Tuesday, July 15, 2014


Title: Snowpiercer
Director: Bong Joon-ho
Written by: Bong Joon-ho, Kelly Masterson
Starring: Chris Evans, Song Kang-ho, Go Ah-sung, Jamie Bell, John Hurt, Tilda Swinton

Snowpiercer is something of an amalgam. Part high-concept science fiction, part social satire, part action thriller, the movie weaves in and out of several different genres and moods during its 126 minutes. Much like its director, Bong Joon-ho (The Host, Mother), Snowpiercer is interested in many things at once, and demonstrates mastery over all of them.

Set in the year 2031, after a devastating ice age freezes much of human civilization, Snowpiercer follows what's left of humanity on a giant train powered by perpetual motion. Rattling along icy rails and crashing through frozen overhangs, the train is home to a tiered class system, in which the upper class lives in the nose of the train and the lower class lives in the tail. Snowpiercer tells the story of this lower class staging a rebellion against the status quo.

What begins as a fairly typical jailbreak movie quickly and surprisingly morphs into something much deeper, more layered, and more intellectually, viscerally, and visually stunning than any other movie released this summer season. The screenplay, adapted by Bong and Kelly Masterson (Before the Devil Knows You're Dead) from a French graphic novel, is a tapestry of political provocation, dark humor, shocking violence, and big ideas, all wrapped up in a powerful human drama set against a fully-realized and convincing dystopian future.

Chris Evans stars in Snowpiercer.

Breathing life into that drama is a stellar international cast, anchored by Chris Evans (Captain America: The Winter Soldier) who plays Curtis, the stoical leader of the proletariat, and South Korean actor Song Kang-ho, who disappears into the role of Minsu, a politically pessimistic security specialist addicted to a toxic inhalant.

On a visual front, Snowpiercer is spectacular. Production designer Ondrej Nekvasil (The Illusionist) and his team of art directors, makeup artists, and costume designers have created in Snowpiercer a believable universe within the confined, steely space of a train. Each car has its own visual identity and story, and informs the pacing, action, and trajectory of the movie. Punctuating this trajectory are some thrilling and rattling action set-pieces, one of which is as good as any previously committed to celluloid. Expertly staged, visually inventive, and breathless in its brutality, this sequence is an instant classic.

The same could be said for Snowpiercer as a whole. Not since Neill Blomkamp's District 9 has a movie so deftly woven political allegory and science fiction with human drama. The result is a challenging and powerful motion picture that's both cerebral and visceral. With it, Bong Joon-ho has cemented his status as one of the industry's most creative, nimble, and visionary directors.

Tuesday, June 24, 2014

Mario Kart 8

Game: Mario Kart 8
System: WiiU
Genre: Racing
Developer: Nintendo EAD
Release date: May 30, 2014

Pros: Amazing track design; new anti-gravity mechanics; gorgeous graphics; strong, varied soundtrack
Cons: Battle mode

Since 1992, when Super Mario Kart first popularized the kart racing sub-genre, the Mario Kart series has been the video game industry's premiere kart racer. Challengers to the throne have come and gone over the past twenty years, but none have managed to unseat Mario Kart, which has relied on fundamentally-sound mechanics, addictive local and, increasingly, online multi-player options, and a stable of familiar Nintendo mascots to drive sales. Never before, however, have the developers at Nintendo EAD released a kart game, or any racing game for that matter, as deep, rewarding, and immersive as Mario Kart 8, the latest and greatest kart racer from Nintendo's evergreen franchise. 

Whereas recent installments of Mario Kart have felt, at times, like variations on a theme, Mario Kart 8, for the first time in a generation, feels like a brand new game, built from the ground up. The game looks different, it sounds different, and, most notably, it plays different. Yes, it borrows some of the ideas, systems, and even tracks from earlier games in the series, but it re-purposes them in such a way to produce something entirely new. This is a game with newly found confidence and maneuverability, thanks in no small part to the spatial freedom allowed by Mario Kart 8's greatest gift, anti-gravity. 

Mario races along an anti-gravity section.

Anti-gravity goes a long way in Mario Kart 8, not just by providing the visceral thrill of driving up walls and along ceilings, but also by adding another level of strategy to each race and by opening up new physical space in which to drive. Even in Mario Kart 7, which allowed racers to glide through the air and dive under the waves, each track was neatly defined by barriers left and right, and by Newton's law of universal gravitation. In Mario Kart 8 those barriers are much more fluid and changeable. Players might speed horizontally across the face of a mighty dam or bounce off bumpers in a section of track suspended in space above a busy airport (how is that not a violation of FAA regulations?).

