The Girl Who Leapt Through Time (movie)

Time waits for none one.
Time waits for no one.


Just saw the movie a few days ago. This film’s pretty damn fun, I’d call it one of the best anime movies I’ve seen to date (however, not the best). I say, Mamoru Hosoda has outdone himself yet again in the direction of the film. The animation was brilliant too, the backgrounds and the setting are drawn so gorgeously.

The alternate outcomes of time are well-played out in this film. As I expected, the main character, Mamoru Konna, has a little fun with her new-found powers due to an unlucky day. Also expected, some of the changes weren’t very beneficial, and before she knows it, “time almost ran out even though she has powers that should technically save some time” (metaphorically, of course…). Mamoru, and Chiaki (and Mamoru’s little sister! What a riot. ポッ(*゚.゚)(゚.゚*)ポッ), are definite my favorite characters in the film, hands down.

The moral’s been, no doubt, thrown in our faces many times in other media, but the way the moral’s expressed here through the story’s execution was beyond excellent (i.e. “Go for it before it’s too late”, “Trying to act as if your troubles never existed won’t make things better”, etc.). While the last part of the film may not have been as fun as the beginning through middle, and some story elements may seemed to have come out of nowhere during that period, to me that’s not enough to weigh the film down – and not enough for me to not call it a masterpiece.

And when I’m vague enough about the story, it means I love it enough for wanting you to go out and seeing it for yourself.

4 thoughts on “The Girl Who Leapt Through Time (movie)”

  1. I actually felt that the latter story elements were served up rather well. I can see how the tonal change would be a bit jarring (if there is one weakness with Hosoda, it’s that his work follows the routine of establishing an incredibly playful and impossibly fun first half, only to follow up with a far darker, almost nightmarish second half).

    Anyhow, this film didn’t make me cry, but for what it’s worth, it just as well did. No other anime film has resonated so powerfully with me.

    I’ll also say that Hosoda is the best director in anime right now. Sure, I’m usually all over Hamazaki’s (Texhnolyze, Shigurui) and Kon’s (Millennium Actress, Paprika) nuts, and I can’t neglect Yuasa (Mind Game) and Yoshiura (Pale Cocoon), either, but Hosoda is an artistically pure director (hm, the pretentiousness seaps through the screen with that phrase!) that marries accessibility perfectly. He actually made parts of the Digimon franchise not only watchable, but EXCELLENT. And he finally broke the rule that all shounen movies are half-assed cash-ins: look at his One Piece film. And Tokikake speaks for itself.

    He’s like what Miyazaki was during his run from 1993-2001, except more versatile and whimsical (much like Miyazaki was during the 80s).

  2. @HellKorn: The tonal difference of the first half compared to the second half never really downplayed the second half for me (the guy got me used to it, no doubt), it just strucked me as kind of… odd, although I didn’t really pay attention to that quite much, and still happily enjoyed the film.

    You summed up how Hosoda is as good of a director as he is quite nicely. He certainly made the more “mainstream” anime movies into more than just [AU] fanservice.

Leave a Reply