The Best Animated Films- Top 10 Studio Ghibli

This was a very hard list to compile. Whilst with the Pixar list I was scrabbling around at the end for films like Cars, Studio Ghibli has no such dead weight. Even their lesser films are still ambitious and have good points to them. I have seen no Ghibli film which I have thought was wholly bad. Now there are a handful of Ghibli films I haven't seen such as The Cat Returns, Ponyo or Tales from Earthsea, but I have seen all the major ones and more. Apologies if your favourite didn't make list- it was either because I didn't have space or I simply haven't seen it. It may also be noted that Nausicaä: Valley of the Wind doesn't feature on the list- this is ostentatiously because it is technically a pre-Ghibli film, but to be honest that is just an excuse because I had too many films to fit on the list. Anyway, without further ado, here are my top 10 Studio Ghibli films in alphabetical order.

Grave of the Fireflies- 5 Stars

English Theatrical Release Poster

In contrast to my Top 10 Pixar films list this list starts out with an absolute classic. Grave of the Fireflies, from Studio Ghibli founder Isao Takahata, is a film about two orphans, a boy and his much younger sister, trying to survive in Japan at the end of the Second World War. It is a very bleak but also touching film about humanity and the need for human beings to be social. There is a debate raging around the film about whether it is anti-war or not. Many consider it an anti war film, but Takahata has challenged this saying instead that he intended to make a film about isolation and therefore the need to be social. Although I am generally the proponent of not reading more into a piece of art than an artist intended, here I think it is a necessary extrapolation. Even if Takahata claims that he did not intend to make an anti war film, it is the war that drives the two children to their isolation thus showing the destructive power of war. Even if not his foremost intention, Takahata could surely not deny that he did also show the horrors of war within his film. However, quite aside from this debate, the film is simply a masterpiece. The simple innocence of the young girl Setsuko and the determination of her brother Seita to keep her alive against all odds is so moving. Some of the best scenes come from when the two of them go to live with their aunt, who at first is welcoming and then gets more and more resentful as the two of them consume rations. The aunt's stance is decidedly harsh, but we understand her motives and worries for her own family. She is a complex character, not the stereotypical, strict refugee housekeeper of British wartime books about children. However, it is the love of the two siblings and the tragic impact of war that creates such a nuanced film and therefore it ranks very highly on this list, although its occasionally heavy sentimentalism keeps it from being higher.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 4= 18/20 *****

Howl's Moving Castle- 3 Stars

The Titular Castle

Howl's Moving Castle is an ambitious film but it doesn't quite all click together. This one was directed by Hayao Miyazki, the most famous of the Ghibli directors (although I would argue that Takahata is equally as talented and worthy of recognition). However, Howl's Moving Castle is not one of Miyazki's best. This could be because what is so admirable and instantly recognisable about Miyazki's films is their creativity and the easy narrative flow which stems from this. Howl's Moving Castle, however, is based upon a western book of the same name by Dianna Wynne Jones, which constrains this creativity and creates a rather mispaced film. Although the plot is not too complex to follow, some characters, for example Madam Sulliman, are not given enough screen time to give them the complexity expected from Ghibli films and so the audience does not really understand where they fit in or their motives. On top of this, Howl is not a very relateable character- he is moody and self absorbed which makes it difficult to sympathise with him and therefore care about the action. That said, Sophie is a fantastic heroine- she is brave and strong but also understanding, a trait which does a lot to endear her to the audience. On top of this, the fact that she is the protagonist and romantic interest of the film, and yet is an old woman is a fantastically original idea and fits with Miyazki's recurrent themes of female empowerment and age. In conclusion, although Howl's Moving Castle does have good points, it is let down by a mispaced and occasionally confusing plot, as well as the unsympathetic Howl, and so comes last on this list of films. However, the fact that it is last only goes to reinforce the quality of Ghibli's other films.

Ratings: Entertainment: 6 Technical: 5 Intelligence: 3= 14/20 ***

Kiki's Delivery Service- 5 Stars

Kiki and Tombo

I have to say I was unsure whether to watch this film at first. The premise, that a 14 year old witch sets up a delivery business, sounded rather absurd and silly so I put it off. Then, one day when I had nothing to do, I decided that I'd give it a go and wow it is brilliant, one of my all time Ghibli favourites. That is because Kiki's Delivery Service isn't really about a witch. It's about all of the classic Miyazki themes that occur in many of his films. In fact, this film is probably the one which most apparently contains all of them. Transition from childhood innocence? Check. Modernisation of Japan? Check. Meditation on nature of art and the artist? Check. Symbolic flying? Check. Scenes depicting the ocean? Check. The most tenuous Miyazki theme would be the anti-war theme, but even then, the dramatic climax of the film features an airship- a machine used as a weapon of war in the early 20th Century. Most importantly, Kiki's is one of Miyazki's best characters and heroines. She is sweet and good willed, but she is also vulnerable and occasionally sullen. Her transition from child to young adult is a brilliant depiction of growing up. Her initial negative reaction to the boy Tombo and persistent ill-will towards him reflects a kind of perverseness so often seen in adolescent relationships. Moreover, the loss of her ability to talk to Jiji, her cat who represents her childishness, at the end of the film represents the sadness of the passing of childhood. However, we also rejoice in her independence and strength as she becomes truly independent. On top of all this, Miyazki inserts a meditation on art- Kiki's loss of her powers is symbolic of a type of 'writers block'. Her painter friend, Ursula, tells her that her powers like art will come and go. She must find a purpose and that will help her regain her powers. Thus, Miyazki is saying that artistic endeavour must aim to show something- to have a purpose. A simple theme perhaps, but a powerful one. The modernisation of Japan is also briefly touched on with the airship's ability of flight and Kiki's being compared- the airship which crashes represents modernity and Kiki's ultimate success tradition. That said, Tombo, who invents his own flying machine, and Kiki's chemistry point towards a harmony of the two- tradition and modernity combined. When all this is combined, it cannot be denied that Kiki's delivery service is a truly brilliant film.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 5= 19/20 *****