The end result is an amazing collection of tracks, arguably the best in the series. Stand-outs among the eight original courses include Thwomp Ruins, Twisted Mansion, Mount Wario, and Cloudtop Cruise. Even the eight retro tracks, which are usually borrowed wholesale from previous entries, are refreshed in Mario Kart 8. They feel new again, and, in many cases, better.

All these new ideas and courses wouldn't mean much, however, if it weren't for a solid mechanical foundation underpinning the game. Luckily, Mario Kart performs almost impossibly well, with a subtly altered driving system that welcomes in novices and provides enough depth and challenge for experts. In terms of presentation and performance, the game is a home run. Fluid animation, gorgeous environments, and amazing attention to detail make each track a joy to race through, offline and online. Then there's the soundtrack, recorded with a full, live orchestra, a first for the Mario Kart series. It's jazzy, it's bold, it's a perfect complement to the lavish production that is Mario Kart 8.

The only real flaw in the game is its battle mode, which eschews brand new battle arenas in favor of standard racing courses. Consequently, players will drive along each course searching, often in vain, for opposing players. At best, it's a diverting game of joust; at worst it's a painfully boring game of hide and seek.

Mario Kart 8 can be played locally via splitscreen or online with 12 players.

It's a relatively small flaw, however, when the entire Mario Kart 8 package is considered. Mechanically, the game provides enough control options and strategies to satisfy both the greenest novice and the most seasoned veteran; structurally and spatially, the game allows players to discover heights and spaces previously unexplored; and technically, the game is steady and silky smooth offline with a group of friends or online with strangers from around the world. Add to that some of Nintendo's most verdant and opulent visuals and an enlivening soundtrack and the outcome is the best racing game ever made, and an early contender for game of the generation.

Sunday, June 15, 2014

E3 2014: Best in Show

In the world of cinema, the Academy Awards is the premiere event. In television, the Emmys is the annual event worth watching. With video games, it's a different story. Although there are plenty of awards shows annually, it's actually an event focused around previews that takes center stage. That event is the Electronic Entertainment Expo, known colloquially as E3, where the industry's giants go to do battle every summer. This year, continuing its break from tradition, Nintendo opted for a pre-recorded digital presentation in lieu of a real-time on-stage presentation. Its competitors, Microsoft and Sony, and publishers Ubisoft and EA went the traditional route with spectacular floor shows. Unfortunately for all involved, most depressingly the fans, all those who presented had rather meager showings. Even Nintendo, which "won" E3, played it safe. There were few surprises during the entire week, which was dominated by recycled ideas, overlong presentations, and not nearly enough actual gameplay footage.

However, despite the overall disappointment that was E3, there were a handful of games that elevated the proceedings and made the show worth watching. Those five games are included below.

Note: for those who are interested, you can find last year's "Best in Show" here.


Yoshi's Woolly World

From the team that created Kirby's Epic Yarn comes a new fabric-focused feature, Yoshi's Woolly World, this time with Nintendo mascot and beast of burden Yoshi. In this WiiU game, Yoshi retains much of the same moveset that has defined his other platform adventures, only this time instead of eggs he carries balls of yarn, which can trigger a number of unique events in the game word. The game will feature a two-player co-op mode, and will launch in the first half of 2015. Woolly World marks the first console Yoshi game since Yoshi's Story in 1998.


Sunset Overdrive

Of all the exclusive games showed at Microsoft's press conference, Sunset Overdrive was the most impressive. It looks refreshing, different, and lots of fun. Developed by Insomniac Games (Ratchet & Clank, Resistance), Sunset Overdrive is an open-world action game focused on "agile combat." The heroes of the game can swing and jump around the metropolis Sunset City at breakneck speed. Apart from the single player campaign, there's an online cooperative mode called Chaos Squad that allows eight players to fight together.


Far Cry 4

Continuing the open-world mayhem that's defined the series, Far Cry 4 takes place in a fictional country high in the Himalayas ruled by a despot. Players can attack the game in the way in which they choose, whether taking down enemy patrols stealthily or riding a rampaging elephant into an enemy stronghold. Far Cry 4 will feature a co-op mode, also, and on PS4 it's a real treat. As with 3DS download play, the PS4 version of Far Cry 4 will allow players to invite friends to join their games, even if those friends don't own a physical or digital version of the game.

