This is appropriate Sakura SakaLight novel You just need to killa story about trying again and changing each time is repeated adaptation. But it will be a damaging to the new movie Kenichiro Akimoto Call it reverse Tom Cruise– Starring The edge of tomorrow (or live. die. repeat? ). This is from the script Yuichiro Kidofrom the perspective of Rita instead of Keiji (or the cage from another movie), but the characters here are very different.
Despite overlapping with the adaptability of real people (because the shared original material is understandable), the view here is the difference maker, as her story becomes more about her self-imposed isolation and inability to connect with people, a lingering symptom of undisclosed childhood trauma. “I’ve been flooded ever since,” Rita reflects her opening as she sails to the desert and escapes what we can’t see. The red root suddenly sprouted from the portal and surrounded the earth – Rita would only respond to a smile.
We understand the reason behind this reaction as the film progresses, but the downside is that she is trapped even before the time loop begins. If anything cycled gives her a chance to change herself – she has to change to survive and won’t fight it until the next day. The delivery of the writing is heavy, like some images, she utters her isolated weight and is submerged in water. Her emotional journey in the movie is You just need to killeven if it makes some hand-picking choices at the last moment.
However, currently, she is a worker and is accused of demolishing the large alien plant biological Daro branch (not completely distanced). Pacific Rim or Kaiju No. 8). Despite the stylish mecha suit, it wasn’t a military action, so she experienced the same troubled panic to ensure combat capability with Tom Cruiserole.
Comparison with video game structure was obtained through repeated training The edge of tomorrowbut You just need to kill Double- In terms of the secondary characters watching “Continue?”, go double. Screening for every death, or saying “It’s like a video game!” Handouts like this are something that happens frequently in anime, but when it’s easy to infer here, it’s especially insulted here: characters have constant power over their suits and weapons.
Still, like live action siblings You just need to kill It is most enjoyable when it uses this checkpoint ego as a tip for editing, such as between steps to cut Rita in different resets, each cut speeds up as she becomes more confident. Another difference related to live-action movies is that it adds another rule about death and reset, which won’t be covered in detail here.
Despite the similarities, the small things add up and it’s worth seeing. It is also distinctive through the hallucination style – not just the different ways Akimoto presents the interaction between alien threats and Rita’s interactions, but the way the Earth mutates in response to its arrival. These colors are like looking at oil in water, while 3D animations are decorated with cel shadows, flat, unshaded textures and scratched lines, not far from the art styles that others have accepted Studio 4*c The movies screened on Anne’s Day the same week, confusionor maybe Taiyang Matsumoto and Shinji KimuraDesign work Tequis Its film adaptation (another Studio 4*c Movie – Pattern appears).
But even as it continues to be as the entertainment hindered by editing and 3D photography works and scenes continues, Akimoto’s film continues to gradually return to less interesting choices as the film progresses, whether in the choice of the story or in the music, as the film progresses, as the film progresses, as the film progresses, as the film progresses, as the film progresses, and as the film progresses, it continues to gradually return to less interesting choices. The soundtrack gradually abandons creepy and sparse electronic notes of its early behavior to provide a more anonymous orchestral piece.
As for the story itself, the film’s perspective is not completely lost, but it destroys itself by executing certain ideas. While the film is an interesting subversion of Keiji’s character to his image on the page and on the screen, the character is placed in the position of finally hijacking Rita’s arc at the last possible moment, taking a crucial choice. Furthermore, one of the characters makes a decision simply because it takes too many steps, so the current impact is due to how much it takes to get to this point, and so far there is no feeling left. Unfortunately, movies that make this special choice in movies that combine 3D and 2D visual languages in animation keep falling into predictable modes, because in most cases, it’s exciting to watch. Maybe someone will pin it on the next exploration.
