Hanaandalice
Matt Cooper Anime, Films

The Case of Hana and Alice (2015) by Shunji Iwai

Transfer student Tetsuko “Alice” Arisugawa (Yu Aoi) finds herself embroiled in a mystery involving a missing classmate at her new school in this lighthearted comedy-drama. Shortly after arriving at her new school, Alice discovers that the student who used to have her desk, known as “Judas”, disappeared, some believing he was murdered. Alice later discovers that “Judas” (Ryo Katsuji), real name Kotaro Yuda, had four ‘wives’ and some believe that his seat is cursed. In an attempt to get to the bottom of the mystery, Alice takes fellow student Mutsu Mutumi’s (Ranran Suzuki) advice and seeks help from her shut-in neighbour, Hana (Anne Suzuki). Hana concocts a plan to find out once and for all what really happened to Kotaro, and make amends for her own part in his disappearance.

“The Case of Hana and Alice”, is a prequel of sorts to writer-director Shunji Iwai’s previous live-action film “Hana and Alice” (2004), which reunites the leads Yu Aoi and Anne Suzuki from that film to voice the same characters here. The relationship between the two friends is humorous and heart-warming, although it arrives later in the film that you might expect. Once they are together, their scheming to find out what happened to Kotaro provides both the chance to show their comedic cadences. The rotoscoped animation style creates fluid, realistic action, with some standout scenes of Alice running, or the two girl’s playfully teasing one another. The soft colours and gentle piano score make for a a relaxing time, with the art direction beautifully capturing late afternoon sunsets and the familiar sights of train tracks, school grounds, residential streets, and apartment blocks. The central mystery is intriguing, but you sense early on that it far from the point of the film. Instead it is more of a device for bringing these characters together and exploring their relationships and inner lives.

Teenage romance; classroom rumours; adapting to a strange new town and school; and making friends: the film provides a simple, yet stylish, exploration of these relatable moments in development. With minimal threat and light-hearted comedy routed in character, the film is an enjoyable watch, made more so by the outstanding voice performances of the two leads.

Misshokusai
Matt Cooper Anime, Films

Miss Hokusai (2015) by Keiichi Hara

The painter Hokusai has been immortalised, with his most famous work “The Great Wave off Kanagawa” adorning every concievable form of souvenir and representing arguably the most famous work of Japanese art. “Miss Hokusai” tells the story of his lesser-known daughter, O-Ei (Anne Watanabe) who lives in the shadow of her father Tetsuzo (Yutaka Matsushige), later named Hokusai. O-Ei works alongside her father and his apprentice Zenjiro (Gaku Hamada), separate from her mother and blind younger sister O-Nao (Shion Shimizu). Equally talented, but less highly regarded, O-Ei often helps finish off her father’s works, learning from the master artist.

Set in Edo period Japan, the film offers a great insight into the lives of people at the time, as we see the various professions crossing the wide bridge of the city; are introduced to aspects of the culture such as the Yoshiwara brothels and Kabuki theatre. The film blends this attention to period details with more fantastical elements, showing the creativity and imagination of our protagonists. It is a world alive with ghosts and spirits; mundanity tinged with magic. The music by Harumi Fuki and Yo Tsuji blends traditional instruments and melodies with bursts of modern pop, giving modern audiences a sense of how revolutionary the times must have seemed to those living through them. Being a historical account the film eschews plot in favour of episodic storytelling: with romantic, comedic, and tragic moments, particularly in relation to the fate of O-Ei’s younger sister, assembled to create an impression of the character’s numerous influences and experiences.

“Miss Hokusai” captures the essence of the period, showcasing a flowering of arts and culture, as well as Japan’s blend of the earthly and the ethereal. Scenes of O-Ei’s fumbling sexual adventures with a cross-dressing prostitute, sit alongside transcendent sequences of spiritual hands and dragon talons tearing through the clouds. It speaks to the human experience of living between these twin aspects of being, worldy desires and otherworldly dreams. For anyone interested in life at that time, “Miss Hokusai” offers a window into the past, with a character that you are happy to have as a guide.

