Avaliações de usuários

Young Momo Miyaura (voice of Karen Miyama) and her mother Ikuko (voice of Yuka) leave Tokyo and move to a remote Japanese island following the accidental death of Momo's father. Aside from feeling outcast and out of place, Momo also feels guilty because her last conversation with her father was an angry outburst; he started to write a letter to her, but after, "Dear Momo," no other words were written on the page. Once in the small fishing village, the children of the town, especially Koichi (voice of Takeo Ogawa) and his little sister, try to include Momo in their activities, but she isn't ready to deal with other people yet. Her mother is off on training courses or in the orchards all day, leaving Momo feeling even more alone. But then she starts to hear three voices in the house when she's apparently alone; these turn out to be three former gods turned goblins, including the Ogre with a huge rectangular mouth Iwa (voice of Toshiyuki Nishida), the frog-like and flatulent Kawa (voice of Koichi Tamadera) and tiny, childlike Mame (voice of Cho). Unlike most humans, Momo can see and interact with these beings, and although they get off to a rocky start, soon enough they find that they need and care for each other, in more ways than one. How the goblins help Momo resolve her feelings about her father's death, her mother's distance and her complete change of environment is all part of the charming and gentle "A Letter to Momo." This lovely film was written and directed by Hiroyuki Okiura, who devoted seven years to crafting this film, using the skills of artists to create an almost entirely hand-drawn, 2-hour animated film. The scenic landscapes are, as usual in Japanese animation, beautifully rendered, and the characters are all lovingly drawn with great attention to detail. I'm not very familiar with Japanese mythology, but the three goblins, in particular the rectangular-mouthed Iwa, looked familiar to me, suggesting that they might have more resonance with a Japanese audience than a North American one. Regardless of the depth of knowledge of the audience member, almost everyone is sure to be entertained, and touched at times, by this lovely fable.

Drawings, especially the landscapes are very well done. The film reminds me very much of the style of Studio Ghibli. A simple story that shows the fragility of life. Life can be long or short but what is important is how you lived. Every day is a gift and tomorrow remains a mystery. So never treat anyone badly today that tomorrow you can get angry at what you've done. The little girl Momo thanks to the protective demons manages to save her family who, despite the difficulties, continues to go forward!

Anyone who has watched any anime features knows that they are able to serve a very different function from live action films. What films like Spirited Away, Wolf Children or Colorful are able to do that traditional live-action can't do quite as well, is find a way of integrating folklore and fantasy elements into the lives of its young protagonists in a way that helps them describe their distinct view of the world and the problems they face growing up in it.

In A Letter To Momo, a young girl Momo and her mother have sold up their apartment in Tokyo and gone to live near some relatives on Shio Island. Momo's father has just died in a boating accident, and an unfinished letter that opens only with 'Dear Momo...' doesn't bring about the kind of closure the young girl needs. Three drops of rain from the sky however accompany Momo to the island, where they take the form of ghostly goblins from an old picture-book.

Even though the creatures can only be seen by Momo, the trick with anime films of this kind is that the viewer needs to be drawn into Momo's view of the world, not seeing the line between fantasy and reality, letting the message that lies behind it weave a magic spell without being overstated. That of course if the cinematic art of illusion and A Letter To Momo does this particularly well, creating good interaction between the characters, exploring the opportunities for visual effects, and building it all up to towards an epic conclusion that gets message across sensitively, without preaching or speaking down to a younger audience.

A girl who grief in her father's loss shifts with her mother to tokyo where three goblin or the sky gods have been sent to fulfill their task. It is a slow movie.

"A Letter to Momo" had reportedly taken the director Okiura Hiroyuki 7 years to produce. Allow me to be the first to say, the time and effort spent on perfecting this film have not gone to waste.

The art/animation in this movie is top-notch. Production I.G. with assistance from P.A. Works, Studio Pierrot, and CG by Dandelion resulted in stunning visual quality down to the tiniest details. What I especially liked, was the amount of attention paid to body language and gestures. There's so much information to be gleaned from subtleties of the visuals alone, and that's what I find most interesting about Japanese films. There was also this action sequence near the end that just blew me away. I don't want to spoil, but I have not seen such breathtaking hand-drawn animation since watching "Tonari no Totoro" in the late '80s.