Batman: Arkham Knight

As the first Batman game designed for PS4 and Xbox One, Arkham Knight manages to fit the entire city of Gotham into one tiny disc. In fact, the game is five times bigger than developer Rocksteady Studios' previous title, Arkham City. Combat has also been refined in the years since Arkham City launched. There are new, more powerful enemies, new combos, and brand new environmental attacks. Last, but definitely not least, this latest Batman game features, for the first time, the Batmobile as a drivable vehicle, which can be summoned to the player's location at will.


As with Sunset Overdrive, Splatoon is changing the rules of what has become in the last decade a very stale and bloated genre. Splatoon is a squad-based third-person shooter that pits two teams of four players against each other, each squad composed of squid-kid hybrids armed with ink guns. During each match, players can transform from a kid into a squid, which can then surf through its own team's ink undetected, and maybe even ambush an enemy player. The WiiU GamePad is used cleverly in Splatoon, displaying a map of the battlefield covered in ink and the player's teammates. One swipe of a finger (or stylus) will launch the player across the map directly to his or her partner. Just be careful where you land.

Sunday, May 18, 2014


Title: Godzilla
Director: Gareth Edwards
Written by: Max Borenstein
Starring: Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Juliet Binoche, Sally Hawkins, David Strathairn, Bryan Cranston

While walking out of the theater after watching the credits roll for the most recent installment of Godzilla, this one helmed by up-and-coming British director Gareth Edwards, I overheard a young man remark "it almost makes me forget about the 1998 Godzilla." If this is the sentiment expressed by the majority of moviegoers this summer season, then mission accomplished for Edwards and company, who several years ago set to wipe out from the collective unconscious the memory of Roland Emmerich's overblown and intellectually bankrupt 1998 blockbuster. What Edwards and screenwriter Max Borenstein have managed to do is make the anti-Emmerich Godzilla, a thoughtful, slow-moving blockbuster in which humans and monsters have equal billing. In some ways, this newest imagining of Godzilla goes a little too far in that direction. It suffers, at times, from self-seriousness. But overall, the movie is a successful reboot. The cast, anchored by Aaron Taylor-Johnson (Kick-Ass) and Bryan Cranston (Breaking Bad), lends credibility to the picture; Edwards and cinematographer Seamus McGarvey punctuate the movie with some amazing visual moments; and the monster itself is that rare creation in a world of overwrought digital effects -- one that manages to impress.

Godzilla begins with a pre-title sequence set in 1954, after which it jumps forward in time to 1999, where scientists are called to the Phillipines to investigate puzzling fossils and radiation signatures. From there it moves northeast to Japan, where the movie introduces Joe Brody (Cranston), his wife Sandra (Binoche), and their young son. The majority of the movie takes place fifteen years later, in 2014, where the events of 1954 and 1999 culminate in a major crisis for humankind.

Speaking of humans: for a long time they are the only focus of attention in Godzilla. As in Spielberg's masterwork Jaws, Gareth Edwards wisely chooses to keep his monsters under wraps and shrouded in secret so their arrival on screen is that much more impactful. The "King of the Monsters," after all, should make a kingly entrance. So it's up to people to keep the production moving forward. And while the writing is not quite worthy of a Pinter play or Shakespeare sonnet, and the drama is not quite as powerful as it should be, it still manages to set a solid foundation so that when the the forces of nature descend on human civilization, the audience appreciates the emotional baggage of the movie's protagonists and understands the science behind its monsters.

Emotionally and intellectually, Godzilla hits all the right notes. But visually, it rises into the stratosphere. The earlier comparison to Spielberg was no accident. In Godzilla, Edwards and McGarvey seem to be channeling the legendary director with their aesthetically arresting use of light, shadow, and, especially, mirrors. The visual highlight of the movie, however, is entirely original: a high-altitude low-opening (HALO) jump at dusk, framed against a stormy sky, lit by crimson-red flares.

Walking out of the theater on a sunny Saturday afternoon, I, too, had almost forgotten about the 1998 Godzilla. Whereas Emmerich's movie was boastful of its special effects and meager in its characters and science, Edwards Godzilla is rich in text and subtext, and uses digital effects to texture a vivid visual landscape of monsters, heroes, and nuclear weapons. It's the Godzilla movie we deserve.