Allyouneediskill
Matt Cooper Anime, Films

All You Need is Kill (2025) by Kenichiro Akimoto

The arrival on Earth of an alien lifeform named Darol, that takes the shape of a giant tree, prompts humanity to begin investigating the source and nature of this invader. A year after it’s arrival, a team of volunteers sent out to gather samples finds themselves attacked as the plant spores produce violent plant-like beings that devour the humans. One of the volunteers, Rita (Ai Mikami), is killed by a plant, but finds herself waking up that same morning before the massacre. Trapped in a time-loop, she attempts to discover what has happened to her and how to stop the catastrophic events from occuring. She later meets Keiji (Natsuki Hanae), a fellow volunteer who appears to be the only other human stuck in the time-loop with her and aware of what is coming for them.

“All You Need is Kill” is based on the novel by Hiroshi Sakurazaka. Directed by Kenichiro Akimoto, with a screenplay by Yuichiro Kido, this retelling of the story centres Rita, where the original novel was told from Keiji’s perspective. The animation is colourful and the action kinetic, with an incredibly vibrant world that leans towards the fantastical. At times the tone feels slightly mismatched between the violence and terror of slaughtered humans and the garish art style and comedic overtones. Rita’s repeated deaths are often played for laughs which undermines the gravity of the situation. However, there is a lot to enjoy here for fans of action-packed science-fiction. It is fun to see her getting to grips with the mechanical body suit and learning how to tackle the alien plants; the concept of an alien that can warp space-time is also engaging and provides for a unique twist on the typical invasion plot; and the characters of Rita and Keiji prove an entertaining double-act, balancing her cynical cool with his awkward kindliness. Both are given some backstory, with Rita being abandoned by her mother and Keiji suffering bullying as a child, but the film unfortunately brushes over these elements that would perhaps have provided some thematic depth to the narrative. As it is, the film is an fun fast-paced action film that relies on spectacle and humour and largely avoids analysis of its character’s motivations or delivering a particular message.

Fans of science-fiction, action films, strong female protagonists, and dazzling animation will enjoy “All You Need is Kill” with its bright, light-hearted feel, as it subverts some genre tropes while leaning heavily into others. The moments where the film gets very dark very quickly, largely flashbacks of Rita’s childhood, stand in stark contrast to the rest of the film which keeps up a jaunty tone throughout. That is not to say that there is not tension and drama, with the aliens being a truly terrifying foe, but the film often makes light of this when it comes to the main character given that each death results only in a reset for her. Overall, the film is hugely entertaining with non-stop action and forward momentum, but it would have been nice to see more exploration of the ideas and characters.

100meters
Matt Cooper Anime, Films

100 Meters (2025) by Kenji Iwaisawa

Togashi (Tori Matsuzaka/Atsumi Tanezaki) is dedicated to the 100-meter sprint, believing that winning that race can solve all problems in life. When he meets transfer student Komiya (Shota Sometani/Aoi Yuki), who is passionate about running, but lacks Togashi’s ability, he decides to train him. After Komiya moves away, the pair meet again years later, now both competent runners and rivals for the National Championships. Meanwhile, other sprinters battling their own demons, are also hoping to claim the coveted number one spot: Zaitsu (Koki Uchiyama), the national record holder, Kaido (Kenjiro Tsuda), his long-time competitor, and Nigami (Jun Kasama), a former star struggling with confidence and physical health.

