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Reviews
Sukûru deizu (2007)
A sadistic perversion of the High School Romance genre
School Days is a sadistic perversion of the High School Romance genre - out is the usual staple of charming characters, sensitive moments and budding romance replaced by lust, cheating and vengeance. To this end the show has to be given credit for it's new take on a well worn story dynamic - taking people in with it's cutesy exterior and presumed love triangle set-up before shattering their expectations with a slow but carefully executed increase in both drama and cruelty.
It's also unparalleled in it's ability to make you despise it's characters; chief among them is the main male protagonist Itou who shows such selfishness and inability to emphasize throughout you wonder if he has genuine mental impairment! Other characters are more multi-layered, showing good aspects (at least at first) but they too also succumb to the general depravity as the show meanders on from one deranged low to another. Towards the end, things start getting a bit too depraved - which almost takes you out of the narrative entirely but then the brutal conclusion rears it's ugly head with all the force of a steam train and you realise now why the depravity was necessary - it had all led us to this one point. The cathartic moment where the people in question get what they deserve.
School Days is a short, sharp jolt out of the nice cutesy preconceptions we have about High School Romance stories. It's unforgiving, sadistic and depraved - but all the while strangely compelling. It has to be applauded for its creativity and how it manages to conjure up strong feelings of hatred towards it's characters. While it couldn't be universally recommended, it's worth watching to those who can stomach it as something that's very unique and different.
New Girl (2011)
Every Hipster girl's fantasy...
This show is every Hipster girl's fantasy; sharing an apartment with 3 thoroughly metro-sexual men who are all willing to shower her with attention whilst all the while being perfectly willing to ignore her eccentric behaviours. And heck, even finding some of them endearing from time to time.
Forgive my cynicism, but New Girl is a show steeped in idealistic notions and well meaning but badly executed cliché. But in it's defence I'm willing to bet that I'm far from the intended target audience - a weak defence though if anything but one none the less. This is because in my mind good writing, plot development and characters should transcend the genre that it finds itself in. People who are not particularly partial to said genre should still enjoy it on some level - that's a sign of generalised quality.
Watched mainly under the pretence that this had Zooey Deschanel in it (or was it Katy Perry?) which I make no qualms about admitting; the show already had a certain amount of pedigree from the get go. It wouldn't be an exaggeration to say that Miss Deschanel has made a living out of playing off kilter, eccentric but cute characters on the big screen. Something that could perhaps show case these attributes in a more expansive TV format would not have been a bad idea... at least on paper.
However everything is just badly over baked; the characters, the jokes, the set-up's. It's like someone just turned all the dials up to 11 and forgot to turn them back down again. Put another way, it just feels like it's trying way to hard - strongly encapsulated by the pristine back drops that are used that look like they came straight out of an Ikea catalogue. There are some good things now and then however; the odd well delivered one-liner, a cute awkward event or the occasional genuinely heart warming moment - but they seem just way to far in between.
After all said and done though it's not a terrible TV show, just very middle of the road. Perhaps they were counting to much on the star power of Zooey Deschanel to carry them through, a wasted opportunity in my mind given her ability in past work. Maybe though, in the second season (if there is one) some of these problems will be ironed out; which would be nice, because underneath all these issues and 'emotional baggage' there's a genuine and interesting girl trying to get out.
Food, Inc. (2008)
Next time you reach for that sandwich...
Grown from the roots of 'Fast Food Nation' and 'The Omnivore's Dilemma' - the former of which spawned a highly engaging narrative-based film in it's own right; Food inc. represents the efforts of 3 years of dedication, which was made all the more harder with it's depicted industry for the most part at least not wanting to play ball with anything resembling a camera crew.
The industry in question is the food industry, whose rise to power in recent years has been almost unprecedented - power that it has to be said that's been concentrated into the hands of a few very influential corporations. The film sets out to cast a light on the practices and behaviours inherent of such a monopoly, and indeed some rather unsavoury things have transpired.