My Neighbour Totoro- 5 Stars

Left to right: Totoro, Mei and Satsuki

My Neighbour Totoro is, in my opinion, Miyazki's best made film. That doesn't mean the best film he's ever made, it simply means the one that flows the best and in which all the pieces fit together perfectly. It tells a fantastical tale of two sisters who meet the forest spirit Totoro and have many adventures together. It is a film all about the joys of childhood told in a very simple, understated way. There is no forced drama, no unnecessary tension- what is so admirable about the film and why I say it is the best made Miyazki film, is that he feels no need to rush things along and simply takes his time letting the audience enjoy the ride. For example, in an American equivalent, one might expect the adults not to believe the children's tales of the forest spirits resulting in a fight and then possibly a comedic moment when the parent is forced to realise their mistake. There is no such forced drama- instead the girls father simply accepts the presence of spirits in such a heart warming form of parental acceptance. Another example is the presence of the boy, Kanta. It is suggested that he has an attraction to the older sister Satsuki, and that possibly a romantic attachment may be formed in the future. However, this leads nowhere and by the end of the film we are still just left with future suggestions. At first I thought this was a fault of the film that it did not fully develop its storylines. Then I realised it was quite the opposite, a triumph of the film in that it felt no need to cram a love story in, and instead played with the sweetest suggestions of the blossoming of young love. It represents the good things about Satsuki's imminent adolescent future, which is close but has not quite arrived yet. This is also symbolised by the fact that it takes Satsuki slightly longer to find Totoro than her younger sister Mei, representing Mei's relative greater innocence as compared to Satsuki. And yet Satsuki is still a child and the way she interacts with her younger sister, almost as an equal, is so touching to see. Overall, My Neighbour Totoro is one of Miyazki's absolute best and is very high up the list.

Ratings: Entertainment: 10 Technical: 5 Intelligence: 4= 19/20 *****

Only Yesterday- 5 Stars

Takeo's childhood memories...

One of Studio Ghibli's lesser known films, Only Yesterday is another masterpiece from Isao Takahata. It revolves around 27 year old Taeko travelling out to rural Japan and her memories of her 11 year old self which come to her throughout her holiday. It is, I would argue, one of the most ambitious of Ghibli's works as it breaks out of the normal bonds of animation to tell a largely realistic tale of a woman's path to self realisation. That said, it does have fantastical moments in it. In fact, the very best scene of the film, and one of the best scenes of any Ghibli film, is when 11 year old Taeko is walking home alone from school and she runs into Shuji, a boy who is rumoured to have a crush on her and who she has also developed an interest in despite the fact the two of them have never really spoken. There is an awkward silence only interrupted when Shuji awkwardly stammers 'Sunny days, rainy days, or cloudy days- which do you like?' There is a silence before she replies 'Cloudy days' and he elatedly responds by saying 'Oh we're alike!' before running off ecstatically. She then runs off happily in another direction starting to climb up into the sky when she starts flying. This flying is just a brilliant visual way of showing her elation, and as a memory, showing the looseness of recollection. This leads me onto another point about the genius of the artwork which surpasses all other Ghibli films. In the present, the artwork is as high a standard as you would expect of Ghibli film, with special attention given to give characters realistic facial movmenets. However, the true brilliance lies in the contrast of this with the memory scenes, where the scenes are much more sketchy. The characters all are coloured but the edges of the frame remain white and faded, as if she cannot remember them. It perfectly reflects the flimsiness of memory as emphasised by the Japanese title- Omoide Poro Poro (Memories Come Tumbling Down). This is probably my favourite Ghibli film and it does so many things well it's such a pity that it has some minor flaws that drag it down. These flaws are basically that it goes on too long- it is a two hour film and to be honest by the hour mark its starting to run out of ideas and becomes less engaging. On top of this, the relationship between Toshio and Taeko could perhaps have been built up better. The first scene with the two of them in the car is great, but from then on it doesn't really seem like they have any development together which makes her decision to start a relationship with him seem abrupt. These flaws considerably drag down what is otherwise a brilliant and very intelligent film about memory, childhood and our own inability to know ourselves.

