cattuongmaixuan Why you should see it, in a nutshell: Superb art, superb storytelling and superb message. Will take your tears and give you a new breathe of animation. From the very first scenes, you will be immediately charmed by the intricacy of the Japan alleyways, outlandish buildings and yes, store signs. Yet contrast with such detailed backdrop is the simplicity of the characters' delineation. But don't be deceived by the seemingly effortless art style, the characters' movements are incredibly vivacious, flexible and spirited. After a while, I was wondering how a few lines could be that animated. Visual theme 10/10 The plot surrounds the battle of two brothers, Black and White (Kuro and Shiro, originally) against the maleficent undercurrent of Yakuzas, aspiring to take over Treasure Town. But the film does not stop simply at being a predictable hero movie. In every flashing image you will see, it will unfold another aspect, another side of a character and raise the question about modern life morals, through a somewhat bizarre and dark storytelling.Tekkon Kinkreet is, by all means, a beautiful story about love. There are bloodshed fights, disturbing expressions, dark scenes and all, but after all, it will make your faith in humanity restored. The story of our two urchins, it reveals the ongoing battle of one between the good and the dark side. It is a universal inner battle and you have to have something to believe in. In Tekkon Kinkreet, it is love.Love appears in the benevolent side of Kimura, the just-got-a-pink- slip Yakuza. One of my favorite scenes is in Kimura's house, specifically on his bed. He complains about his wife's smoking habit, with a very caring tone. Then it diverts to the overview of the room. Hanging underwear, worn out furniture, moldy ceiling, you can see them in any tenement in our today world. It makes the story more credible and genuine. And the rest of the characters, each has a unique story to tell.It is such a shame that Tekkon Kinkreet is rated so low on many sites. But oh well, I like it and sure I did draw something out of it. So maybe you will, too.

siderite When people think of the destruction of Tokyo or other major Japanese cities, most of them think Godzilla, but there is a more thorough, more devastating way in which formerly rural Japanese towns turn into metropolises, annihilating old ways of life.I felt that this film, as Godzilla was at its time, was a metaphor for that destruction. This is not a cute little battle with mystical fluffy creatures like Pom Poko, but a fully R-rated brutal film, yet it somehow manages to send the same message as we see alien-like corporate interests destroying the way of life of a city, in such a way that makes toy factories appear as the most evil thing in the world and Yakuza gangsters as the heroes of the story.The animation is weird, but also really well done. The film doesn't waste time trying to convince you of the reality of what happens and the animation style itself tells you from the start that you need to look at the symbolism of the film, not at the gravity defying acrobatics of street children or for the explanation why some hired killers can fly and are apparently unbeatable.I liked it and felt saddened by it. It is not a happy movie, but far from other vein cut inducing Japanese productions. It is always sad when you know the outcome of a war, but you can't stop rooting for the side you know is going to lose.

runamokprods If not quite the genius level of Miyazaki, this is still different, thoughtful and original.It involves two 13 year old boys, Black and White, who live in a run down imaginary city, and who have to fight developers who want to take the city over, and in the process destroy it. Black is dark and angry and needs White's almost Down's syndrome like simplicity and sweetness to balance him. Obvious and heavy handed on a symbolic level, ('Black' and 'White' as character names?) some of the animation is breathtakingly beautiful, although the faces of the characters lack a certain expressivity. It's more the backgrounds, the world itself, and the sort of mock stedicam moving shots that are so striking.See this in a theater, or at least on a great TV via blu-ray if possible. It's such a visual piece, that seeing it in any lesser way makes it likely to miss the film's greatest strengths.

RResende I saw two films here. One i cared about, and another one that made me bore.the city:there are strong visual ideas behind the good Japanese animations. This is a feature that has two sources, according to my interpretation: one is very notion of image int art and Japanese culture. Japanese art produces now and for many centuries before images which are as complex as pleasant, they have abstract concepts, but they are visceral in the way they touch the viewer. So, art in Japan (when really good, and really Japanese) has this double component, of being highly intellectual and highly attached to the public it hits, no matter where that public comes from. That's why it's been relatively easy the process of turning Japanese culture into an universal matter (at least the 'image'(s) of the Japanese culture). The thing that amazes me is how quite different Japanese creators from different areas and different forms of expression tend to be highly coherent between them, even if not directly related. The other source comes from a certain form of expression which, once, cinema explored. i'm talking about expressionism, and the direct influence that the German films from the 20' had in so many creations afterwards. Metropolis might be the most visible face of this influence, but films like Der Golem have today still a strong impact. This film is basically a product of these two (main) influences. We have a city, which is magnificent, coloured but dark (and, as the two main characters, 'black' and 'white'). This city is worth exploring. It's powerful, and it's visual. It's visual in a false two dimensional perspective. That's because the images are more based in texture, color, and framing, than on 3d distances, point of view or perspective. So it has more of Metropolis than of Blade Runner. But it is false because the Japanese are very strong in reducing the means without loosing content. Which is to say, the deepness is all there, even though the image is apparently flat. So, this is a city worth visiting, and, no doubt, the strongest point in this film.storyline:this was, on the other hand, quite disappointing. It made me bored to follow the threads here. Black and White, the film revolves around the connection between them, and we have some other lines to follow around. The old moral gangster, his almost-sun who is forced to kill him, and the superior forces (those who live on the sphere above everything. The concept was quite simple, a kind of ying-yang (as in fact is shown along the story in the shirt of our Black), trying to understand how opposites get attracted (and repulsed) and how the bounding between those opposites creates a 'perfect' relation. But there was too much noise. The kind of 'noisy silence', 'dark coloured' city we had, is totally gone in what concerns narrative devices and storyline. There is only one point of interest, because it's visual and worked with the possibilities of the medium. The visions of White, which he draws, become often animations, with a totally different expression from the rest, allowing us to take it as something really drawn by hand. Those were powerful moments. But the rest wasn't pleasing or interesting to follow, and in the final minutes, the whole thing falls apart, precisely when the city is gone of our site, and the whole graphic expression changes into something that doesn't fit.My opinion: 3/5, check it for the city...http://www.7eyes.wordpress.com