The story begins with the protagonist, Momo, moving to a small fictional island named Shiojima with her mother. Their new house appears to be haunted, and she feels absolutely miserable about moving out of Tokyo. Being a city girl that she is, Momo struggles to adjust to the country life. Instead of playing with the local kids, she eventually befriends three Youkai in her house - Iwa, Kawa, and Mame. Momo begins to appreciate the life on the island, and come to realize the meaning of his late father's unfinished letter to her.

The character development in this movie is absolutely phenomenal. It begins with a light comedy, but through numerous adventures and mishaps on the island, we slowly learn about her past. The transition from comedy to drama is seamless, and it really makes you to care about the protagonist by the end... This film has what I call magic, something Ghibli films of late desperately lack. Although the local kids were severely underused in this movie, the three Youkai were the true supporting cast. Their chemistry with the protagonist was excellent, and the humor just comes naturally. Mame's character was especially funny in a quirky way. One can easily tell how much thought and planning has been put into this film just by watching the impeccable timing at which Mame's character was used as comedic relief every single time.

Every piece of music appears to be fully orchestrated, especially the violins stood out to build tension in action scenes. Momo's voice acting by child actress and seiyuu Miyama Karen was a perfect fit, as well as the three Youkai.

"A Letter to Momo" is almost like a homage to Studio Ghibli's kids movies - "My Neighbor Totoro", "Spirited Away", and "Ponyo". It sticks to the tried and tested formula of supernatural spirits that only interacts with kids, and somewhat predictable plot development. However, the producers have managed to merge various elements from all those films into an exciting original story. "A Letter to Momo" is a magical crowd-pleaser with great pacing and a heartwarming story. It's a solid movie that anime and movie fans should not miss.

A Letter to Momo is a sweet coming of age story where a child becomes introverted and frozen by grief over the death of her father. She is visited by 3 spirits to overcome this pain, become social again, and move on in her life.

This feels like a long lost Studio Ghibli film, as it has a similar to vibe to their chill films like Whisper of the Heart, Only Yesterday, Totoro, etc. The animation is also a similar style to Ghibli in that it has great detail on the facial expressions of the characters and the backgrounds. The story is like a fairy tale that kids could enjoy and get attached to, even if the subject matter can be emotional at times.

You do care for the main character as everyone around her attempts to help her recover. She is also adjusting socially to a new environment that all audiences can connect to.

I'm only docking points because it is still a standard story that has been told many times both in anime and live action. Also, if you are not into films geared towards general audiences and only like mature shows, you can skip this one as well.

I'm glad I checked it out, and its merits a watch if you are a fan of these types of Ghibli-esque dramas.

After the death of her father 11-year-old Momo and her mother move to a remote island to live with her grandparents. Her mom isn't much at home because she has to commute to work every day and the two generally are quite estranged since the father's passing. Furthermore Momo has a hard time making friends in the new environment until one day she hears strange noises in the attic which turn out to come from three peculiar creatures that only the girl can see. They seem pretty mischievous but are they looking to hurt or to help the girl?

'A Letter to Momo' is a delightful anime that admittedly is quite a bit like the great 'My Neighbor Totoro', but it feels nothing like an uninspired rehash, in fact I liked this one even a bit better. As far as "substance" goes this is pretty slight but the story here is secondary to the gorgeous animation that feels very alive, every moment is lovingly animated with brilliant attention to detail to movement and the smallest of gestures. It has a captivating, consistent summertime atmosphere to which the rich sound work contributes almost as much as the animation.

This very much starts out as a slice of life drama until the monsters come into play at which point the film becomes really funny. But even though the antics of the creatures are hilarious and those guys are pretty crazy the character of the girl is well-fleshed out and she remains wonderfully real. The third act is mostly a very dramatic tearjerker. If this sounds like the film is all over the place or the tone is inconsistent, it is not. All the elements work together smoothly and it's a well-rounded experience. It is excellently paced but it does take its time and at two hours it might run a bit long. If you are a fan of slice of life anime with supernatural/magical elements this definitely comes highly recommended. Also suitable for your small ones.

