ztmillers-2 Reviews

The Boy and the Beast (2015)

A Valuable Contribution to the Anime World

[10/10 · 26 January 2019]

Momaru Hosada's The Boy and the Beast (2015) crafts a world that is rich and exciting, offering an affirmation of the relationship's power to achieving self-actualization. Though the film is a vibrant addition to the world of anime, Hosada's tribute to familial bonds reaches beyond existing fans of that school of film. You don't need to know anything about Japanese animation to appreciate this film, just family.

The Boy and the Beast centers on a street urchin boy named Ren who stumbles upon a fantastical world of beasts, animal-like beings with the potential to become gods. He finds himself in the care of a brutish warrior beast known as Kumatetsu, a prime candidate to succeed the soon-to-retire lord of the realm. The two form a powerful, if turbulent, bond resembling father and son, and Ren makes his home in the world of the beasts under Kumatetsu's tutelage. But Ren's inevitable maturation threatens to lead him away from his Neverland, and Kumatetsu. As Ren is beckoned by the calls of adulthood, including college in the human world and the human father he thought he lost, the distance between him and Kumatetsu widens. But as an emerging conflict threatens to destroy both the human and beast world, Ren and Kumatetsu have to face the challenge together in a way that compels them to achieve a new level of union as both teacher and student and as father and son.

The surrogate parental relationship is the through-line of the film. When we first see Ren sulking through the city streets, the audience may be inclined to wonder what Jiminy Cricket figure is going to take Ren under his wing and nurture him into maturity. Kumatetsu in all his laziness and short-temperedness seems to exist primarily to thwart this archetype, and the audience learns that he is just as much in need of someone to show him the ways of adulthood as Ren is. The relationship between Kumatestu and Ren (whom he dubs Kyuta) is almost defined by its volatile nature from the start. The two spend quite a bit of time through the film yelling at (and sometimes chasing) one another. One might occasionally wonder if the two even like each other, and whether or not we should root for them.

Even so, their unusual relationship becomes a testament to the aching loneliness they both experience: Kumatetsu has known the same disregard and negligence that Ren has. In this way, the two are uniquely qualified to sympathize with one another, and the audience finds unexpected tenderness between Ren and Kumatetsu. Though they are often at each other's throats, Ren and Kumatetsu ultimately bring out the best in each other. For example, a pivotal scene in the film has Kumatetsu in the throws of a battle against another beast and sorely losing. Ren compels Kumatetsu out of his stupor of self-pity and on to victory by screaming at him "What are you doing, you chump!? Get up already!" It's scenes like this where the audience can peek into the understated sentiment they have for one another.

The backdrop of this relationship is a stunningly designed world. The world of the beasts is vibrant and steeped in lore and mythology that begs to be explored. Bright and colorful, and full of anthropomorphic animal creatures, the movie's design seems to dwell in some midground between Avatar the Last Airbender and Pokemon, and it takes the best of both. Though the coloring and detail isn't as picturesque as Makoto Shinkai's Your Name, the design of the world seems to come from a brand of mythology that predates the film. The animation here is cartoonish enough to be exciting yet painterly enough to feel transporting.

In the wake of Miyazaki's retirement, the world is searching for the next leading auteur of anime. Could Momaru Hosada be that figure? He has a definite shot. Hosada's monster world is at least as whimsical as what's seen in Spirited Away. He will definitely fill the need for those who grew up watching My Neighbor, Totoro and Kiki's Delivery Service as kids and are now entering adolescence. Hosada's going to have a harder time finding that same support among the child audience Miyazaki is known for, at least for this movie. This film features more blood, punching, and (yes) impalement than most Miyazaki films. This film will please existing fans of anime but should not be used to initiate younger audiences into the genre.