The bleakness that comes across from the showing of these unethical practices are at least tempered with some success stories sandwiched in between. The rise of organic products into public awareness and farmers who stay true to their roots being the most prominent. That's not to say that there is a overall melancholic tone to this piece, you are left at the end feeling more enlightened and that you can do something to change the whole situation. But the moments where ordinary people are thrown against the rocks of adversity with little help from those higher up are really quite something.
With clever pacing, smooth narration and a point that certainly seems pertinent today more than it's ever been - food inc. is absolutely unmissable to anyone interested in the field of documentary, and for the rest of us probably even more so.
After School Special (2003)
Barely Watchable.
I really don't know where to begin when describing a film of the calibur of Barely Legal(AKA After School Special). Describing it as a catalogue of errors does a dis-service to films that fall in that category - because usually although they failed spectacularly for various reasons, there's some evidence that they did so whilst trying to do something of note. You never really get the sense that anything was really attempted here.
National Lampoon, apparently meant something in the field of comedy at one stage in time, but I can't help but feel that it's reputation and stock nowadays is somewhat diminished given this showing. Barely Legal tells the story of 3 teenage guys who are inept with the girls and perpetually short on cash. Reasoning that they need money to get girls in the first place, they come across the idea of making their own porn film (not exactly an original concept). As preposterous as that sounds it's little in comparison with the casting. As well as conforming to the usual rule of anyone under thirty five could play a teenager in a fictionalised high-school setting, the leads are a somewhat strange combination. Two of the key characters are your typical geeky looking guys who for all intents and purposes you could perhaps see being in similar circumstances in real life. The other is what can only be described as Calvin Cline model. Taller and older looking, his presence on screen with his two co-actors is as striking as a pensioner at a rave - and twice as embarrassingly uncomfortable. It's quite obvious he's the one going to be getting the most screen attention, and inevitably the girls. It's a rather cynical Hollywood convention that's sadly both predictable as it is shallow.
The Worse is yet to come however - now I realise that woman in these sort of comedies don't often feature too prominently, marginalised often at best. But here the bar is very much raised in a way so distasteful that it's almost nauseating. Portrayed as unintelligent and personality-lacking is one thing, buts it's another to imply woman are simply a means to an end - one that I don't think needs elaborating. Add to this almost random flashes of nudity and you have the rotten cherry on top of a very putrid cake. I've really got to applaud the film in that regard though, if it can make a mostly apathetic laid back guy take up near feminist views on character portrayal, then it really must excel in it's field.
But the biggest question of all - I found myself wondering; is who exactly is this film suppose to be aimed at? A juvenile story and overall stupidity would make you assume youngsters but with soft-core porn scenes, nudity and masturbation jokes you find yourself at a loss to it's target audience. If you really want a teen sex-based comedy then you have a whole list of better alternatives; Superbad, American Pie and Road Trip to name but a few - comedies that actually had some substance to them as well as being a lot more humorous. With those in mind this shouldn't even register a passing glance. Barely Legal was meant for no one it would seem, and conveniently enough that is exactly what I would recommend.
Kanon (2006)
Feeling Blue this Winter?
Based on a popular dating sim video game, you would be forgiven in thinking that the anime that used it as it's source material may not be that great. Surprisingly however this is not the case, Kanon is a wonderfully poignant story of love, loss and forgiveness that inspires a warmth that is ironically in direct contrast with it's snow covered winter back-drop.
Yuuichi is the protagonist in this drama, he transfers to a distant town where his cousin and aunt live - it's a quaint location, midway through the winter season where a thick blanket of snow covers every surface. Yuuichi is no stranger to this place though, he has visited before when he was younger, and the events that occurred then would now on his return begin to fully transpire.