Saturday, May 17, 2014

Top 10 Most Disappointing Games of the Seventh Generation

With the Xbox One and PS4 launching last winter, the eighth generation of video games officially began in full. So it seems like now is as good as time as any to look back on the seventh generation and take stock. For me, the seventh gen was a mixed bag. There were many great games and great experiences, in no small part due to fierce competition among Sony, Nintendo, and Microsoft. But there were also bad business practices and many -- too many -- unfinished, buggy, and otherwise incomplete games released. All too often, consumers were treated as Beta testers for products soon to be patched, updated, or made whole with overpriced downloadable content. Equally frustrating were a handful of high-profile, hyped-up games that failed to deliver, either technically, mechanically, or both. Ten such games are listed below. These titles, although very different in terms of scale, scope, genre, and pedigree, all share one thing in common: they're among the most disappointing games of the seventh generation.

Too Human

Denis Dyack and his team at Silicon Knights were once a force to be reckoned with. From 1996 to 2004 the studio developed three excellent games: Blood Omen, Eternal Darkness, and a Gamecube port of Metal Gear Solid. The team's follow-up, Too Human, was less impressive. Although the game features an original premise -- the Norse gods as cybernetically-enhanced supermen -- its linear level design and tedious gameplay turned what could have been a bold and original action RPG into just another mediocre game.

Duke Nukem Forever 

After 15 years in development hell, Duke Nukem Forever finally emerged in 2011. Having changed developers and publishers so many times, and stopping and starting for over a decade, Duke Nukem Forever was, perhaps, destined to fail. Technically and structurally, it represents a major step backward for first-person shooters. The action is flat and joyless; the graphics are muddy and blocky; and the script is humorless and misogynistic. In short, it's a train wreck.

Conduit 2 

 No one would ever claim the original Conduit as a world-beater. It stands today as an unspectacular, straight-forward corridor shooter. But whereas the first game was a modest success with good gunplay, an interesting storyline, and excellent voice acting, the sequel is a jumble of undercooked ideas and mechanics with an incoherent storyline and some of the worst writing and voice acting of the past few generations.

Medal of Honor 

The original Medal of Honor was one of the best first-person shooters of the fifth generation. It was atmospheric, it was smart, it was deep and varied, and, most importantly, it was fun to play. The Medal of Honor reboot in 2010 is anything but. It's a shame that Danger Close Games decided to make a Call of Duty knock-off instead of focusing on what made the early MoH games so enjoyable. Almost every idea in Medal of Honor has been borrowed from other series, most notably Battlefield and Call of Duty. It's all been done before, and done better.

Resident Evil: Operation Raccoon City 

Four-player co-op games are hard to come by. Great four-player co-op games, as evidenced by Operation Raccoon City, are even harder to come by. The game, which serves as a spin-off from the venerable survival-horror series, was best described by Audrey Drake at IGN as "...little more than a poor man's SOCOM, and a destitute man's Resident Evil." Bad shooting and cover mechanics, inconsistent AI, and boring, uninspired level design drag the game down. But it's the half-baked, non-canonical story and forgettable, interchangeable characters that spoil what was, in theory, a really great game.


Turok is a child of the fifth generation of video games, and perhaps that's where it should of stayed. The original trilogy, apart from an average third entry, was excellent; the spin-off Rage Wars was multiplayer mayhem at its finest. Then, in the sixth generation, came the massively disappointing Evolution, and after that, in 2008, a reboot. It's this reboot that's especially discouraging because, like Duke Nukem Forever, it strays far from the series' roots. It's safe, uninspired, and boring, with generic enemies and environments. It's just another below average shooter, a far cry from the challenging, surprising, and atmospheric games that represented the franchise once upon a time.

Aliens: Colonial Marines 

If Operation Raccoon City wasn't proof enough that four-player co-op games are capable of massive disappointment, look no further than Colonial Marines, another game with a good concept and rich mythology that suffers from technical, mechanical, and presentation problems. The single-player mode is dated, visually and mechanically; the story is more fan-fiction that anything; and the bugs and glitches are frequent and hilariously bad. Multiplayer options are surprisingly enjoyable, but they're not enough to save the overall package.