Ratings: Entertainment: 8 Technical: 5 Intelligence: 5= 18/20 *****

Princess Mononoke- 5 Stars

Original Japanese Release Poster

Unlike the Pixar list, the top Studio Ghibli film has come bang in the middle of the list. Princess Mononoke is a film of such breathtaking scale and ambition that it is not only one of the best animation films, but one of the best films of all time. It effortlessly blends fantasy with some incredibly complex themes and characters. I consider it the best Studio Ghibli film because it so clearly emphasises the theme of modernity vs traditional that Miyazki does so well. In Princess Mononoke they reach their peak as Miyazki considers both the positives and negatives of modernisation. Modernity is represented clearly in the film by the suitably ambiguous figure of Lady Eboshi. She is the leader of Irontown, a mining community which is a refuge for former prostitutes and lepers. This is the positive side of modernity- its acceptance and the support for the weaker in the community. However, the mining has also brought Irontown into conflict with the local forest spirits. They aim to kill the Deer God which sustains the forest but whose head also brings immortality (a pursuit that brilliantly characterises a modern pursuit of continual growth and progression). This shows the conflict that modernity and consumerism has on the environment. However, the character of Jiko-Bo also shows the deception and corruption of the traditional government. In the end, a compromise is reached where Irontown can live in harmony with the forest, just as the Ashitaka can live with wild San. However, Princess Mononoke's strength is not just its intelligence but its epic adventure. It is the only Ghibli film which can be said to be truly epic in scale with vast battles. And yet the film's build up to the climax is what makes it so brilliant, with all the characters showing complexity and depth. Both the characters of Eboshi and Jiko-Bo are ambiguous as to whether they are good or evil, and San, the titular Princess Mononoke, is a wild and savage girl of the woods, yet ultimately is the heroine. The protagonist, Ashitaka, is also not your typical hero- he is brave but melancholic- we get a sense that he is fated to take this path. It is his character that bestows the epic nature to the film- he provides a sense of fatalism that is so typical of epic films. In conclusion, Mononoke is a film epic in scale and thought and fully worthy of its first place.

Ratings: Entertainment: 10 Technical: 5 Intelligence: 5= 20/20 *****

Spirited Away- 5 Stars

Chihiro and No-Face 

Spirited Away is the most famous of Studio Ghlibi's films and also undoubtedly one of its best. It is about young Chihiro and her adventures in the fantastical world of an ancient bath house. It has become Studio Ghibli's most famous works, partly because it encompasses all those themes which Miyazki is famous for (modern vs traditional Japan, youth to adulthood, the environment), but also because it is one of the most inventive of any Ghibli film. The stink spirit, the huge baby and No-Face are just a few examples of the original characters involved in Spirited Away. Chihiro is also a complex heroine who although sullen becomes less introverted as the film goes on and by the end is a much more confident and likeable character. The theme of greed and critique of consumerist culture is also poignant with the theme of greed transcending time- her parents are turned into pigs for their greed in the modern world, but the desire for gold in the bath house shows a greed amongst the older generation too. The character of No-Face helps to explain this greed- Miyazki shows it is not the time but rather the culture that creates greed. No Face takes on the traits of those around him and so in the bath house becomes greedy, devouring many of the workers. However, when taken into rural Japan to Zenibar he becomes docile and harmless. The character of Yubaba reinforces this- in the urban, competitive and greedy environment of the Bathhouse she is cruel and manipulative, but in the rural countryside she is simply 'Granny' and is much kinder. Miyazki is protesting against the loss of Japan's rural communities and within that the connection those rural communities have with nature. However, Spirited Away is not a perfect film and its flaws push it down the list. I have always felt the romance between Chihiro and Taku to be rather forced and crammed in, not typical of a Ghibli film. I praised My Neighbour Totoro for not rushing a romance and simply leaving future suggestions, but in Spirited Away the romance has always felt crammed in with her recalling Haku as the river spirit seeming an unlikely last minute plot twist. Their relationship was also not developed enough previously- I can't really see sparks fly between them or why they might be interested in each other. I may of course be missing something crucial, but to my mind this romance aspect seems tacked on and drags the film down considerably. Therefore, Spirited Away is certainly worthy of its reputation, but misses out on the Ghibli top spot.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 4= 18/20 *****

The Tale of Princess Kaguya- 5 Stars

The beautiful artwork of Princess Kaguya

The latest, and very possibly last, film from Isao Takahata is also possibly his best. It tells the traditional Japanese tale of a bamboo cutter who one day finds a small princess in a stalk of bamboo and raises her as his child. He feels a duty to raise her as befitting her station as a princess and so after an idyllic childhood in the Japanese countryside they move to the capital, where she is courted by many suitors. The film brilliantly portrays the sense of isolation that Kaguya feels in the city, even when surrounded by all her admirers. It is the rawest of Ghibli's films in its attachment to the countryside and its surrounding with the recurring song throughout the film's lyrics mentioning 'Birds, bugs, beasts' and 'Grass, trees, flowers'. The film is also a love story between Kaguya and Sutemaru, a village boy she was close with in her youth. One of the films best scenes is when after a long separation she sees Sutemaru stealing. He catches a glimpse of her and stands stock still allowing the police to catch him. He is beaten up and her carriage pulls away. We are then left with a grey screen with only Sutemaru left in the centre with pouring rain and some ill sketched carriages drawing past. It is impossible to describe the powerful emotion the simple artwork conveys- the isolation of both Sutemaru and Kaguya is described simply and visually in one simple scene. This leads on to the most impressive thing about the film which is its art style. It lays a serious claim to being the most beautiful Studio Ghibli film. It is done in a sketch type way, similar to the memory scenes in Only Yesterday. When Kaguya is focused the detail is filled in and coloured, but when she is angry or impassioned all colour fades and we are left with some impressionistic sketches with only hints of colour. Not only does it use the art style to reflect the character's emotions, but its simple beauty is overwhelming. This beauty reflects the film as a whole of which the central theme is simply a love of life. Many bad things happen to Kaguya, and yet the film contrasts this with the simple joys of life and the brief moments of happiness it can bring. It elevates happiness and life to a higher level and it is this simple goodness which gives the film such power.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 5= 19/20 *****