A Criticism squared at Kanon is it being too formulaic, and this is more or less the case, a vaguely familiar pattern emerges after the second arc or so. The major characters that were introduced quite early on all have their own dilemmas - often the root cause being something that happened in the past. However regardless of this flaw, the anime as a whole doesn't really suffer for it. The real draw is the fleshed out characters - mannerisms, eccentricities and sheer personality all intertwine to form a group of people that you really genuinely care about. It's nearly impossible to not be charmed by such a winning combination.This all lends itself to undeniably it's greatest strength, because you can emphasize so well with them the moments of harrowing sorrow are all the more moving. So as a result it's almost guaranteed that you'll tear up watching this - only complete un-interest in the genre or a lack of pulse are any reasonable excuse not to!
Kanon is a thoroughly engrossing drama with an emotive pull that is almost unparalleled,sumptuous relationship based progression make this stand out amongst it's field as well as making it highly memorable to the viewer. To some though, the charm and cuteness may at times be too sickly sweet - which is really encapsulated by the strong Moe style that the show uses, which can it must be said take some getting use to. The narrative is consistently strong however; with sufficient pacing and variation that this is quickly forgotten. The only drop in momentum comes towards the end of the series itself where some loose ends get tied a little too conveniently. But don't allow this to deter you from watching this spectacle - beautiful in both animation and narrative Kanon is essential viewing for anyone interested in the genre. A whimsical Winter Fairy tale that will melt even the most concrete of hearts.
Låt den rätte komma in (2008)
The Horrors of Childhood - And Romance with a Vampire.
A recent Swedish independent film that has struck a chord with movie-goers the world over. The only way to describe it is Childhood romance with added vampire. This isn't any Twilight impersonator however, unapologetically violent at times and also sprinkled with some dark ironic humour, this is surely the more mature and realistically grittier film, irrespective of the younger leading roles. Altogether touching and extremely sharply written; this will definitely stay with you for days after viewing. It says it all that the backlash felt when a Hollywood remake was announced just a week or two ago - by fans and critics alike was so eminent. That seems to me to indicate that even within such a short course of time, this has acquired a cult status.
Finally, be warned that their are two subtitles versions out there - The 'standard' and 'theatrical' release. Standard is a dumbed down version, with liberties being taken and the meaning diluted. In other words, it assumes you as the viewer is a little on the 'slow side' lets say. Again, it was the reaction that was caused that forced the publisher to re-release the DVD with their original translations in their intended form.
Gran Torino (2008)
Clint's final role is unmissable
Said to be Clint's final curtain in terms of acting - and also highlighting his talent and versatility yet again by a dual director capacity; Gran Torino has it's work cut out to live up to the pressures and expectation that come about when ever a man actively described as a 'living legend' decides to make a piece of cinema. Fittingly, for his last acting performance, he quite literally steals the spotlight from everyone else on screen. He emits such a strong and endearing presence, that the others are almost perhiperal - however this can in some way be attributed to his decision to recruit authentic ethnic actors and actresses to certain roles. Now, while I admire such a bold and realistic approach - the end result is a little hit and miss in places, with the obvious lack of acting experience shining through on occasion. This is one of very few problems, the other most prominent one being that certain concepts and ideas are conveyed so heavy handily that they lose there intended impact - the start of the film is where this is the most apparent. However, Clint's performance alone excuses these minor gripes; I yet again find myself complimenting his tour de force as a dis-enchanted cantankerous War Vet. It really is something special to behold. The plot grips, and turns down avenues that you would not ever expect, and the dialogue is sheer brilliance. Gran Torino is by and large hugely entertaining, and will genuinely keep you gripped throughout. Nothing more needs to be said about Clint's sublime role, which eclipses all others in its wake. A solid film that will hit all the right notes with fans and non-fans alike - only a lack of polish in a few places lets this down, and denys it truly great status.
Role Models (2008)
Surpringly Entertaining - Don't judge before you've seen it.
I had a lot of doubts and pre-judgements about Role Models before I even watched it I'm afraid to say, and I guess the trailer was probably the main negative influence - it basically painted it as American pie... now with responsibility. This sort of comedy has become a over worked horse - flogged to death and then given a few more hits for good measure.
