| GKIDS | Release Date: January 15, 2020 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
25
Mixed:
5
Negative:
0
|
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Critic Reviews
This is what ultimately makes the movie’s climate-change backdrop more poignant than perplexing. By the end of Weathering With You, this has become a story about two people with their whole lives ahead of them, navigating their way through a future where they pine for things we all take for granted. Like, say, the simple pleasure of a sunny day.
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Weathering With You still marks Makoto Shinkai as one of Japan’s finest directors when it comes to artistic vision and capturing the essence of turbulent, romantic youth. But it’s also safe to say that Shinkai’s formula, while tried and true to success, may also seem like an all too familiar territory for folks looking for something a little different.
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Weathering With You’s remarkable animation and delightful characters come together for the perfect storm of creativity, inspiration, and romance. Yet, for all its exploration of the supernatural, the film carries such a profound universal feeling. Sure, it’s another solid love story, but it’s the film’s messages of hope and of keeping one’s head up in the rain that will endure.
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At 46, Shinkai still has plenty of time to convince us of his gifts. Weathering With You may not reach the heights of “Your Name,” but it still achieves something impressive: It tells a story that, without sugarcoating the environmental challenges that lie ahead, manages to end on a hopeful note.
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The Film StageDec 1, 2019
The imagery of water fish swimming in the sky while Hina floats towards an uncharted “marine” habitat of clouds is stunning to behold and the humor earns some big laughs even if much of it centers around teenage horniness and sex-based assumptions. Beneath all that, though, is a resonant tale of empathy and romance.
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There’s a touch of “The Ones Who Walk Away from Omelas” to Weathering With You that makes the direction it ultimately veers off into both surprisingly abrupt and darkly pragmatic. It’s also, in its own way, optimistic. Maybe, the film suggests, before anyone can think about saving the world, they have to figure out how to live in it.
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The pace is sometimes so rapid that you scarcely have time to look, much less admire the translucent sheen of a plastic garbage bag or the meticulous lettering on a beer can (“Since 1978”). That’s to Shinkai’s purpose. As streets, homes, rooms and faces hurtle by, a textured world emerges detail by detail, one that looks like life yet is also expressionistic.
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