“100 Meters”, based on the manga by Uoto, with a script by Yasuyuki Muto, appears on the surface as a traditional sports film, with our young protagonists working to overcome various obstacles on their path to greatness. However, the film’s strength is in using the 100 meters race as a metaphor for life itself. Characters often discourse on the event, their drive to win, how they cope with failure, the purpose of running, and whether it is all for naught with the solemnity of people in an existential crisis. For them the race is life in microcosm, the joy, pain, suffering, beauty, thrill, the fear and the potential for glory. The film does an incredible job in bringing to life exactly what it means to the characters. Director Kenji Iwaisawa uses rotoscoping to create lifelike movement that seems unfamiliar at first when compared to traditional animation, but becomes vital in realising this world. It also allows for flowing camera movement and some stunning scenes when paired with the impressionistic style that breaks in on the realism at points. The sequence in which the runners prepare to race in the rain, a mix of rotoscoping and artistic weather effects blends both form and feeling in a unique and compelling style. This method of animation also allows for the performances to shine through, with a top class cast capturing the spirit of each character and their particular world view. Alongside, the main runners we also have a great supporting cast including Rie Takahashi, Yuki Tanaka, and Hiro Ishibashi. The music by Hiroaki Tsutsumi, is used at moments of high-drama to add a kick of adrenaline, getting the blood pumping alongside the athletes as we feel the excitement coursing before and during races.

“100 meters” focusses on a specific event in a specific discipline, but could just as easily have been about any individual event. As mentioned above, the main focus of the film is the relationship between Togashi and Komiya. It is wrong to call it a rivalry as we come to learn that they are not really racing against each other but against themselves; something that Nigami’s character almost states explicitly at one point. Komiya’s believes that nothing matters in the world; he runs because the pursuit of new records has become all-consuming for him; but he is disatisfied, no longer seeing any true value in this pursuit. Togashi, in contrast, comes to have a diffrerent view of the sport; and Zaitsu, Kaido and Nigami likewise all appear to be running for different reasons: either to prove something to themselves, to finally overcome their sense of inadequacy, or because it is all they have. Instead of asking “Why do we run?” the audience is forced to confront the more troubling question of “Why do we live?” What is the purpose of life, when we may not achieve our ultimate goal; or always feel second-best; when we are beset with tragedy and trials; when even victory seems hollow? The film’s answer to this question seems to lie in the final smile of Togashi, and for viewers willing to accept it the film provides solace in a seemingly bleak world.

Alettertomomo
Matt Cooper Anime, Films

A Letter to Momo (2011) by Hiroyuki Okiura

Following the death of her father, Momo (Karen Miyama) moves with her mother Ikuko (Yuka) to the small island comunity of Shio, moving in with Ikuko’s aunt and uncle. Momo is still dealing with the regret of arguing with her father before his untimely demise in an accident; carrying with her an unfinished letter from him reading only ‘To Momo’. She soon has other things to worry about as three guardian spirits Iwa, Kawa and Mame (Toshiyuki Nishida, Koichi Yamadera, and Cho) arrive from Heaven to watch over Momo and her mother, taking the shape of yokai from a picture book in the attic.

“A Letter to Momo”, written and directed by Hiroyuki Okiura, is aimed squarely at children with a powerful message about loss and regret following the death of a parent. The animation is well-done, capturing the characters’ movements and the beautiful summer island scenery. In particular, the weather is depicted in stunning style, with darkening skies presaging rain, and the incredible force of a typhoon is palpable. Mina Kubota’s enjoyable score captures the youthful energy of Momo and the monsters. The puerile humour will no doubt appeal to young children, but often seems out of place given the dark subject matter, switching from contemplative drama to fart jokes rather than more character-driven comedy. There are several inexplicable elements to the plot, such as the yokai’s voracious appetites and kleptomania, and their reason for being there at all requires suspension of disbelief that may be beyond some older viewers.

The film deals with a young girl processing her father’s death; struggling with her guilt over her harsh words to him the last time they met. It is an important message for children and yet the film seems to struggle to examine this central tension outside of a few key scenes. The comic relief of the yokai, intended to break up the downbeat tone, is awkward and more emphasis on the other human characters, such as Momo’s new friends on the island, or her mother’s aunt and uncle may have provided more meaningful relationships for her. The film suffers in comparison to “Okko’s Inn” which had a similar theme and fantastical elements, but managed to bring them together in a more cohesive way. “A Letter to Momo” often feels unsure as to what age of child it is aimed at, failing to fully satisfy for either young children or older teens.