Hate to say what everybody else has already said, but what can you do when what everybody else has said is, ultimately, the truth?

"A Letter to Momo" had its heart in the right place and endearing characters, but was a little too long with some frivolous scenes and tangents. Editing, packing need some tailoring. In addition, while the characters were likeable enough, they were not quite completely lovable nor relatable. Most of the characters, including the goblins and mother, could have benefitted from some additional backstory and character development. The supporting characters like both leading ladies' possible love interested and the aunt and uncle likewise should have been better incorporated into the story; otherwise eliminated all together, in order to avoid gaping holes and unfinished plot threads.

Had I gone into this knowing nothing about it, I probably would have thought it was a Miyazaki, Studio Ghibli Film in the early days or a slightly offkilter one- that is to say, a relatively good film- better than most other films out there, including some more recent ones from the great Studio Ghibli (looking at you, Hedwig!). Worth watching, once!

The film is a story about a girl's spiritual growth and overcoming difficulties in a new life. Momo Miyaura, a sullen 11-year-old, encounters three goblins from an old Edo-era's comic book. The goblins are Iwa, Kawa and Mame. Iwas is large, clumsy and honest; Kawa is middle, manipulative and greedy; Mame is small, slow and infantile. They are mischievous, sloppy and dull.

Their appearances are reminiscent of "Kyoka Hyakki Yakyo," an illustration of goblins in an Edo-era comic book called "Kibyoshi." "Kibyoshi" is a precursor of 'manga.' In the Edo era, various images of goblins entertained readers and told valuable lessons.

The film is set in Shio Shima, Inland Sea, an allusion to Yasujiro Ozu's classical film "Tokyo Story." Momo moves from Tokyo to the small island after her father's sudden death. While she is boarding a ship, three drops of spirits come down from the sky and land on her. The drops are the goblins or guardians, which help her reconcile a sad memory about her father. She regrets criticizing her father before he passed away.

In the film, the legendary goblins and Momo develop strange but warmhearted relationships that unite the past and present, or this world and afterlife. A motif of connectedness appears at various levels and creates a poignant but cheerful story. First, it shows continuation of time in Japanese popular culture by making a connection with the funny goblins emerging from a "kibyoshi" and in Momo's contemporary life. The past is linked to the present via 'manga.' The emergence of old 'manga'unfolds a history of Japanese popular culture, which intertwines with her daily life and symbolizes continuity.

Second, the connectedness illustrates the relationships between the spirits and humans in a spectacular way. Various types of spirits such as orchard spirits, ocean spirits and forest spirits assist Momo. This is most memorably exemplified when the spirits collaborate to help her in the midst of a fierce typhoon. Thanks to their support, she overcomes a difficulty. Demonstrating collective forces, the animating spirits generate a harmonious and splendid message that life is working with others. Nobody can live alone.

In addition, the scene also gives us a lesson. Each one of the vigorous spirits provides her with a tiny power that is almost negligible, but its contribution is valuable and finally brings a tremendous result to aid her. It reminds us that selfishness and indifference do not bring anything good. The significant message is that everybody has a role to play in the world. The scene is a pivotal moment of her spiritual growth.

Furthermore, the connectedness with the spirits also underlines a powerful animistic note that we are part of nature, which exerts enormous power and is larger than us. Nature and humans can coexist harmoniously in this world. The connectedness is the key that keeps our lives going.

Third, the connectedness demonstrates that death is not the end of life. The goblins have been sent from Above in order to watch over the living. Their special mission is to rally round Momo and report about her life to Above. Their mission expresses a vastness of time in human life, including the afterlife. In short, the dead also have a mission to do in this world. A person's life in this world is finite, but one receives another mission to complete in the afterlife. The amicable relationships between the hilarious goblins and her imply that the deceased can also return to this world and work together with the living. The connection between the dead and the living indicates a culture of ancestor worship, emphasizing the relationships between ancestors and offspring, or the past and present.

Accordingly, the story offers a strong viewpoint that it is possible that we can be befriended by spirits or the deceased. A sense of infinite life is an unforgettably emotional moment and contributes to her psychological relief that she has another chance to make up with her father. Finally, the togetherness ameliorates her hardship. All the connectedness is linked to a process of her reconciliation with her regret.

