Buy this product here: Baking Because Murder Is Wrong Cat Shirt, hoodie, tank top
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Baking Because Murder Is Wrong Cat Shirt, hoodie, tank top
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Most, if not all, of Mamoru Hosoda’s original films produced in the past decade function, to some degree or another, as exercises in autobiography. Summer War, apart from a premise more or less recycled from Hosoda’s 2000 directorial debut Digimon Adventure: Our War Game!, was the many-times-removed story of Hosoda meeting his wife’s family for the first time. 2012’s Wolf Children was inspired by the passing of Hosoda’s mother, animated in part by the anxieties and aspirations at the prospect of his own impending parenthood. 2015’s The Boy and the Beast was completed just after the birth of Hosoda’s first child, the product of his own questions as to what role a father should play in the life of his son. Mirai, the director’s seventh film, is not from Hosoda’s own experience, but filtered through the experiences of his first-born son meeting his baby sibling for the first time. Told care of the perspective of Kun (Moka Kamishiraishi), a toddler who feels displaced and insecure in the wake of his sister Mirai’s birth, Mirai is a beautiful adventure fantasy drama that whisks the viewer on a dazzling odyssey across Kun’s entire family tree, culminating in a poignant conclusion that emphasizes the beauty of what it means to love and to be loved. Mirai is Hosoda’s most accomplished film, the recipient of the first Academy Award nomination for an anime film not produced by Studio Ghibli, and an experience as edifying as it is a joy to behold. —Toussaint Egan
Year: 1971Director: Stanley KubrickStars: Malcolm McDowell, Patrick Magee, Adrienne Corri, Miriam KarlinRotten Tomatoes Score: 88%Rating: RRuntime: 136 minutes
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As with most (well, probably all) of Stanley Kubric’s book-to-screen adaptations, A Clockwork Orange remixes several aspects from Anthony Burgess’s novel, and probably for the better (at least Alex [a terrifyingly electric Malcolm McDowell] isn’t a pedophile in Kubrick’s film, for example). It’s still a relentlessly vicious satire portraying a society permissive of brutal youth culture, one where modern science and psychology are the best countermeasures in combating the Ultra Violence™ that men like Alex and his fellow “droogs” commit. It’s painfully clear that when Alex is cast as a victim by the British Minister of the Interior (Anthony Sharp) that—spoiler alert!—evil wins. Christ, can any of us ever hear ”Singing in the Rain” the same again after this nightmare? —Scott Wold
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