Of all times to have a heartfelt flashback to their childhood, this was a good one, yeah. Once again we see Eren running off to do his own thing while Mikasa and Armin clean up after his ass.
It's also the first time Eren's really gotten the spotlight this season, right? Even though he's not really around per se.
It's a reminder that he's stupid, brash, headstrong, tenacious, and doesn't know when to give up - and that's what makes him Eren.
The boy's all heart, sometimes to his own detriment, but god damn if he isn't a good boy!
Eren is such a lovable heap of garbage, isn't he? Armin and Mikasa have themselves so worked up over his dumb ass they forget to eat. Kiddos, take care of yerselves first, Eren's got plenty of protagonist armor to keep him alive, even if he does get trashed on near constantly.
Both Eren and Ymir are disarmed so it's not like they can really run.
There's that, and the political side of things is starting to heat up a bit. You've got the MPs scared shitless about actually having to fight Titans, despite the airs they put on. Something's brewing in the military, though we won't get to see the payoff just yet.
We're not getting to the basement, if that's what you're wondering.
But yeah, we'll get some answers soon I think... followed by more questions, of course, since that's how Attack on Titan rolls.
So Nick, A Silent Voice was released on iTunes UK a few days ago. You seen it yet?
After fighting iTunes to let me do it, yes
You have no idea how long I spent the other night yelling at Apple to take my money, in a weird turn of events.
Before we get into the movie itself, just checkin: you haven't read the manga, have you?
I haven't. I'd been considering it after a ton of friends sang its praises but decided I'd just wait until the movie came out.
Alright, good to know. I read it as it was being serialized but haven't revisited since then. What'd you think of the movie, in a sentence?
I liked it, but feel I could've loved it with a few tweaks.
I friggin loved it, but agree it could've been improved in a few key areas.
Wondering if your complaints with it are the same as mine? I thought it was a touch overlong, and the secondary cast was really underused. Unfortunate remnant of being adapted from a long ass manga.
I'm of 2 minds on the length. I feel like it either needed to be shorter and hone its focus on the (stellarly written) leads or just open its belt and flab out to 3 hours to give the whole cast their time to shine. As is, some of the emotional beats came and went so fast that I was left scratching my head at times, and some of the secondary cast feel totally superfluous to the emotional core.
I'm with you on the second point - Mashiba and Kawai don't serve much of a purpose with their stories excised. Kawai's worth a mention as an example of passive bullying, I guess, but otherwise, yeah.
There's also just some creative choices I don't really get. Specifically the music in a few key scenes.
You thinking of the scene in the hospital where Shoya climbs outta bed?
That too, but specifically the scene where Shoya's mom confronts Shoko in front of the hospital. The content there is really well written - there's tons of gnarled, complicated emotions flying and it's the lowest point of the whole story. And yet the score is this upbeat, tinkling electronic piano that practically drowns out Shoko's lines. I just can't figure out what they were going for with that accompaniment and it took me out of what was otherwise a fantastically staged moment.
I disagree, actually. That part to me was the point where the cast is starting to piece their lives back together. Yeah, the emotions there are ugly, but there's also a faint undercurrent of hope. That's what I think the score was going for there.
I can see what you mean, but in the moment it totally distracted me from the rest of it. I do want to stress that I did like the film - the middle hour or so has was totally engrossing and the whole thing's gorgeous from start to finish.
Not a fan of the first act? That's my favorite material.
I like the material, but the first 20 minutes are some of the most Naoko Yamada sequences in the whole thing, and I just have never clicked right with her predilections as a director.
I thought the early bits succeeded in the attention to detail - the incidental actions, the kids' body language. Shoya repeatedly playing with pencil lead really rang true, like yeah, that's a real kid. The film's really good with its child characters. They feel like real kids, with all their thoughtlessness.
It's a lot of great details and I absolutely appreciate the craft. Yamada's a super talented director with a gift for body language and communicating physicality. But something about her editing just bugs me - not sure how to put it in words.
Huh, I thought the editing in that first part was fantastic. Really efficient at setting up the parallels between Shoko and Shoya's experiences with the jump cut montages, for instance.
It's totally a personal peeve for me, I know.
That's totally cool! If we're talking about petty complaints with the movie I will admit I got a little tired of the soft lens filter after a while. Though that made the underwater scenes all the more visually striking, so maybe that's not a bad thing.
I can see that. Mostly I'm just glad there were fewer shots framed around anime girl calves.
Though don't think I didn't notice, Yamada
It's okay if you have bad taste and dislike Naoko Yamada legs, Nick.
I don't even dislike them. I'm just tired of that shot. You could make a foreleg drinking game out of Sound! Euphonium and die by episode 7.
But yeah, personal nitpicks aside it's a really solid movie with some phenomenal moments to it. Really glad I finally got to watch it.
Really, so much emotion is conveyed wordlessly that I really can't imagine anyone but Yamada adapting this.
She's absolutely the right choice for it. I can't imagine how complicated it was to animate sign language with that much clarity.
Yeah, as a story about healing and redemption, it's real good. We really get into that particular mix of adolescent anxiety and self-loathing. They're a bunch of messed up kids trying their best. Shoko doesn't say much but she's got a lot on her mind.
The central cast are terrific and complicated in all the ways I really love to see. It reminds me of Scum's Wish in how it portrays these messy relationships and emotions with so much care and sympathy.
Scum's Wish, but with less hate-fucking and more insensitive kids failing to accommodate their less abled peers.
That's what this movie nails I think, the kind of thoughtlessness that really hurts marginalized folks - in this case, disability, but it can also extend to other types of marginalization.
And the way different people react to their own toxic actions. Shoya turns to self-loathing, Ueno doubles down on her own prejudice to avoid confronting her actions, and Kawai just denies culpability entirely because she wasn't the instigator.
Sahara was probably the least shitty of those kids but even she shied away from actually confronting anyone bullying Shoko.
Yep. It's a lot more considerate and thoughtful than your typical bullying narrative. I was really glad it was willing to explore such a touchy subject with that much grace.
This movie's real special. The balcony scene will probably stick in my memory for a pretty dang long time. The soundtrack builds and builds, ramping up the anxiety, and then - silence. It's such a good scene.
It's definitely unique. My nitpicks mostly stick out more in my head because they're in contrast to how rock solid the rest of the film is. I'm definitely glad I checked it out. May even see it again in theaters if anybody ever licenses it here.
Oh man, imagine how good it'd look on the big screen. I'm crying inside a little just imagining it
We can at least agree that it's utterly pointless to compare it to Your Name, right?
that's like comparing Apples and Steak
Or fried rice and onion rings
How dare you bust out a Love Rice Heybot combo without warning people first, nobody's mentally prepared for that kind of warfare
great, i want onion rings and fried rice now, thanks me
how the tables have turned...