Since the original American Pie -the 'Godfather' of the genre if you will; there has been a whole host of pretenders to the crown, with increasingly less difference between them. An exception to this was probably the relatively recent Superbad, which gave a much needed breath of fresh air to the whole premise, and coincidently gave one of Role models' biggest personalities their big break (Christopher Mintz-Plasse)
Taking all of this into account, it was actually quite surprising that I found this film was actually very entertaining; even side-split-tingly funny in places. I personally put this down to the strength of two standout characters; Augie and Danny. Danny, played by Paul Rudd portrays a good natured yet jaded guy in a dead end job, his situation grinds him down to the point of borderline depression and general apathy with just about everything. The concept is entirely believable, and is givenextra weight by the way Rudd just seems to fit into it like a glove - it was almost like he was born to play this role. Christopher Mintz-Plasse plays Augie, a geek with an obsession over Medieval Role-play - emphasized by the fact he never leaves the house without his cloak. He has problems at home and a lack of self-confidence that goes without saying.
Both are incredibly rich characters that allow us emphasize with their troubles and yet at the same time laugh at their mishaps. The other characters are not nearly as interesting, perhaps a quota had been fulfilled with the previous two. Sean William Scott reprises his usual sex-obsessed moronic role, which has at this point grown stale if it has not done so already and annoyingly grating. Elizabeth Banks is a peripheral figure portraying a clichéd romantic interest and Bobb'e J. Thompson conforms to the irrationally angry African American stereotype that made for the most part cringe worthy viewing. However, Some minor characters really did shine as well, but sadly their contribution was limited; King Argotron and Kuzzik being the most prominent. The one liners in this as you would expect hilarious, and the entire segment in which they were involved a stroke of genius.
It's all the more disappointing though that the good performances and one-liners apparent in this movie are dragged down by some fairly large flaws. Perhaps the major one being the story line is largely by the numbers and predictable. Add to this Scott's 'Wheeler' character; incredibly annoying whilst on screen, and you can't help shake the impression that the biggest contribution his character gives is a vehicle for female nudity in a couple of sexually explicit scenes to appease the teenage boys in the audience. There is also a sharp tendency to over do profanity in the dialogue. This is a modern comedy after all, so you would expect swearing and obscenity in some capacity, but it went over the top in more than a few places, and maybe its just a minority feeling on this but when you over do a comedic tool like swearing - which is there to add emphasis and rhetoric force to moments, it just loses something and in turn becomes a little clunky - with certain things in this world; less is sometimes more.
The final nail in the coffin however is the film really does stutter and stall towards it's conclusion; the jokes dry up, and we shift to the usual Hollywood sentimentality. This is a real shame, because for the most part, the first two thirds of the movie had a good flow to it - despite the imperfections hampering it. It's an entertaining comedy that knows exactly what it is - and plays to it's strength accordingly. Some weak characters and a poor climax really hinder it, but some scant moments of charm and a seemingly endless list of one liners redeem it from being placed in the same category as your average rowdy comedy. Still worth a watch, but will probably not leave with you a lasting impression.
Slumdog Millionaire (2008)
Danny Boyle's Modern Day Fable.
Where to begin when describing something as unique as Slumdog Millionnaire? Generally, the critics have been lavish in their praise for Danny Boyle's latest piece of work. Others have not been as captivated; the main gripe that the cynics both in the professional field and those making up the membership of various internet discussions is that of shortcomings plot-wise. Let me begin by first acknowledging the relevance of the cynics, there are indeed problems of continuity and realism with the plot. That being said; Slumdog Millionnaire is hands down one of the most captivating pieces of cinema released in the last few years - and as of this time of writing, it was the run away winner at the BAFTA's and looks set to pick up several other accolades in the not so distant future. It seems to me that the nay-sayers pointing to the small plot holes are not taking the whole picture into account - much akin to taking out a DIY home forensics kit whilst trying to work out the 'who done it' of a murder mystery novel. I mean, of course we can isolate parts for individual scrutiny, but this fails to take into account the beauty of the unified whole - and my is it beautiful. A whimsical musical score, intelligently fast pacing, great cinematography and endless charm all blend seamlessly to create something truly delightful to the senses. These all surround a highly compelling story, which it has to be said at times trades off the shackles and stiffness of reality for the more malleable and imaginative artistic vision. A 'compromise' that works to great effect. The Story which consists of child-hood love entwined with tragic circumstances reads at times like a fairytale Which explains why this movie has been described as a modern day fable. This makes for a refreshing change; but to some, brought up on cinema's tendency for the melancholic may appear trite. Definitely a case of the whole is greater that the sum of it's parts; and the whole is by far a magnificent spectacle to behold.