This film would be particularly appealing for victims of the unprecedented great earthquake and tsunami that struck Japan in 2011. Many people unexpectedly lost their loved ones and everyday lives. They were totally unprepared to suffer such tragedies, let alone time to bid farewell. Later, they left their familiar lands and have been struggling with new environments.

In the film, such sentiments are clearly illustrated. Momo's father had an accident at sea and never returned. Her relocation to Shio Shima is an outcome of the loss of her father. The abrupt loss echoes Japanese collective grief and sorrow for those affected by the unbearable incidents.

Likewise, Momo's struggle is part of their struggle. Her feeling of sadness is theirs; her tears are theirs. Eventually, her achievements foreshadow their hopefulness. The story captures her shuttered heart as a reflection of theirs. It epitomizes Japanese psychology – many people hesitate to talk about their tragedy because it is negative.

The film finally offers a moment of catharsis and kindles a flame of hope. Consequently, underlining the importance of familial bonds and hopes that keep them going toward their future, "A Letter to Momo" is a letter to those victims.

More importantly, the story conveys Japanese Gambaro spirit that is an encouragement for people to work hard. The spiritual essence cultivates a sense of esprit-de-corps and persistence. Gambaro spirit is a sense of working hard together and for others, who will help us sometime and somewhere.

Ultimately, intersecting beings from the afterlife with this world, the film informs us of a traditional belief that invisible spirits live together in this world in order to help us.

All the deceased are our guardians, so chin up!

A Letter to Momo is one of the most popular stand-alone anime movies and yet it was a total letdown for me. The anime was very lengthy. The story was filled with unnecessary details. The three demons were extremely ugly. But that is not even the point. The point is that they were extremely annoying. The animation was average. I have seen way better way many times.

The playing was so slow the 2-hour duration was very hard to pass, at least the first 1.5 hours. I definitely got some 'Spirited Away' vibes from the film. But in quality, it wasn't even close.

I won't recommend this anime.

While every culture is unique -- which is implicit in the very word -- Japan moreso than others has left us with a type of anime that is unmatched anywhere else.

This is Japanese anime so pure and yet so subtle that, if you watch for the entire two hours, it will slowly but inevitably overwhelm you.

Hiroyuki Okiura has lovingly and painstakingly done hand-drawn images which are deceivingly simple. You only have to pause the film and look closely at that you are seeing to appreciate the detail. Even the rice cooker in the kitchen is an exact match for an actual rice cooker.

The intent clearly was not to move into the more action-packed stories (space, time travel, wars) but to stick with the tried and true tale of a young girl connecting with nature spirits of a sort that are, again, unique to the culture. Very similar to My Friend Totoro, with more of an emotional step-laddering Personally, I loved it Give it a chance and you may be crying by the end.

That goes for the ladies too

Version I saw: UK DVD release (subtitled) Actors: 6/10 Plot/script: 6/10 Photography/visual style: 7/10 Music/score: 6/10 Overall: 6/10

It's probably a bad sign that, when I came to review this film, I remembered very little of the plot, and needed to look up a synopsis to refresh my memory.

The story follows Momo, a preteen city-girl whose father dies, forcing her and her mother to move to her mother's rural childhood home. There, she accidentally summons three mischievous yokai (mystical creatures from Japanese folklore somewhat akin to fairies or goblins) who shake up her life with their antics, forcing her to confront her unresolved family and other issues.

It's a fairly well-trodden path narratively, but I think it owes most to iconic Studio Ghibli works including Kiki's Delivery Service and My Neighbour Totoro. The attempt, it seems, is to create a version of these stories aged up to the tween demographic.

Although Momo and her mother are voiced by fairly inexperienced actors, the three yokai are played by a selection of tried-and-trusted veterans: Cho, Koichi Yamadera and Toshiyuki Nishida. What life and energy there is emerges mainly from this trio of likeable, cartoonish agents of chaos.

The art style, tasked with marrying up magical fantasy with everyday realism, presents what seems an authentic portrayal of the Japanese countryside, but perhaps leans further in the direction of realism and away from the fantastical than I might have liked.