The film definitely carries the torch of anime, but the film's audience is not limited exclusively to those already familiar with the genre. Ren's journey from an angry, lost child to an emotionally grounded adult is emotionally charged and cathartic. His relationship with the gruff but strangely endearing Kumatetsu provides comfort for anyone who knows what it's like to love someone who isn't easy to love. Watch the movie for a fantasy spin on Karate Kid, or in remembrance of someone you didn't know would be important to you.

Lamb (I) (2015)

Innocence Walks a Fine Line, Indeed

[10/10 · 7 January 2017]

Ross Partridge directs and stars in "Lamb," a 2015 film following David Lamb (played by Ross Partridge), a man in his late forties who is quickly becoming aware of his disintegrating goodness. He encounters a girl named Tommie (played by Oona Lawrence). Though she's only eleven years old, David is aware that she is in danger of becoming just as defeated by life as he is. The two connect, and a friendship grows. In an effort to save Tommie from becoming just like him, David invites Tommie away from the city and into the country heartland he grew up in. What follows is a journey of self- discovery for both David and Tommie, culminating in an emotional bond that neither of them could have predicted.

The main character's choice to befriend an eleven year old girl is at the center of the film's controversy. The film pays a price for having a protagonist who crosses social sanctioned boundaries in trying to do the right thing, scaring off potential viewers. Partridge was very aware of this controversy, and the ethics of their relationship is one of the continuing topics within the film: Is David going to get in trouble for his behavior? Does he deserve to get in trouble? For the sake of not trying to force my perception of their relationship, I won't try too hard to persuade you one way or another.

It is important, however, to note that while Tommie and David are constantly thrown into circumstances that force them to confront the delicacy of their situation, their relationship never approaches a sexual nature. You needn't worry about David peeking at Tommie in the bathroom, or anything similar.

Ross Partridge and Oona Lawrence embody their characters so naturally. What they do here should barely be called acting. More like being. Partridge is given the complex task of having to convey deep confusion to the audience, but confidence when he's with his costar. Fortunately, he's able to pull this off and articulate David's personal journey at every stage with perfection. Despite her young age, Lawrence demonstrates remarkable acting in such a demanding role, conveying innocence and intelligence simultaneously. More impressive than the acting ability of either individual is the chemistry between the two leads. They aren't the only actors in the film, but still carry the film mostly between the two of them. Fortunately, they carry it just fine.

One element of the film that really surprised me was the cinematography, specifically the number of landscape shots. Even images of the city, which is supposed to represent a metaphorical prison for both characters, look tranquil. This form is consistent throughout the film as the background changes to hotel lobbies to the roadside to the country. These landscape shots were amplified by the music underscoring each scene.

The recurring piano score endowed the film with a sort of innocence, a hopefulness that neither of the protagonists have a surplus of. It's especially helpful early on as Tommie and David's relationship starts to bud. Probably the single best tool the film used to alleviate the uncertainty we feel toward David at the beginning.

Assuming he'd prefer viewers to not be drowned by David's unconventional behavior, I'd suggest to Partridge that he give increased cognizance of Tommie's sad home life to David. The easiest argument against David having ill intentions is that he was trying to save Tommie from wasting away in neglect, and even an unconventional intervention is better than no intervention at all. While we see that David is aware of Tommie's situation, further enunciating that Tommie would be worse off without him would make his actions much more understandable. This would have been much more helpful, not to mention economic, than David or Tommie intermittently commenting, "This is weird. He, he."

Lamb is bold in a way many films claim to be but seldom are. Not everyone is going to accept Partridge's direction, which is understandable. Lamb may be aggressive in how it breaks social norms, but in the wake of Partridge's loud experiment is a delicately crafted film. The liberation afforded to this movie allows for a very honest exploration of good intentions, redemption, and the nature of love, in the process creating a relationship that manages to be both powerful and tender. I'm not sure I've seen anything like it anywhere else in the film world. The closest I can think of would be Leon: The Professional. One thing is for sure, much like David and Tommie are changed by their adventure, you will never be the same after watching this film.