Versus (2000)
No thrills Gore and bloodshed- however, don't expect anything more.
A lot of things have been said about this movie, and this combined with the premise of a zombie/yakuza/samurai theme had me very intrigued. I'm a sucker for those sorts of things you see, and you could probably imagine my glee with the blending of them all into a single package. Of course, I was by no means expecting anything thought provoking, neither was I expecting to be emotively moved, or anything really that could remotely get me to think. This is something I instead consider as 'leave your brain at the door' cinema, where the fundamental principle is not to encourage thinking but just to mindlessly entertain. However saying that I felt disappointed afterwards; It seems after all its hype; the movie with such a potentially great concept just couldn't pull it off, and in the end failed in its one and only objective. Versus is sadly a rather tedious movie that at times even borders on boring.
There is no plot worth speaking of, and dialogue as you would expect is as a result rather lack-lustre. Cinematography is mundane and the characters two dimensional. Even the score is nothing worth writing about. What we have instead is a serious of fighting show pieces. Each in close succession. The plot is around only to try and add an degree of meaning to the various clashes, and subsequently falls flat on it's face. The plot simply put is confusing; with the various forces switching sides/gaining powers or even introducing new characters/ concepts on a whim. Thus the film is reliant upon the quality of its actions scenes more than anything else, and even these are nothing spectacular. The brief respite is that the blood and guts are very exaggerated, and this gives it an element of (intended?) comic relief. The movie however with very little variation from its 'FIGHT-talk a little-FIGHT-do something else-FIGHT' formula, gets a little tedious as you would imagine after a bit. Only a rather belated plot (I was wondering where that went) twist towards the film's end gives the starving viewer a small morsel of entertainment on which to nibble on. But the majority of us at this point would be to numb or confused to enjoy it.
Erufen rîto (2004)
Disturbing... and yet at the same time profoundly beautiful.
It's hard to describe Elfen Lied to someone who hasn't heard of it; the closest I can think of is a strange mix of extreme violence, romance and drama. To those of you who haven't witnessed it, you're probably wondering how these are all incorporated into the one piece coherently. Those that have though, are instead pondering why they haven't been put together sooner. Such is the quality and flow of this odd hybrid of an anime.
The real area that Elfen Lied shines is it's narrative - its hard not to be enthralled by its weaving course and diversity. A Violent and gory encounter will perhaps gives way to another with a contrasting lighter moment. Emotive drama gives way to bloodshed and then back again, only this time bring you close to tears as it does so. It's a strange combination, where you as the viewer are thrown about and manipulated like those in the story line itself, but one that works surprisingly well. It does this all the while without feeling disjointed, it has an elegance and clever subtly when it makes these strong transitions leading to a very mesmorising piece as a whole.
This is carefully finished with a truly memorable musical score, which in my opinion is another great strength. The opening 'Lilium' is particularly powerful, and differing versions feature prominently throughout - lending its intensity to emotive scenes. However, regarding music there's an off kilter over-happy pop song that plays over the credits after each episode. It feels out of place, but never the less is adequate enough, and it could be argued adds a good contrast to what is at times quite a depressing anime.
I must reiterate however, that the violence is somewhat extreme, and I advise you to be prepared for it if you are faint hearted. However by no means avoid this because of it, there's a lot more to it than the violence, and you will be denying yourself a truly wondrous experience by not watching it. It is to any fan of the medium unmissable; a weird cocktail of conflicting ideas - that on paper shouldn't work, but some how is pulled off in spectacular fashion, gripping you from the start to it's brutal conclusion.