Whisper of the Heart- 5 Stars

Seji and Shizuku

The only film directed by Yoshifumi Kondo before he tragically died at the age of 47, this beautiful film only serves to make you wonder what he could have gone on to do. He was being positioned as the heir to Miyazki and Takahata and on the basis of Whisper of the Heart, you can see why. Whisper of the Heart is a film much akin to Only Yesterday in that it is a mostly realistic film set in modern Japan. It centres around 14 year old school girl Shizuku and her progress from childhood to adolescence, a typical Ghibli theme. This is portrayed in two connected ways- firstly through a romance with the elusive Seji, and then through her attempts to write a novel. It is a very tender tale about a girl finding out new things about herself- her physical sexual interest but also an interest in art and creativity. After finishing her novel she presents it to Seji's grandfather, a wise old violin maker, who reads it and, although saying she has room for improvement, compliments the book. She however, bursts into tears in that artistic uncertainty and frustration that any person starting out recognises. Similar to My Neighbour Totoro, Shizuku's parents are supportive of Shizuku and her artistic endeavours, avoiding that inevitable cliched and forced clashed between parent and child that you see in so many western films. My criticism of the film is a common one and that is that the end- where Shizuku and Seji declare their love and promise to get married- is too sentimental and doesn't fit with the tone of the film. It doesn't feel right for either character and feels crammed in. A more fitting ending would be a suggestion similar to that of Totoro- that they will get together in future. It ruins what is otherwise a stunningly unsentimental (although still touching) film considering its subject material of teenage romance. Overall, Whisper of the Heart, although one of Ghibli's lesser known films, is also one of their very best.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 4= 18/20 *****

The Wind Rises- 5 Stars

Nahoko and Jiro

How fitting that Miyazki's last film The Wind Rises should also be the alphabetically last film on the list. And what a film it is. Miyazki's obsession with flying and aeroplanes is here given centre stage. There is an absurd debate about whether Miyazki is supporting war in this film by heroising the protagonist Jiro, the creator of the Zero Fighter which was one of the best aircraft of any nation in World War 2. That anyone thinks this is beyond me- Miyazki has repeatedly shown in his previous films that he is anti-war and a pacifist, and the entire dilemma and, in part, tragedy of this film is the moral conundrum Jiro has about whether he is doing the right thing. This strikes to the heart of the film- The Wind Rises is really about art and artistic endeavour. In this film, the creation of art is related to the creation of airplanes. However, Jiro realises that the more successful his artistic ability, the more successful the machine will be at its job- killing people. This creates a moral dilemma for Jiro, as he wants to fulfill his artistic ambitions and yet in doing so is going against his moral principles. In the final scene, as Jiro reenters the field of dreams he shares with Caproni, he is congratulated upon his masterful design and yet laments that 'Not a single one (airplane) shall return' to which Caproni replies 'That's what happens when you lose a war.' The previous scenes in Nazi Germany, where Jiro and his friend see a man hunted down by the Gestapo go to reinforce this feeling of tension, as well as the warnings from the German Castrop. The audience is therefore presented with a full view as to what the outcome of Jiro's designs will be, and yet we sympathise with his artistic desire. It is fitting that in his final film, Miyazki would emphasise the role of the artist and of art, whilst also displaying its problems. A common criticism of The Wind Rises is that its romance feels forced and crammed in but personally I thought it was touching and very moving. Of all the recent films about a young couple of which one has a fatal illness this is by far the maturest and resultingly most moving of them. It is not overly sentimental, as shown by the restraint shown in the handling of Nahoko's actual death- no weepy goodbye, instead simply her returning to the Sanatorium to die with dignity. That said, Jiro's sister's weeping and deep rooted concern for Nahoko seemed a little forced as they had only had one scene together. Overall though, the romance was done with admirable restraint, yet also emphasised the theme of making the most of one's life. I shall finish with the symbolism of the wind which is used in a line from a poem by Paul Valery that the title is derived from: 'The wind rises; we must try to live'. The wind is life itself- it is both the aspiration of Jiro's artistic endeavour, and a representation of his personal connection with Nahoko (they are twice brought together by objects caught in a wind; first his hat, second her parasol). These two strands are what a happy life is composed of- intellectual fulfillment and personal happiness. The wind, in this way, represents the current of life- you can try and ride it as Jiro's airplanes do, or simply let it take it where it will.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 5= 19/20 *****


The overall ratings for the Studio Ghibli films are much closer than that of the Pixar ones (other than Howl's Moving Castle, all are 5 stars) which says something about the very high quality of the films. There are other classics that I couldn't fit on the list such as Nausicaä: Valley of the Wind and Castle in the Sky but I couldn't fit them all in. As the ratings are all the same, my top ten list will be fairly tight but should reflect the positivity of the review as well as the rating:

10) Howl's Moving Castle- 14 ***
9) Whisper of the Heart- 18 *****
8) Spirited Away- 18 *****
7) Grave of the Fireflies- 18 *****
6) Only Yesterday- 18 *****
5) The Wind Rises- 19 *****
4) The Tale of Princess Kaguya- 19 *****
3) My Neighbour Totoro- 19 *****
2) Kiki's Delivery Service- 19 *****

1) Princess Mononoke- 20 *****






















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The Best Animated Film- Top 10 Pixar Films

This is the first in a series of post which are going to try and find the best animated film out of the major animation studios of Pixar, Disney and Ghlibli, as well as taking into account some other greats outside of that (such as Shrek). Of course, these only include films I have seen so apologies if I miss out favourites and the like. Today I shall kick off with Pixar, with the films listed in alphabetical order.

