In 1973, Osamu Dezaki took the zero-to-hero sports shojo written by Sumika Yamamoto about high school freshman Hiromi and made a 25-episode TV animation series. Six years later, the successful Nippon Television show was put on the big screen by the same director. Being one of the best-selling shojo manga of all time, the tennis drama is a groundbreaking story that puts a strong female character in the lead and can be seen, together with “Attack No.1” (1969), as a precursor of future anime.
“Aim for the Ace!” will screen at Japan Society
“Aim for the Ace!” tells the story of Hiromi Oka, a high school student, who joins the tennis club because of her admiration for senior student Ryuzaki. Ryuzaki, spoken by famous voice actress Masako Ikeda (“Galaxy Express 999” ), is the best player in the team and in the course of the film Oka gets the chance to play double with her.
“Aim for the Ace!” will screen at Japan Society
“Aim for the Ace!” tells the story of Hiromi Oka, a high school student, who joins the tennis club because of her admiration for senior student Ryuzaki. Ryuzaki, spoken by famous voice actress Masako Ikeda (“Galaxy Express 999” ), is the best player in the team and in the course of the film Oka gets the chance to play double with her.
- 3/22/2020
- by Alexander Knoth
- AsianMoviePulse
If your perception of anime and manga adaptations is limited to the action-focused likes of “Dragon Ball Z” or “Naruto”, Mamoru Oshii’s “Angel’s Egg” would shock you. A tale of a young girl walking through the ruins of a forgotten civilization with an egg under her dress is definitely an anomaly running contrary to the stereotypes of what constitutes an anime film. Although its meditative tone and pace is predominantly a seducing one, Oshii’s disciplined storytelling sometimes lacks an edge.
Oshii, before becoming an acclaimed director mostly recognized as the creator of the “Ghost in the Shell” series, made his first independent foray into the world of anime with a completely different kind of project. Oshii’s “Angel’s Egg” offers a far more enigmatic and toned-down narrative. It’s a slow-paced and eerie film that constantly keeps the viewer guessing about both the story and its characters.
Oshii, before becoming an acclaimed director mostly recognized as the creator of the “Ghost in the Shell” series, made his first independent foray into the world of anime with a completely different kind of project. Oshii’s “Angel’s Egg” offers a far more enigmatic and toned-down narrative. It’s a slow-paced and eerie film that constantly keeps the viewer guessing about both the story and its characters.
- 1/28/2020
- by Olek Młyński
- AsianMoviePulse
Mamoru Oshii (Kokaku Kidotai, Innocence, Patlabor 2, Sky Crawlers) has one hell of an impressive resume, containing some of the biggest, challenging and most successful animation films out there. At the same time he never stopped experimenting, expanding his oeuvre with smaller, more artistic films (think Tenshi no Tamago or Tachiguishi Retsuden). Talking Head clearly belongs to this second category of films and should be approached with at least some level of caution.Talking Head is part of the unofficial live action trilogy Oshii directed between '87 and '92. It's not a true trilogy though as Talking Head has little (actually nothing) to do with the other two films. Red Spectacles and Stray Dog are both set in the Kerberos universe, Talking Head is a meta...
- 5/3/2012
- Screen Anarchy
Mamoru Oshii's (Tenshi no Tamago, Patlabor 2, Sky Crawlers, Tachiguishi Retsuden) Innocence is without a doubt one of the trickiest accomplishments of his already rich and challenging career. From the get go the film was doomed to fail, back then it simply seemed impossible for a sequel to live up to the standard of its predecessor (Kokaku Kidotai). But Oshii persevered and created what would become another benchmark in Japanese animation.To me Innocence is the perfect sequel. It's everything a good sequel should be, while at the same time avoiding all the predictable traps so many other sequels fall victim to. It's a film that respectfully refers to its predecessor but stands well on its own. It shares the same perks as Kokaku Kidotai, but...
- 3/9/2012
- Screen Anarchy
Hiroyuki Tanaka (Kanikosen, Blessing Bell, Drive) is a very big favorite of mine. Largely unknown in the West (unless you're part of a privileged fest crowd that is), Tanaka is a director with plenty of commercial appeal who failed to ride the (somewhat random) wave of popularity that many other Asian films enjoyed in the early years of the new millennium. If you want a taste of what he is capable of, Monday is probably your best and most entertaining entry point.There are still plenty of films out there that lack a proper English-friendly release (take Kyoshin, Tenshi no Tamago, Symbol) but in those cases I can at least sympathize with the financial risk of releasing such films over here. Even though Monday isn't without...
- 2/24/2012
- Screen Anarchy
Mamoru Oshii (Tachiguishi Retsuden, Sky Crawlers, Ghost In The Shell 2.0, Patlabor 2, Tenshi no Tamago) is without a doubt my favorite director out there, so there's really no way I could ever pass up on reviewing his ultimate classic: the 1995 adaptation of Masamune Shirow's much-lauded Ghost In The Shell manga. Almost 17 years after its original release, the film still houses a truly captivating and mesmerizing power. If Eraserhead and Tetsuo are the films that made me become serious about film as a hobby, Oshii's Kokaku Kidotai is the film that actually introduced me to the world of cinema. Sure enough I watched and liked films before this one, but only in a more simple and straight-forward entertainment-based manner. Before this film it...
- 1/19/2012
- Screen Anarchy
Tenshi no Tamago is the film where it all started for Mamoru Oshii (Ghost in the Shell, Sky Crawlers, Patlabor 2). For the first time he was freed from any limitations, finally at liberty to make whatever kind of movie he wanted to make. The result is one of the most important milestones in Japanese animation history, a film that shattered any remaining notions that animation was merely kid's fare. When people say Japanese animation is more mature than its Western counterpart they actually mean it appeals more to the inner geek. Even "mature" films like Ghost in the Shell or Jin-Roh are still littered with geeky elements and details (cyborgs, guns, random nudity). Of course these film also tackle more serious themes and ideas,...
- 12/22/2011
- Screen Anarchy
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