If I have one major criticism though, it is not of the film itself at all, but the subtitles. With white lettering and no border, they became difficult to read against any bright background, and impossible when the background was white, as it often was. To make things worse, they are dubtitles - the script of the English dub, in which extra lines have been added - so on some occasions we see a line of dialogue pop up into complete silence. The only way this can have passed is if nobody at western distributor Anime Limited bothered to watch the finished product before shipping it, and fraknly, it is not good enough.

Aside from the subtitles, I don't honestly think there is a great deal wrong with A Letter To Momo. If it has weaknesses, they are just in extent. On pacing, they erred on the side of slow and gentle. The human characters are recognizable and relatable, to the extent of being humdrum and mundane. The tone is bittersweet, but I might have preferred a bit more of the undeniable charm and warmth that can be seen at times.

The end result, though, is somewhat middle-of-the-road, lacklustre. I enjoyed the 2 hours-ish I spent watching it, but the fact is that there are many better films I could have been watching instead.

The fluid movements, personalities and the weird smiles from the characters of Momo e no Tegami really reminded me of my all-time favourite Ghibli 'Omohide Poro Poro'. However it is not on the same level.

Storyline is simple and effective, but for a 2-hour-long movie it is overly filled with comical moments that sometimes did not fit well into the bigger picture and eventually I became frustrated. Also, the characters are just too plain simple...this was the same in Omohide Poro Poro but at that time it made sense with the setting as the main character in the latter (a city girl) was on temporary holiday in a village. It failed here as the main characters here were permanently relocated from Tokyo to a village, but they did not behave as city folks from the start (especially the daughter who should be more spoilt than portrayed) and the process of blending in seemed too premature and quick.

Character development is lacking and below my expectations. In fact it seemed to me the non-human characters were more interesting though I still doubt if their portrayal is as realistic as they could have been.

When this film begins, it looks like another high quality film from Studio Ghibli (Miyazaki's studio) but it isn't, it's from Bandai-- the folks who make many anime series television programs. I didn't realize that they also did full-length films--but after seeing the quality of this movie, I sure would like to see more from these folks.

The film is about a girl named Momo (Japanese for 'Peach'). She and her mother move out to the country from Tokyo after Momo's father's death. Momo hates living there and wants to be back in Tokyo. She also has trouble getting to know the local kids, as she is rather shy. However, over time, three unexpected friends help her out during this time of need--three goblins who are scary looking but who are really quite nice. The problem is that she alone sees them- -and at first she's scared half to death and you cannot blame her! Eventually, however, the four make peace and the rest of the plot is just something you'll need to see for yourself.

So is it any good? Well, as I mentioned above the quality of the production is very nice--really nice animation, lovely music and some cute characters. The story is also lovely--a bit less strange than some of the Miyazaki films (such as "Spirited Away") and it has a very strong Shinto message involving the dead father trying to contact his daughter from the great beyond. Some religious folks might object to this message, but it is very sweet and very Japanese--so what do you expect from a cartoon from Japan?! Well worth seeing...and one that actually might be good to see with a box of Kleenex nearby.

By the way, the DVD I watched was the American version. Often, things are changed or mistranslated in the process and I assume there are some difference between the original and this version. I don't think they would have called these creatures goblins in Japan- -perhaps spirits or demons. Regardless, I just want you to know that my review is based on the Americanized version. Usually, I prefer to see subtitled and original products, not ones redone for local consumption but I oddly had problems getting the DVD to play the Japanese version (which was on the same disc but just wouldn't work on my DVD player).

This is a movie for the whole family. Full of love, simplicity, innocence and calmness. It really teaches your child to appreciate life as is and her/his parents. It also teaches you to love life as is and appreciate your children even more. Such movies should be on our TVs not movies full of drinks.

