kjandapodcast
Joined Dec 2022
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Reviews12
kjandapodcast's rating
Spriggan (1998) is a relentless action-packed anime that throws logic, subtlety, and storytelling structure out the window in favor of nonstop brawls, explosions, and conspiracy. Based on the manga of the same name, it's very much a product of its time-with visuals, pacing, and dialogue that scream "late 90s anime."
Kevin and I from the K J and A Podcast describe it best: "This movie is 90% action and 10% everything else." That "everything else" includes a loosely strung-together plot about ancient alien technology (OOPArts), government black ops, psionic kids, and an ancient ark capable of controlling weather, life, and stasis-yep, it does everything.
The animation is surprisingly fluid and detailed for the era. The action choreography stands out-especially the city sword fight, the Jeep minigun scene, and the brutal hallway brawl with Fatman. Kevin praised it as "one of the best anime fights from the 90s," while I noted the fight scenes often seemed like "setups for trailers more than natural plot beats."
The characters are mostly archetypes: the brooding teen super-soldier (Yu), the creepy child villain with god powers (McDougal), the cigar-chomping cyborg thug (Fatman), and a handful of scientists there to yell exposition. The story hints at something deeper with Yu's dark past in Project COSMOS, but barely scratches the surface.
It's not essential viewing, but definitely a fun one if you're into 90s anime explosions and overpowered protagonists yelling things like, "I'm a f***ing Spriggan!"
Kevin and I from the K J and A Podcast describe it best: "This movie is 90% action and 10% everything else." That "everything else" includes a loosely strung-together plot about ancient alien technology (OOPArts), government black ops, psionic kids, and an ancient ark capable of controlling weather, life, and stasis-yep, it does everything.
The animation is surprisingly fluid and detailed for the era. The action choreography stands out-especially the city sword fight, the Jeep minigun scene, and the brutal hallway brawl with Fatman. Kevin praised it as "one of the best anime fights from the 90s," while I noted the fight scenes often seemed like "setups for trailers more than natural plot beats."
The characters are mostly archetypes: the brooding teen super-soldier (Yu), the creepy child villain with god powers (McDougal), the cigar-chomping cyborg thug (Fatman), and a handful of scientists there to yell exposition. The story hints at something deeper with Yu's dark past in Project COSMOS, but barely scratches the surface.
It's not essential viewing, but definitely a fun one if you're into 90s anime explosions and overpowered protagonists yelling things like, "I'm a f***ing Spriggan!"
Summer Wars, directed by Mamoru Hosoda (The Boy and the Beast, The Girl Who Leapt Through Time), is a vibrant, genre-blending anime that delivers both digital chaos and heartfelt family drama. Kevin and I of the K J and A Podcast dissected the movie with both admiration and critique, agreeing that while the film is unique and ambitious, it's not an easy one to pin down.
The story follows Kenji, a math genius turned reluctant fake boyfriend, as he gets swept into the sprawling Jinnoichi family gathering, just as a rogue AI named Love Machine hijacks the virtual world of Oz-Japan's all-in-one digital infrastructure. What follows is part family reunion, part cyber disaster movie, and part kung-fu-fueled digital smackdown.
Kevin praised the dynamic between technology and tradition: "It's like Skynet, but with a family potluck." He especially appreciated the sense of rootedness, how each family member plays a role in both emotional support and the literal battle to save the world. I, on the other hand, felt the slice-of-life pacing could drag at times, admitting the film is "very hit or miss" depending on your mood and affinity for big family energy.
The film's art direction-handled by multiple teams for both the real world and the digital Oz-is striking. The Oz sequences are stylized, colorful, and chaotic, while the countryside family estate feels lived-in and grounding. However, the chibi-style avatars and the overwhelming amount of side characters can feel disorienting for viewers not used to juggling 30+ names at once.
It's an emotionally warm, visually exciting ride that mixes family bonding with cyber warfare. It won't click for everyone, but it's a uniquely rewarding film for those who vibe with its dual-world structure.
The story follows Kenji, a math genius turned reluctant fake boyfriend, as he gets swept into the sprawling Jinnoichi family gathering, just as a rogue AI named Love Machine hijacks the virtual world of Oz-Japan's all-in-one digital infrastructure. What follows is part family reunion, part cyber disaster movie, and part kung-fu-fueled digital smackdown.
Kevin praised the dynamic between technology and tradition: "It's like Skynet, but with a family potluck." He especially appreciated the sense of rootedness, how each family member plays a role in both emotional support and the literal battle to save the world. I, on the other hand, felt the slice-of-life pacing could drag at times, admitting the film is "very hit or miss" depending on your mood and affinity for big family energy.
The film's art direction-handled by multiple teams for both the real world and the digital Oz-is striking. The Oz sequences are stylized, colorful, and chaotic, while the countryside family estate feels lived-in and grounding. However, the chibi-style avatars and the overwhelming amount of side characters can feel disorienting for viewers not used to juggling 30+ names at once.
It's an emotionally warm, visually exciting ride that mixes family bonding with cyber warfare. It won't click for everyone, but it's a uniquely rewarding film for those who vibe with its dual-world structure.
Howl's Moving Castle is another visual triumph from Studio Ghibli and director Hayao Miyazaki. Adapted loosely from Diana Wynne Jones's novel, the film weaves together a tale of magic, identity, anti-war sentiment, and finding personal freedom-with breathtaking results.
Kevin and I from the K J & A Podcast praised the film's worldbuilding, tone, and stunning backgrounds. "You could pause at any frame and want it as a poster," said Kevin. The film's environments-especially Howl's secret garden and the painted landscapes-are as mesmerizing as they are emotionally grounding.
Christian Bale voices the mysterious and flamboyant wizard Howl, delivering a performance that shifts from suave to haunted. Jean Simmons and Emily Mortimer carry Sophie's transformation with emotional weight and warmth. However, both of us agreed that Billy Crystal's voice as Calcifer, while funny, sometimes felt miscast against the animation. "It just didn't match the character design," I noted, despite the comedic timing being on point.
The film's themes of age, self-worth, and peace are woven through a deceptively simple story. Sophie's magical aging (which fluctuates based on her emotions) and Howl's resistance to being weaponized in war reflect Miyazaki's quiet message: life is worth living, and freedom is worth protecting.
Kevin and I from the K J & A Podcast praised the film's worldbuilding, tone, and stunning backgrounds. "You could pause at any frame and want it as a poster," said Kevin. The film's environments-especially Howl's secret garden and the painted landscapes-are as mesmerizing as they are emotionally grounding.
Christian Bale voices the mysterious and flamboyant wizard Howl, delivering a performance that shifts from suave to haunted. Jean Simmons and Emily Mortimer carry Sophie's transformation with emotional weight and warmth. However, both of us agreed that Billy Crystal's voice as Calcifer, while funny, sometimes felt miscast against the animation. "It just didn't match the character design," I noted, despite the comedic timing being on point.
The film's themes of age, self-worth, and peace are woven through a deceptively simple story. Sophie's magical aging (which fluctuates based on her emotions) and Howl's resistance to being weaponized in war reflect Miyazaki's quiet message: life is worth living, and freedom is worth protecting.