The second time around I can focus more on the story. Kogonada’s short video essay on The Criterion Channel highlights some of the themes and visual motifs that are woven through the film. This can help orient a first time viewer that is still reeling from the experience, and show them how the story is grounded in the multigenerational trauma Japan experienced after WW2.
I am old enough to remember when there was a crackdown on Saturday morning cartoons. Entertainment hand become extended advertisements pushing the latest toys at kids.
That's how I feel about this film. It's an extended advertisement. I understand that a kid's movie can tread in clichès because everything is new and fresh to a younger audience. I excused some of the tropes in this film knowing that they were intended for a younger audience. However, to excuse the poor…
A fantastic fun start, a sagging middle, and a dark redemptive ending. This isn't Edgar Wrights finest film, but it does have moments of pure light, fun, brilliance. Ansel Elgort is the bright center of this film. When Baby is having fun getting into his music, you can't help but smile. It's these moments that make the movie shine . . . and the great soundtrack.