Cars- 2 Stars

Cars, Theatrical Release Poster

Shame to kick off with a bad one, but Cars is by far the worst Pixar film I’ve seen and is widely recognised as Pixar’s first failure after a sleuth of high quality first films. The biggest problem with Cars is that it feels forced- the humour isn’t clever and doesn’t gel. On top of that, the characters are boring and the plot clichéd (the arrogant champion who gives up his glory to help someone else and, of course, falls in love- boring). It doesn’t help that, as all the characters are literally cars, it requires a lot of good characterisation for us to sympathise with them. Of course, in Pixar’s greatest successes such as Toy Story and 

WALL-E, where the characters are toys and robots respectively, the audience does relate to the characters and their plight but this is why Cars is so disappointing compared to the others- it simply doesn’t generate the same interest. That said, I am willing to concede that it may make a more interesting film for people interested in racing or cars, which I am decidedly not. However, a good film should be able to engage the interests of many different people meaning Cars is probably the worst Pixar film I have seen and is miles off the top spot.

Ratings: Entertainment: 5 Technical: 4 Intelligence: 2= 11/20 **

  

Finding Nemo- 3 Stars

Finding Nemo,
 Theatrical Release Poster

Finding Nemo is widely regarded as one of Pixar’s absolute greatest achievements. I have to say, I have never quite understood the hype around it. It is a good film, there is no doubting that, and its originality in setting a film entirely under the ocean was also a fantastic way to use the medium of animation. However, the plot itself is pretty standard and doesn’t really have a message to it like the Toy Story films, for example. The character arc from Marlon is also completely predictable and a little boring. The plot also feels forced in places to create emotion which is really aggravating, such as when Nemo appears to be dead at the end, just after he’s been rescued- the audience knows he’s not dead and the scene is just pushed in there to try and generate some emotion from the audience which is fake and disingenuous. I just wish they could have come up with more interesting characters and plot for a film which is so visually amazing. I also do not find Dory particularly funny and after the novelty of her character wears off she becomes rather annoying. The rest of the wide cast of supporting characters are varied in their quality with the vegetarian sharks being the best, but there also being many forgettable ones. I do like Nemo and enjoy it as a film, I just wish it had more to say and wasn’t so predictable.

Ratings: Entertainment: 7 Technical: 5 Intelligence: 2= 14/20 ***

The Incredibles- 5 Stars

The Incredibles,
Theatrical Release Poster

The Incredibles is my second favourite Pixar film because not only is it immensely enjoyable and watchable but it also has a sincere and intelligent message about mediocrity and family. I have already written about this film on my blog (see the previous post) and so shall keep this review short, but I shall just reiterate again that this film’s success is down to the fantastic pacing resulting in moving emotional scenes, funny comedic ones, and tense bursts of action. On top of this, The Incredibles contains some of Pixar’s very best supporting characters- Syndrome is one of Pixar’s most memorable villains and its supporting characters of Edna Mode, Frozone and Mr Huff outrank any of the supporting cast from Finding Nemo. On top of all this entertainment, the Incredibles also carries a message about the importance of family and the frustrations of a mid-life crisis, but all uniquely conveyed through the medium of a superhero movie.

Ratings: Entertainment: 10 Technical: 5 Intelligence: 4= 19/20 *****

Monsters Inc- 4 Stars

Monsters Inc, Theatrical Release Poster

Monsters Inc is a Pixar classic but is not quite up there with the very best. It has good characters with Sully and Mike having excellent chemistry throughout the film, creating much of the comedy. It is again another completely original idea from Pixar and has a good depth of supporting characters in Randall, Waternoose, and, of course, Roz, as well as a message about the dangers of corporatism. On top of this, it has a strong emotional heart in the connection between Sully and Boo. So why does it not reach the heights of Pixar then? The problems, as I see them, are as follows: firstly, the predictability of Sully’s character arc is clear from the beginning- in a film made for human children, the ending is going to contain a message about them in a positive light, and hence Sully’s realisation that human children are not the dangers which they have been made out to be (as the audience also knows) is entirely predictable even on a first watch. Secondly, the two antagonists in Waternoose and Randall created a distorted climax as the big fight is between Sully and Randall, yet it is Waternoose, the boss, who is the main villain. This creates a slightly dissatisfying ending and takes away from the dramatic reveal of the Waternoose's hidden evil intentions. Therefore, although Monsters Inc is a very good film, it doesn’t quite sit up there with Pixar’s best.

Ratings: Entertainment: 8 Technical: 5 Intelligence: 3= 16/20 ****

Ratatouille- 4 Stars

Ratatouille, Theatrical Release Poster

Ratatouille has never been one of my favourite Pixar films, although I am still willing to concede that it is very good. Again it is original in that no one has made a film about rats in the same style. The Parisian setting creates a good atmosphere and the characters of Remy and Alfredo are both well defined. It also has an emotional heart in the relationship between Alfredo and his girlfriend, Collette, which helps create the drama. However, I feel that the message of acceptance and non-judgement is a little predictable and certainly not as original as the film’s premise. The villainous characters of the restaurant critic and the chef are also disinteresting. The first, Anton Ego, has such a completely clichéd reversal in character from simply eating a meal which, although some would argue is original and moving, I simply felt was rather dissatisfying, and Skinner, the second villain, is a complete stereotype of the evil bad guy with very few or no redeeming features. The three way relationship between Remy, Alfredo and Collette is also a little clichéd and the result is predictable (that Collette would react badly to Remy, resulting in Alfredo throwing the Rat out, only for it all to work out in the end when she realises Remy isn’t too bad after all- plays like a bad romantic comedy). Therefore, all in all, Ratatouille is one of Pixar’s weaker films although certainly represents a solid endeavour.