Still not convinced? Well ask yourself this; Is there anything else out there that can lay claim to being disturbing and yet at the same time profoundly beautiful? It's worth watching on that premise alone.
Suzumiya Haruhi no yûutsu (2006)
Aliens, Time-Travellers, Sliders and Espers Please Read!
On the surface TMHS appears to be yet another generic high school drama; but surprisingly hidden away underneath is immense amounts of depth, originality and eccentricities that will not only render it unforgettable to the viewer, but also makes it indisputably one of the best animes that the medium has produced in the last few years.
We see the world through the eyes of Kyon, who on his first day of High School meets Haruhi Suzumiya, a girl that boldly claims to the rest of the class she has no interest in 'normal humans' and to top it off casually invites any aliens, time travellers, sliders or espers to meet up with her. Kyon stares in disbelief, wondering if shes joking or has a few screws loose. However defying his gut instincts he begins talking to her. In doing so it soon becomes apparent she isn't some ordinary high schooler. Not to long after, she creates her own aptly named 'SOS Brigade' school club, and drags Kyon amongst other highly unfortunate people to attend.
Nothing in this anime conforms to the usual standard conventions, Kyon the protagonist is an overly cynical pessimist, and contributes a witty narration to the show. A far-cry from the usual 2D male leading characters that tends to populate the medium. The episodes themselves are not chronological,and forces the viewer to think about the events unfolding and how they relate to prior instances. This is a stroke of genius; the effect is like a jig-saw puzzle, as a new piece is layed we get more of a sense of the bigger picture. Previous scenes are now given entire new meanings, and the realization of them are profoundly satisfying. This does mean however that it feels dis-jointed (its anything but), a very cleverly written script has bypassed this problem and ensured that it flows smoothly from start to finish.
The story itself is strikingly original, but I won't delve further than the simple bare-bones plot outline I gave earlier, as it will no doubt spoil it for you. However what I will mention is the plot incorporates a vast array of genres, ranging from comedy to sci-fi. How they managed to accomplish this in the space of fourteen episodes is beyond me, and no doubt a huge achievement in itself.
TMHS is a true gem, which has such diversity and depth that it will appeal to pretty much anyone with an interest in anime. Watch it, rather unusually this is something that lives up to the enormous hype that it has received- and even exceeds it.
Batoru rowaiaru II: Chinkonka (2003)
I watched the movie with low expectations...
The original Battle Royale was a breath of Fresh air, profound ideas mixed with insane slaughter. Although lacking in the huge budgets that most Hollywood crap automatically receives, the film still manages to convey a sense of gritty realism, it was also backed up by a solid foundation of a plot that although fairly simple is extremely engaging. Characters that you actually cared about, and a sheer brutal originality that shocks yet leaves you breathless in awe. How the heck did they come up with it.
You could then imagine my pleasant surprise when hearing about the sequel. I was thrilled beyond words. However reality began to kick in with a sharp thud, and sequels more often that not tend to be shockingly bad, marring the original movie. However this was the sequel to Battle Royale, and rather than dismiss the movie I instead delved further, and did a bit of research. Again however reality reared its ugly head, my hopes were dashed as I found countless negative opinions all confirming what I had feared- Battle Royale II was a steaming pile of crap.
With such bad publicity surrounding it, I though long and hard about seeing this movie. But again my endless supply of optimism shone through- this is the sequel to BATTLE ROYALE I told myself, how bad can it be. So I defied my gut instincts and rented it, going into the movie with low expectations... Yet even with my expectations set astoundingly low, the movie some how manages to go below them. As the movie ended I stood dumb founded, what the hell have I just witnessed I asked myself. The answer was Battle Royale II- quite frankly one of the worse movies ever created.
