancient world and the ages leaves an impression, to say the least. Likewise, the action, fight scenes, and major battles are all fluid and well-choreographed.

The issue comes in the directing. There are more than a few odd cuts in the film that are strikingly sudden—if not outright confusing. Then there's the inclusion of several dance sequences in the film. While they do have a meaningful effect on our heroes, they feel a bit too self-indulgent for their own good—especially the modern-day one set outside Tokyo's Shibuya Station.

This, in turn, brings us to the music. The background music is powerful and epic—exactly what you'd expect from a fantasy epic like this film. However, it's the diegetic music in the film that doesn't fully match up. Both of the aforementioned dance numbers come with songs that have an almost pacific islander feel to them. And while this incongruity can be partially hand-waved away thanks to Hijiri's inclusion in the film, it nonetheless clashes with the medieval setting and tone of the film proper. That's not to say that, in isolation, these songs are bad—quite the opposite—but they still just don't quite fit.

Presentation hiccups aside, Scarlet is an interesting film that takes one of the greats of classic literature and uses it as a springboard to tell its own, unique story. The characters are both well-developed and nuanced, and the various themes all come together in quite a nice way that complements the ending well. Is Scarlet Mamoru Hosoda's best film? No. But is it an above-average film worth watching? Absolutely.