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Goro needs to ask himself why he's a director, and for our sake he needs to find the answer on his own time, and not on Ghibli's dime.ДЇrom up on Poppy Hill, another great addition to the Ghibli Studio collection in my opinion.

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When Hayao made Ponyo, you could see his childlike passion for the project in the bluray extras, and you can see it in the work itself, it's bold and full of life, and contains the most amazing depiction of sea waves I've seen in animation. The last thirty minutes had developments that could have made a better film by themselves, in a manner similar to Grave of the Fireflies. There are no creative scene compositions, no efficient editing tricks no passion in the bringing of this tale. I can recall numerous scenes and musical motifs of previous Ghibli films, but from this all I will recall is the main character pulling up a flag. There's just nothing here to latch onto and keep in your memory as something to return to.

The music, like everything else with this film, is inoffensive and bland. Hayao himself co-wrote the script with the screenwriter of Earthsea, and I like to imagine he tried to make the clubhouse scenes lively in order to bring life to the story. There is a revelation that sparks things up somewhat, but even that is ultimately diffused. The story is a simple coming-of-age tale that lacks any life or bite. The animation is not special in any way other than bringing to life 1960's Japan with typical Ghibli detail. The last thirty minutes are the best with more pace, urgency and melodramatic moments, but itвЂ™s a slog to get there. From Up On Poppy Hill at least has some modicum of charm and old school aesthetic about it that keeps it from being a complete failure however. There are some detractors of that opinion, but the general consensus from viewers is that Earthsea is far low on the list of Ghibli films you should watch. ItвЂ™s as if after the drubbing he got for Earthsea he thought to himself вЂњIвЂ™ll direct a story set in 60вЂ™s Japan, the critics will like that!вЂќД®arthsea was a disappointment on every level. His two films aren't even pandering to mainstream audiences thatвЂ™sД¬ertainly not a complaint that can be directed at him, but his films are just directorial missteps that don't utilise the tools of animation to their best potential. Maybe gaining more experience doing other things would prepare him for that special of roles, but instead what we're left with is his experimentations and learning process stamped with the Ghibli logo. Goro doesn't deserve to be making Ghibli movies just yet. On one hand I can understand Hayao supporting his son in his career, yet on the other hand this blatant form of nepotism is doing nothing but showing that the Miyazaki magic will disappear when he does.

Well that's two lacklustre Ghibli movies under Goro's belt. But Shun is an orphan who doesn't know much about his origins, and when the two begin searching for clues to the boy's past, they discover that they may have a lot more in common than either of them could have thought. Umi finds herself helping the newspaper club to spread information about this cause where she befriends Shun Kazama, whom she gradually begins to fall in love with.

As a result, a large part of the student body has banded together, working tirelessly to prevent this from happening. In anticipation of the upcoming Olympic Games, a beloved old clubhouse is set to be demolished to make way for a modern building. When she isn't at home, she is a student at the local high school-one that is currently dealing with a small crisis.

Since the building is run by her family, Umi Matsuzaki carries out many of the duties involved in managing the small establishment, such as preparing meals for her fellow boarders. Atop a hill overlooking a seaside port sits a boarding house named Coquelicot Manor.

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