Resident Evil 6 

Many fans of the early Resident Evil games express disdain for Resident Evil 5 because the game is far more action-oriented than its predecessors, but at least it plays well. Resident Evil 6, conversely, plays like a wet dish towel. Featuring three campaigns, each of which follows a famous (or infamous) Resident Evil personality, RE6 is a long, substantial game. But it's also a frustrating and sometimes hollow game, one so packed with interactive cut-scenes and quick-time events that it feels, at times, like a game on auto-pilot. Capcom clearly invested more time and resources in presentation than in gameplay, and it shows.

Assassin's Creed II 

The first Assassin's Creed was criticized for being repetitive and plodding, so Ubisoft attempted to fix these issues in the sequel by adding a larger, more open world with lots to do and see. While the world is undoubtedly bigger, the content inside is spread so thinly that much of the game is spent wandering from point A to point B, using Ubisoft's patented one-button-does-everything scheme. What's worse is that the content, once promised by the developers to be interesting side-missions and quests that added texture to the main campaign, somehow devolved into fetch quests and rooftop races.

Killzone 2 

How Killzone 2 earned a "most improved sequel" award is a complete mystery. It represents a significant step backward from the first game, which, incidentally, is one of the most underrated games of all time. Where Killzone was intelligent, thoughtful, and replete with interesting mechanics and scenarios, Killzone 2 is a dumb mess. The characters are poorly-written and unlikable, the story is contrived, and the gameplay is uninspired and generic. Killzone brings nothing to the table other than pretty graphics.

Sunday, March 30, 2014

Top 10 Video Game Songs

There are many things that define a great game: attractive presentation; competent graphics, physics, and sound design; intuitive controls; and, above all else, mechanically-sound gameplay. But there's also something else, something that doesn't necessarily define how a game plays, but very much defines how a games feels, and how we remember it. That something else is music, and it's an important, if sometimes overlooked, part of the modern video game industry.

Below is a list of what I consider to be the top ten video game songs, sampled from the last thirty years of video games. Some of the songs are bombastic, others soulful and mellow, others subtly sweet. I hope you enjoy them as much as I do, and I hope they bring back some fond memories.

Without further ado, I present the top ten video game songs.

Dr. Wily Stage 1/2 
(Mega Man 2)

Feeling the urge to play air guitar? I don't blame you. Few video game themes are as catchy and invigorating as the music used in both Dr. Wily stages in Mega Man 2. Traditionally, Capcom used separate themes for each Wily encounter, but when you have access to a song this good, why bother?

Romance Theme
(The Legend of Zelda: Skyward Sword)

I know what you're thinking. Where the %*#$ is Gerudo Valley? And where's Dragon Roost Island, you $@*#? As much as I enjoy those songs, I think Romance Theme from Skyward Sword just might be the finest track from the entire Zelda discography, and that's saying a lot. It's a beautiful medley of instruments -- flute, oboe, bassoon -- playing melodies and counter melodies. It's impossible not to smile when you hear it.

The Sun Rises 

A game as beautiful as Okami deserves a beautiful soundtrack. And no song in Okami is quite as beautiful, or as complex, as The Sun Rises. Five instruments -- cello, violin, piano, shamisen, and shakuhachi -- are deployed to great effect in this song, which plays during a climactic boss battle.

Wicked Child 

Some series have so many excellent songs that they could fill up a top ten list on their own. Castlevania, which has been delighting video game fans for almost 30 years, is one such series. I was tempted to include songs from Rondo of Blood and Symphony of the Night, but none matched the rhythmic intensity of Wicked Child, which first appeared in Stage 3 of the original Castlevania. Those damn hunchbacks...

Gusty Garden Galaxy 
(Super Mario Galaxy)

Rumor has it that Nintendo Gamer editor Matthew Castle loves Gusty Garden Galaxy so much that he played it on a loop while he wrote his Super Mario Galaxy review. Can't say that I blame him. Super Mario Galaxy boasts one of the finest orchestral soundtracks in any video game, ever, and Gusty Garden is probably its best track.

Fear Factory 
(Donkey Kong Country)

There are only so many musical geniuses in the video game industry: Koji Kondo, Nobuo Uematsu, and, yes, David Wise. His work in the Donkey Kong Country trilogy is especially good. The standout track in the premiere game is Fear Factory, a masterpiece of industrial, ambient sound.

