Doesn't the title of the list explain it well enough? This is a list of hight quality "short" films. Easy…
Meet the ultimate dysfunctional family.
Christmas in Tokyo, Japan. Three homeless friends: a young girl, a transvestite, and a middle-aged bum. While foraging through some trash, they find an abandoned newborn.
"We're homeless bums, not action-movie heroes."
Tokyo Godfathers is the last feature film I hadn't seen from the brilliant director Satoshi Kon, and the fact that it's not my favorite of his work but still found its way into my favorite Japanese animations is a testament to his skill. Though I don't consider myself a fan of anime in general, Kon's films rank among my all-time favorites, and I would even go so far as to say I prefer his work to the legendary Hayao Miyazaki.
Why? Because his films are beautiful, not only in their gorgeous visual imagery, but also in their emotional impact. Here he manages to make a film about three homeless bums without being cloyingly sentimental…
This could easily be seen as the black sheep of Satoshi Kon's works. It's not very surreal, doesn't focus on the line between reality and fantasy, and is generally quite light-hearted.
It's also my favourite.
Tokyo Godfathers is something that I've never seen done well before: a dramatic farce. It's almost nonsensical in its constant misunderstandings and near-misses and plot twists that it becomes completely hilarious, but then can slam you back to down to Earth with some surprisingly heavy drama. And it works!
It works because unlike other farcical comedies, Tokyo Godfathers relies on its characters for its comedy as well as its plotting. These characters are well-written and creative, and so when the character drama comes in, it…
I think the thing that surprised me most about Tokyo Godfathers was just how narratively normal it was. Not because it was an animated film or anything. As I said on my review of Perfect Blue, I don't think the reason as to why this is animated needs to be even raised.
But it was more because it was really quite a straightforward story. The thing about Perfect Blue and perhaps to a greater extent Paprika is that they are really quite complex and challenging films. Tokyo Godfathers has depth but its narrative and plot very much all sits on the surface of the film and can be found quite easily.
It was a little bit displacing for…
The artwork is fantastic...the story is somewhat weird and confusing.....reminded me of John Wayne's 3 Godfathers. Both movies feature three unlikely people discovering and taking care of a newborn. Final thought....if you are a fan of handdrawn animation you will really like this one.
a Satoshi Kon.
- Haiku tradicional navideño
Tokyo Godfathers proves to be another great film by the late Satoshi Kon and shows just how talented the man was as this is nothing like the other film of his I've seen (Paprika) but equally as brilliant. It's a heartbreaking story of three homeless people, including a teenage girl who ran away from her parents, who find an abandoned baby and make New Year's Eve of that year their most unforgettable as they take on the nigh impossible task of searching for the baby's parents.
As expected, the animation is gorgeous and while Paprika went for much cleaner aesthetics as part of the scientific themes Tokyo Godfathers is accordingly designed to emphasise on its religious themes of hope and…
This was a solid Christmas movie. Tokyo Godfathers is really all about the characters. As we see them interact with the world around them, we really get close to them. So far, I am really enjoying Satoshi Kon's work, and I can't wait to keep working my way through it. I would normally write more, but I'm really tired and desperately need sleep. Last week was one of the most hectic school weeks I have ever had.
Sentence: Don't ask me why I teared up at the end... I'm in a weird mood today, okay?
I became familiar with Satoshi Kon's work back when I was only about 11. Paranoia Agent would play nightly on Adult Swim and I was absolutely enthralled. It's safe to say that, being so young, I had never seen anything like it. It wasn't only the dark and adult themes that garnered this reaction from me though, I had never seen anything visually like it, And I don't mean animation wise either. The stylistic choices made to convey information and tell the story were completely unique to anything I had ever seen before, and very rarely anything i have seen since. It deeply influenced the way I thought of how films should look and feel…
The subjects of this movie are dark, but it still is seeing the world in a positive way and it seems like there is humour everywhere in the movie (even in the ending credits).
The characters are a bit ugly from the outside, but not from the inside - they have a huge, warm heart. Backgrounds of each main characters are well made and they reveal their stories in small doses, always in the right places. Every character was interesting to me, but I couldn't help it that that transvestite/homosexual Hana stole the show every now and then with his humorous theatricality.
I don't know about other people, but to me this was a bit difficult to fully understand. After…
It's a shame this film has some (at least for today) regressive ideas about trans people, because it's otherwise just about perfect. It's an incredibly heartwarming story in the everything-is-connected vein, but it doesn't feel cloying or pretentious in any way. It's a real crime that Satoshi Kon's material isn't easily available in HD in the US, because he was truly a master of the craft.
Grief, tragedy & comedy intersect in a film about possible redemption. Tonal shifts are intense. Animation is terrific.
This review may contain spoilers. I can handle the truth.
Puedo ponerme el final de esta película una vez y otra vez y otra, porque es una maravilla.
Qué manera de acabarla.
La segunda vez que la he veo y he procurado fijarme en más detalles, pero es que te fías tanto de este buen hombre que dices "nah, voy a ir quitándome los pantalones a que pongas flores de cerezo entre mis piernas"
Porque el final es para quedarte a gusto. A gusto en cómo cuando Hana se tira hacia el bebé prácticamente caes con ella, no te das cuenta que la música va a prepararse para silenciarse y os quedáis suspendidos, tú y Hana con el cartel y ves la luz que da color a todo.
If I don't dream tonight of the Eiffel Tower dancing to a funky Japanese update of Beethoven's 9th, I shall feel sorely cheated. That closing credit moment, I confess, was the sole time I was truly taken with Tokyo Godfathers, swept up and away rather than sat there quietly appreciative. That's no complaint; Kon's cooked up a lot to be contemplative about here, even if I'm not so interested in the narrative games he plays en route to expressing it.
Stone cold classic. The mix of laughs, sincerity and surreality is enthralling and you will the leads on to achieve their aims and to just be bloody happy. It's on Mubi UK for the next few days and is very very worth an hour and a half of your time. Magic.
Tokyo Godfathers is a film by Satoshi Kon the director of Paprika, so I was quite surprised when it started to find it a vaguely Capra-esque tale of three down and outs looking after a foundling baby. As it goes on it does get somewhat stranger, but never looses its heart or sense of humour.
This is a different kind of Christmas story (I didn't know the Japanese even did Christmas) with tramp beatings, drag queens and hit men. Three tramps; a drunk, a transvestite and a teenage runaway find a baby and decide to take care of it until they can reunite it with it's parents, in the process we learn about their pasts and the reasons they have…
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…
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