Ratings: Entertainment: 7 Technical: 5 Intelligence: 3= 15/20 ****

Toy Story- 5 Stars

Toy Story, Theatrical Release Poster

The first ever Pixar film, Toy Story is also one of the studio’s very best. The characters are brilliant, with both the protagonists, Woody and Buzz Lightyear, being rather dislikeable at first but developing into better people (or toys rather) as the film’s goes on. What is genius about this arc however, is that the two characters change but not so much that their whole personality changes. Woody is still the same Woody from the beginning of the film, he’s just matured and become a better person, and his personality is still the same. The same goes for Buzz who is a less deluded and bossy version of his earlier self. This is how to do a character arc well- the character should change, but still remain true to their inner personality traits. The film also has a very intelligent message about human identity. Buzz’s own realisation that he is an insignificant toy and subsequent depression is comparable to the human realisation that we ourselves are mundane, ordinary men and not special like we supposed. This is a recurrent theme in Pixar’s film, with The Incredibles having a similar theme of the realisation of mediocrity. However, in Toy Story this is, in the end, a cause for celebration. It doesn’t matter that Buzz is only a toy- in the end he still flies Woody out of danger (‘This isn’t flying, this is falling in style’) and learns to celebrate his being toy and accept his purpose which is to entertain Andy. The first Toy Story also has a fantastic villain in Sid and the moment where Buzz realises he is only a toy having thrown himself off the banister is heart breaking putting this very high up the list.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 4= 18/20 *****

Note: Although Toy Story is obviously the least visually impressive of all the Pixar films, it still scores full marks for technical because it was the first ever big budget, computer animated film and so was very technically impressive for the time.

Toy Story 2- 5 Stars

Toy Story 2, Theatrical Release Poster

Toy Story 2 is not only the most underrated Toy Story film but also the most underrated Pixar film in general. Often it is dismissed as doing not much more than introducing Jessie, but in fact it takes the same characters and themes from the first film and builds upon them. Buzz’s revelation that he is a toy in the first film, here is magnified as he realises the implications of this- that he is only one of many identical Buzz Lightyear’s. This reflects the human realisation that we are not special and are in fact part of a much larger whole. However, there is still a celebration of the individual in the fact that although visually identical, the two Buzz’s have distinguishable personalities, which in the end is what counts. On top of this, Toy Story 2 contains two excellent villains in Stinky Pete and, the often overlooked, Emperor Zurg. Out of these two, Zurg provides the comic entertainment (the Star Wars Darth Vader parody being the particular highlight) whilst Pete represents a new theme. His sheltered life within his box means he doesn’t understand a toy’s true purpose- to be loved by a child. This reflects the purpose of human life- not to live one secluded from all real experience, but to live it to the full and thereby build human relationships which provide life’s most valuable experiences. To cap it all off, however, Toy Story 2 has the excellent addition of Jessie and her heart breaking account of abandonment by her previous owner. One of Pixar's absolute best.

Ratings: Entertainment: 9 Technical: 5 Intelligence: 5= 19/20 *****

Toy Story 3- 4 Stars

Toy Story 3, Theatrical Release Poster

Toy Story 3 is a good film, no doubt, but it is not as good or original as its proponents often claim. It is inferior to both other Toy Story’s as it does not bring much new to the series, and the stuff that it does is either insignificant or a rehashing of previous ideas. Ken and Barbie are in my opinion the best things about Toy Story 3 as they are not only hilarious but also provide a different theme to the ones we’ve had before in that they criticise the superficial- both are visually perfect but that only masks deep insecurities (Ken is mocked for being ‘a girl’s toy’). However, they only form a relatively small part of the story and so cannot be cited as a major improvement. On top of this, the villain, Lotso, has a rather clichéd backstory- he was given up by his owner so doesn’t want anyone else to have a nice owner (rather like an evil Jessie). This is such a basic motivation, especially when compared with Stinky Pete’s sheer incomprehension of Woody’s love for Andy in Toy Story 2- what Lotso does out of the well-trodden path of spite, Pete did out of a more original fear of the unknown. Moreover, the evil ,and then Spanish, Buzz idea rips off Toy Story 2’s alternate Buzz with only a slight twist and although amusing at first, the joke slowly wears off. On top of this, the love story between Jessie and Buzz feels rather forced and out of place- rather as if the Disney executives demanded a love story and Pixar just randomly matched Buzz and Jessie. The single biggest problem, however, is the much lauded emotional ending. Not only could this apply to two moments- either the holding hand bit or the scene where Andy hands over his toys- but both of these scenes feel like manufactured emotion designed to make the audience cry, especially in the hand holding scene where the audience knows the toys won’t die undermining any emotion- it’s a clichéd sad moment before the victory. The manufactured feeling takes the audience out of the moment and therefore, ironically undermines any attempt at emotion for the perceptive viewer. Therefore, although Toy Story 3 is an enjoyable film and brings some new stuff to the table, it is overall not as good as the others because it has less to say and relies heavily on the previous films.