I've said it a lot recently, but as it continues to be pertinent it bears repeating: for as lovely as the animated films may be of major industry players like Disney, Pixar, or DreamWorks, I consistently find that they can't hold a candle to the animation houses of Japan. Even as anime trades heavily in 2D, with no more than sparing, judicious use of 3D rendering to supplement the visuals, the Japanese have long demonstrated a mastery in the medium of both animation and storytelling that their counterparts elsewhere can mostly only dream of matching. No, not all works are equal, but I've been stunned time and again by the likes of Studio Chizu, Madhouse, or their kin in a way that just hasn't always been true otherwise. And even if it's not altogether dazzling, much the same holds true for 'A letter to Momo' as we're greeted with beautiful backgrounds and environments of every variety; creative, fetching, and expressive designs for characters, creatures, and other active elements; splendid consideration for detail, texture, lighting, shading, perspective, and careful infusion of 3D sensibilities; smooth and fluid movement and action, sharp effects, and so on. By the measure of the visual experience alone this movie is enticing and engaging, and Production IG is to be commended for such a terrific effort.

To my great pleasure, the story that filmmaker Okiura Hiroyuki put together is even stronger. Granted, the root premise occupies some familiar territory as pre-teen Momo is uprooted from the life she has known following the death of her father, and some unusual new friends will come to help her to adjust to "the new normal" and grow as a person. Just because a picture operates in a familiar space doesn't inherently make it any less worthy, however, and truly, I'm very pleased with how enjoyable this is. There's a firm, healthy balance of comedy and drama, mixed with the fantastical, as Momo struggles with her new surroundings on the one hand, and eventually finds that she must mature, accept her loss, and claim her own agency in the world - and on the other hand, meets oddball spirits Iwa, Mame, and Kawa, invariably resulting in hijinks and silliness given their disparate personalities and poor understanding of the modern world or human morality. In fact, tried and true as the basic ideas may be, I'm delighted by the wit and imagination that Okiura poured into his screenplay. The more dramatic beats and notions are earnest and meaningful, with real emotional investment, and at the same time the humor is wonderfully clever and mirthful, reliably earning warm smiles and big laughs. In his scene writing, the characterizations, and even the dialogue the filmmaker illustrates a keen mind for diverse, multifaceted sensibilities of what fuels both lighthearted frivolities and impactful heart in storytelling, and as the narrative advances the feature is much more absorbing and satisfying, and altogether rewarding, than I could have ever hoped.

All elements are deftly woven together into a welcome, cohesive plot, and as the foundation is laid for the artists at Production IG to work their magic, the outcome is superb. This is to say nothing of the outstanding voice acting that brings these characters to life, or the robust audio and sound effects that enrich the viewing experience. Kubota Mina's music is a capable, flavorful complement to the proceedings at all times, ranging from light and playful to soft and stirring as the mood requires. From editing to cinematography the title is well made all around, and as Okiura oversees all with his direction to realize his vision, the sum total is as wholeheartedly fulfilling as it is marvelously entertaining. From the beginning to the very end 'A letter to Momo' reflects gratifying skill, intelligence, and utmost care, and I couldn't be happier with just how perfectly it navigates the blend of comedy, drama, and fantasy. I sat to watch with no foreknowledge and broad expectations that were mixed to high, and in all sincerity the film has handily exceeded those expectations. Nitpick as we may about the precise qualities of the animation, or the writing, for the level on which this operates it's really a matter of semantics more than anything else. Even at its most serious it never gets bogged down in gloom; even at its most ridiculous it never loses its head in the clouds - as far as I'm concerned 'A letter to Momo' is a treasure that deserves far more recognition, and I'm happy to give it my very high, hearty, and enthusiastic recommendation!

Used to watch this with my dad and didn't remember the name AT ALL so when one of those memories came rushing back I furiously typed away a general description and it brought me Luckily I was able to recognize it right away and I'm absolutely thrilled to be able to watch it once again. My dad's gone now but I can still appreciate this I'm so happy to have found this piece of my childhood once again and to have revisited I just wished for it to be this easy to find other underrated and underground pieces of media that go way back. Everything is going mainstream nowadays and that leaves less and less room for hidden gems like this to be rediscovered.

So, it had potential. Yet it didn't reach any of it. Momo was extremely dramatic, annoying and jittery. Constantly running around screaming like an idiot. Second, she is very standoffish and aloof with other characters.

All of the goblins were a million times more likable than her. If she were a little warmer, more open minded and nicer, this would've made a compelling story.

However, with the way she is so whiny and loud and stupid, she just doesn't make me root for her. As result the whole story goes a few steps down.