The Boy and the Heron

As Miyazaki's (surely this time?) last animated feature, The Boy and the Heron combines the artistic stylization of his previous films and proves that the master's imagination and skill are not yet past their prime. Although the opening is more gradual, from the first confrontation with the heron and especially after the entry into the tower, it is a visually captivating and plotfully sophisticated spectacle that – although depicting serious themes – can be humorously light-hearted – whether it was the cigarette-smoking maid, the army of totoro parrots or the heron itself. I appreciated that the theme of certain fatality in connection with other realities was handled in a subtle and not weepy way. Last but not least, I also praise Hisaishi's spare but very nice musical score. A fine end to a career spanning fifty years! (12/03/2023)

All, what the Master has ever created and all that I wanted to see. At times, the fantasy atmosphere is darker than in Mononoke, borrowing realities from Howl's Moving Castle, waves like from Ponyo, buildings hidden in the forest like in Laputa or Totoro. And of course, the boy and girl are friends again, although this time their relationship is completely different than ever before. Miyazaki's world symbolically closes in a story full of doors that can lead anywhere and that can change a person or any other creature when they pass through them. More than ever, the viewer must accept the rules of the world they see in front of them, otherwise they would constantly be annoyed by why they will never see the inhabitants of the tomb or how stubborn parrots could come to power. The Heron has surprisingly little optimism in it, showing more realistically the process of growing up, the choices that no one will make for us, as well as leaving and death. And in that is an indescribable sadness, as well as boundless hope. (01/16/2024)

Wonderful! Miyazaki's graciously poetic mind has conjured up a fantasy fairytale fable from post-war Japan, a bit in the style of Pan's Labyrinth. It is perhaps impossible to watch except with a permanent smile and the occasional tear in the eye. The animation is breathtaking and, in comparison, the Pixar, Disney and Sony trailers that preceded it are truly pathetic. It's not that I don't like CGI animation, but The Boy and the Heron simply took my breath away, something that didn’t happen (yet) when watching those other films. (11/25/2023)

It's not my cup of tea. I can appreciate the truly admirable animation and imaginative world-building, but I'd be lying if I said it satisfied me as a viewer. The one-dimensional, soft-spoken protagonist is a dull and uninteresting link between Hayao Miyazaki's many fantastic dream sequences. Emotionally, it completely passed me by and, especially in the last third, I found it quite annoying. Not a fan, sorry. (10/07/2023)

I'm a fan of Mr. Miyazaki's work. There was a time when I absolutely loved all his creations and had to watch one of his films at least once a year. From 2009 to 2012, I went to great lengths to track down his short films, even those exclusive to the Ghibli Museum in Mitaka. I adore his animation style, storytelling prowess, and the profound messages woven into his films, not to mention the delightful humor. But what truly captured my heart was his unparalleled imagination, which always felt uniquely beautiful to me. Naturally, I couldn't pass up the opportunity to watch another "last" film by Mr. Miyazaki. It delivered exactly what I anticipated. The animation was mesmerizing, the music underscored the best moments beautifully, and the fantasy world depicted was as enchanting as ever. The humor landed well too, with its cute jokes and light situational comedy eliciting smiles at just the right moments. The story intrigued me, and I appreciated its thematic depth. However, there was a minor hiccup. While the relationship between the boy and the heron resonated with me and unfolded organically, I found the portrayal of the boy's family dynamics, particularly his evolving relationship with his stepmother, less convincing. The abrupt character transformation felt jarring, leaving me somewhat detached during a pivotal moment. Consequently, the film's overall impact fell short of truly moving me. Upon leaving the cinema, I couldn't shake the feeling that I'd witnessed something great but not quite unforgettable, something that wouldn't occupy my thoughts for hours on end. In summary, The Boy and the Heron earns an 8/10 from me. It largely met my expectations for another Miyazaki production, but it didn't quite reach the pinnacle of his filmography. It's unlikely to be the first, second, or even third film that springs to mind when I think of Hayao Miyazaki. (11/28/2023)