Ratings: Entertainment: 8 Technical: 5 Intelligence: 3= 16/20 ****

Up- 4 Stars

Up, Theatrical Release Poster

Up is one of the Pixar films that I do think is slightly overrated, although it is still very good. Ironically the film’s greatest moment is its biggest problem, as the very first scene’s brilliance is not matched by the rest of the film. Excluding that first scene, Up would be remembered as a pretty good but not particularly outstanding film. Sure it has some funny moments and the characters are well defined, but the climax is a little forced and to be honest the film’s pacing is slightly mixed as well as a clichéd and not very memorable villain. No point in the film really has the same emotional impact of any of Pixar’s other films or, indeed, the first scene. That said, although the hype around it makes it almost impossible to live up to expectations, the first scene is absolutely brilliant in its depiction of a couple growing old together and the pain of the husband after the death of his wife. Told through a simple montage after some introductory scenes it stirs emotion like no amount of dialogue could do. It shows a maturity and respect for the audience not present in many blockbuster films- things are not explained to the audience but shown to them which is what the medium of film is all about and contributes to the emotional impact. However, the rest of the film does not live up to the same standard and so, despite the first scene, it does not reach the top of my list.

Ratings: Entertainment: 8 Technical: 5 Intelligence: 4= 17/20 ****

WALL-E- 5 Stars

WALL-E, Theatrical Release Poster

It is a complete coincidence that in a list done by alphabetical order, the very best film has been saved till last. I first watched WALL-E when it came out in 2008 and didn’t think that much of it. I have since rewatched it twice and have loved it both times. It is not only Pixar’s most original film but also by far its most moving and intelligent. The love story, although it repeats well-trodden ground, has a simple genius in that it takes place between two robots whose vocabulary extends to their own names. As in Pixar’s best films, every character is fleshed out and we understand their feelings without any need to rely on dialogue- we understand that WALL-E’s loneliness on the now ruined earth is what causes his infatuation with the glamourous Eve, and WALL-E’s loyalty and sweetness is what causes Eve to like him. The fact that this is between two not especially humanoid robots makes it all the better. On top of this, WALL-E raises concerns that are entirely new to Pixar in its worries about the environmental damage done to the earth by human activity, and the dangers of consumerism. The only criticisms of the film I can think of are fairly insignificant in comparison but consist of the fact that the antagonist, the ship’s autopilot, is perhaps a little weak (although does have an intriguing motivation as it is not motivated by maleficence but rather simply by a misplaced duty) and that the humour in the film is not as funny as in, say, The Incredibles. However, both of these points do not take away from the film’s brilliance as they fit its style- that of a romance (unusual for a Pixar film), as a romance does not require either the same humour or fleshed out antagonist as a simple adventure film. I will say that these negatives perhaps limit the enjoyment for children, which is of course a large part of Pixar’s target audience. However, that does not reduce the quality of the film in a more objective sense, although I admit that it is a flaw. Overall though, WALL-E combines a touching romance with serious environmental and corporate themes making it not only Pixar's most original, but also its best.

Ratings: Entertainment: 10 Technical: 5 Intelligence: 5= 20/20 *****

My final Top 10:

10) Cars- 11 **

9) Finding Nemo- 14 ***

8) Ratatouille- 15 ****

7) Toy Story 3- 16 ****

6) Monsters Inc- 16 ****

5) Up- 17 ****

4) Toy Story- 18 *****

3) Toy Story 2- 19 *****

2) The Incredibles- 19 *****

1) WALL-E- 20 *****

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The Incredibles- 5 Stars

Theatrical Release Poster

The Incredibles has easily got to be one of the most watchable films of all time. Amongst all the gems of early Pixar, The Incredibles sits alongside WALL-E and the Toy Story series as the best. It effortlessly blends action with comedy and a thoughtful meditation on mediocrity and family. Although dressed up as a superhero film, The Incredibles is not typical of its genre despite being one of the best superhero films ever made. It rather uses the medium of the superhero film to explore the character dynamics, which is the true genius of the film.

For those of you have never seen The Incredibles the basic plot summary is that Bob Parr (the secret identity of superhero Mr Incredible) has taken forced retirement from hero work and is now living an unfulfilling life selling insurance, married to Helen (formerly Elastigirl) with three kids Violet, Dash and Jack-Jack. However, the old days come knocking when he gets a mysterious call from Mirage...

Mr Incredible, voiced by
 Craig T. Nelson

Even from a basic plot summary The Incredibles does not sound like your average Superhero film. How many Marvel movies have you seen where the protagonist is a middle aged man with kids and a wife? What is so brilliant about the film is the fact that the romantic interest is not some attractive young woman, but rather Bob's middle aged wife who he reconnects with by the film's end. Also important is his relationship with his children. At first Bob is a disinterested parent, barely engaged with his family's lives. By the end, he is much more involved and the family's problems resolved. Although the character arc may seem cliched, the way it is executed at first through Bob's deception and later through his remorse is done with subtlety not present in most blockbusters. Even cleverer is the way each hero's power represents their personality. Bob's strength represents his crisis of masculinity, Helen's flexibility her elegance, Violet's invisibility her shyness, Dash's speed his youthful arrogance, and Frozone's ice his, well...cool. Two of the best scenes in the film are when Mr Incredible and then, later, Mrs Incredible, break into the villain's secret base. Mr Incredible goes in smashing the pods and beating up guards left, right and centre. Mrs Incredible, however, is much more stealthy reflecting her own rational, more practical personality (although she does end up in caught in an awkward position by several automatic doors). It's subtleties such as these that help define the characters and flesh out the film. That said, Mr Incredible is not made to be stupid or brutish as is the comic stereotype of the superhero muscle man (e.g. Hulk or the Thing). Instead he finds alternative solutions to force and is a touchingly sensitive man. The contrast between the arrogant (in his dismissal of Buddy) but charming man at the beginning of the film and the world weary, mid life crisis stricken Bob of the majority of the film helps the audience to sympathise with Bob and understand his frustration with his own impotence.