Big Blue 

The original F-Zero features several bold, original songs, including fan favorite Mute City, but to me Big Blue will always come out on top. Flashy, frenetic, almost hyperactive, it represents the breakneck speed of the game perfectly.

Terra's Theme 
(Final Fantasy VI)

Like Castlevania, Final Fantasy could dominate this list single-handedly. It's a series well known for its rich, diverse, and imaginative songs, including this gem from Final Fantasy VI. Terra's Theme is the most ubiquitous song in Final Fantasy VI, as it plays in the background on the world map. Smooth, steady, at times vaguely militaristic, it's probably the greatest overworld theme ever written.

Halo Theme 
(Halo: Combat Evolved)

What do Mr. Clean, Flintstones Vitamins, and Halo have in common? The same musical mastermind, Martin O'Donnell, wrote the themes to all three. And while his TV jingles are catchy, it's his bombastic, layered music in the Halo series that truly defines his skill as a composer. His greatest achievement is the main theme from Halo, which is heavy on deep drum beats, fast-paced strings, and, for good measure, a chant. It's the perfect invitation to the thrilling, alien, and mystical world of Halo.

Stickerbush Symphony 
(Donkey Kong Country 2)

Here it is, David Wise's magnum opus. Filled with the jazzy, ambient music that defined his work in the Donkey Kong Country trilogy, Stickerbush Symphony is a true work of art. It's soulful, earthy, and, in rare moments, even plaintive. It's a testament to Wise's skill in creating not only music, but sound as well. 

Tuesday, March 11, 2014

The Wind Rises

Title: The Wind Rises
Director: Hayao Miyazaki
Written by: Hayao Miyazaki
Starring: Joseph Gordon-Levitt, Emily Blunt, John Krasinski, Martin Short, Werner Herzog

In one of the many dream sequences that populate Hayao Miyazaki’s latest masterpiece, The Wind Rises, Italian aeronautical engineer Caproni says to the movie’s protagonist Jiro, “artists are only creative for ten years.” It’s here, and during other moments, where Miyazaki, who announced his retirement (again) before the premiere of the movie, seems to be channeling his own creative career. Anyone familiar with Miayazaki’s resume knows that the ten-year rule hardly applies to him; for over thirty years, he’s been making some of the world’s most beautiful, expressive, emotionally powerful animated feature films, many of them masterworks. Yet The Wind Rises looks to be the last, at least according to Miyazaki, who hopes to pass along his work to a younger generation of animators. Miyazaki has entered retirement before – at one point he claimed Princess Mononoke (1999) would be his final film – yet there seems to be a sense of finality to his most recent announcement. Thus, the watching of The Wind Rises is a bittersweet affair, bitter because it may be his last, sweet because it stands as one of the finest, most elevated movies of his long, brilliant career.

The Wind Rises is a fictionalized account of aeronautic engineer Jiro Horikoshi, who famously designed the Zero fighter, used by the Japanese navy during World War II. Although the movie faithfully recreates Jiro’s professional career, it invents his private life. As a result, The Wind Rises is part biopic, part historical fiction.

Fans comfortable with Miyazaki’s earlier works may be surprised by the contents, artistic and thematic, of The Wind Rises. There is very little of the fantastical that so often accompanies his stories. Only in dream sequences does the movie adopt the surrealistic visuals and other-worldly creations that define Miyazaki’s imaginative landscape; much more often the movie is dominated, atypically, by realism. The Wind Rises, in other words, is more David Lean than Walt Disney. It’s also, by far, his most difficult, abstruse feature. The movie demands some knowledge of world history, and the ability to follow a story that moves, often seamlessly, between reality and fantasy. In this way, The Wind Rises recalls 8 ½, Federico Fellini’s challenging, sometimes impenetrable semi-autobiographical masterpiece.

This uncharacteristic realism and density, however jarring, points to a significant elevation and evolution of Miyazaki’s filmmaking. It may not be his best movie – that honor still goes to Spirited Away – but it’s his most dramatic. In terms of narrative, storytelling, composition, cinematography, and editing, The Wind Rises is Miyazaki’s finest work. It’s also his most transcendent. It breaks down the traditional barriers of animation to produce something amazingly lifelike, not in terms of its aesthetic but in terms of its structure.

If The Wind Rises is indeed Miyazaki’s final film, it’s a worthy swan song for the greatest living animation director. It’s his most complex, elevated, theatrical feature yet.