A reform in the BR act means that participating students now are tasked with killing terrorists that include past winners of the competition. These terrorists are rather conveniently located on a deserted island, and the new group of ill fated rowdy students are sent their after a routine prep talk reminiscent of the first movie.
The rather average introduction quickly descends into a pure mess at about twenty or so minutes in. The plot also suffers through out and has more so many holes it could be called a sieve. But the real icing on the cake are the characters, under-developed and 2D would be a compliment. Every couple of minute a student dies, and the survivor's mourning is so cheesy and unrealistic that you will literally laugh at first, and then slowly begin to detest each and every succeeding death/mourn scene littered within the film. There are so many is unbelievable and annoying.
The ending which couldn't have come sooner; which is saying something because I spend half the time looking at the clock on my wall praying for time to go just a tad faster, is as you would expect from a movie of this calibre suitably bad to tie in with the general shoddiness of the film. A happy 'riding into the sunset' ending with a cheesier than a ton of Stilton narration that reeks of crapness.
The ultimate snore fest and to put in bluntly hard to even recommend to people you despise, not even they deserve this. Watch at your own peril, you have been warned.
Fainaru fantajî sebun adobento chirudoren (2005)
Personality cannot match the visual Treat on offer
Final Fantasy VII was a landmark in modern day video gaming, it was the first in the revered series to go (pseudo) 3D and had it's argued one of the most memorable soundtrack in a video game to date. For these reasons and more the game has achieved a near god-like status and a cult like following amongst its zealous fan-base. Fast forward to 2005 and we have the movie - but is this first and foremost a movie in it's own right or merely a way of capitalising on nostalgic fan's adoration?
Die-hards will probably see this movie as perfection given animated form; others would instead witness a stunning visual treat with sadly major flaws. The movie continues after the events of the game; after defeating Shinra Cloud now leads a fairly normal life. He runs Strife delivery service with Tifa which doubles up as an orphanage.However not all is well in the world, a strange disease is slowly spreading called Geostigma, it threatens to wipe out humanity and the cause it not apparent. What is clear however is evil is underfoot. Three strange brothers then appear who are desperate on the resurrection of Sephiroth, and will stop at nothing to achieve it. Rufus also makes a return (assumed dead by the way) and wants to start his company Shinra - evil personified basically, back up. He is aided by Reno and Rude, the muscle headed henchman that were so prominent in the original story.
These are the most prominent plot threads, there are plenty more littered here and there, but for the sake of clarity I'll not go into them. Confusion is the most likely result from this disjointed approach to story telling. Added to even this dis-orientation, especially for your average viewer is the references and themes from the original game which come thick and fast. Serving only to please fans rather than furthering the movie itself - perhaps confirming this as a FF7 tribute more than anything else.
Continuing on the fan appeasement theme, lesser characters from the game also make an appearance (such as Yuffie,Barret and Cid) - just for the sake of it. They possess no personality, and are never explored or fleshed out even to the minimum degree that you would expect from their inclusion. Their involvement had no significance to an already weak story.They were as previously mentioned, simply added to keep nostalgic fans happy. The visuals are the saving grace however. A stunning 3D world is portrayed, with small detail realised - you could swear at points you're not actually watching an animation, such is the quality on offer. The soundtrack suitably mirrors the high quality aesthetics, with emotive orchestral pieces freely intertwining with punk inspired metal rifts. Composer Nobuo Uematsu, so prominent in Final Fantasy melodies through out the series's distinguished history has truly out done himself yet again.
Final Fantasy VII: Advent Children is a stunning 3D animation with a soundtrack that matches its visual greatness. However the plot leaves a lot to be desired, its a bevy of confusing ideas that just does not flow. A wasted opportunity to right the wrongs of 'Spirits Within'; a previous Final Fantasy film which suffered the same problems - but that time around did not have the aesthetic splendour nor the character familiarity that at least Advent Children can fall back on. Strictly for die hard fans of Final Fantasy only, the rest of us can only watch in half-interested admiration; engrossed by the sights and sounds but ultimately feeling somewhat short changed when the end credits begin to roll.