The Incredibles' Family

The main reason for the film's success and watchability is it's effortless blending of tone. It manages to be funny one moment, moving the next, and then straight onto a perfectly timed, tense action scene. Take, for example, the scene where Helen goes to visit Edna. There is a comedic bit with the suits, then a moving scene where Helen finds out she's been lied to and Bob discovers the deaths of the Supers, and then a burst of action as he triggers the alarm, and then back to comedy with Edna. This tonal diversity can be attributed to the perfect pacing of the film. None of it feels out of place and each scene flows into the next. This is helped along by generally flawless dialogue, full of humour and generally devoid of cliches. Although there are some slightly irritating lines (for example, when Helen sees the rocket and says...'a rocket!'- the audience can see that, there is no need for the line and it feels forced), the scenes which could have been cringey- generally the scenes where Bob apologises for not being strong enough- are undercut by a certain humour that gives it self awareness and are also relatively short- there are no grand monologues (except for Syndrome's monologing of course). The humour underlining serious moments are often some of the film's best moments such as when Mr Incredible hurts his back fighting the Omnidroid, or when Mrs Incredible stops to look at her reflection in the middle of Syndrome's base.

Frozone, far right, is one of the Incredibles'
most memorable characters

The film's supporting characters and bit parts also contribute to the film's watchability. Aside from the main family of Bob, Helen, Violet and Dash, memorable characters such as Frozone, Edna and Mr Huff populate the world and provide the necessary humour. These characters flesh out and develop the main ones as well as driving the film along. They also help with another of the film's triumph's in that they ensure that every plot point is sufficiently set up. Too many blockbusters don't even bother to create build up to their events. For example, in the last part of the Hobbit series, lots of events and different enemies just appear with no build up- Gandalf just says 'Oh no the horrible mud worms' and the audience just has to accept they're a thing. In The Incredibles, every point is set up perfectly from the password to the super computer to Mr Huff's tirade against Mr Incredible (he is introduced briefly in a previous scene which establishes his character).

Holly Hunter's voice portrayal of Elastigirl/Mrs Incredible
is amongst the best in the film

If I have one criticism of the Incredibles it's that the final act is not quite up to the standards of the first two. This is because, during the final battle, only the skills of Mr Incredible, Dash and Frozone are properly utilized. Mrs Incredibles flexibility is not really used and as for Violet, other than a pathetic period of invisibility and one, admittedly crucial, forcefield, she might as well not be there. This creates a rather unrewarding climax, or certainly takes away from it somewhat. That said, the action in the film is generally perfectly executed with the action scenes intense, personal and short- the best combination. There is nothing worse than an action scene that drags on too long and so becomes boring, or one that takes such a wide scope of what's going on that you can't tell who's doing what. The voice acting is also some of the best around with special shout outs to, of course, Frozone (Samuel L Jackson) and Edna (the director and writer, Brad Bird), but I think most of all to Holly Hunter as Mrs Incredible. She does a phenomenal job of portraying Mrs Incredibles' strength but also her vulnerability. She is helped by the fact that, in my opinion, Mrs Incredible is one of the most complex and likeable characters in the film, but still she does a very good job and deserves a lot of credit.

Overall, The Incredibles is one of my very favourite Pixar and animated movies. Not only is it hugely entertaining, but it also has, for an animated superhero film, an important message about families, mediocrity and accepting yourself for who you are- not deep philosophical themes, but worthy ones. It must be said, that the film is probably fairly right wing in it's approach to people's value (that people are inherently unequal), and the traditional concepts of marriage- however, even for a lefty like me the politics doesn't bug me at all as the values are thoughtfully espoused and ones that most people would generally agree with- the value of family and of learning to not get depressed by life's challenges. In conclusion, it's fair to say, The Incredibles is...really good.

Ratings: Entertainment: 10 Technical: 5 Intelligence: 4= 19/20








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Game of Thrones Season 5- 3 Stars

Release Poster

I'm a huge Game of Thrones enthusiast so as this season has ended I thought I would write up a summary of my feelings. In many ways, season 5 has been a deeply flawed season and Game of Thrones really needs to improve in order to keep its audience. That said, there have been some brilliant moments this season, which are what keep me watching. So first I shall address the flaws, then the good points and finally where I think it will/should go. This review will contain spoilers up to the ending of Season 5.

The main flaw with this season and, in my opinion, with seasons 3 and 4 as well, is that it has no drive- it doesn't feel as if it is heading anywhere and is simply tangled plot lines with rather arbitrary climaxes at the end of seasons. This is especially true of Dany's story line during the past seasons (basically every season since s1) where her story seems to be being delayed in order for her arrival in Westeros to be at the right time. That said, I do like the way we have seem her develop from a well intentioned young girl, to an inexperienced tyrant and now, possibly, to a more benevolent and capable ruler. But still, in plot terms, her story seems to be being incessantly and unnecessarily delayed. This lack of drive doesn't engage me as a viewer, as I don't feel the plot is going anywhere. Compare the latest seasons with s1, which I believe is the best Game of Thrones season. Everything was fairly united and driving along to the end of the season- Dany's story line was moving towards the death of Drogo and the birth of her dragons, King's Landing to Ned's death and the wall to the beginning of the expedition to find the White Walkers. Season 5, in contrast, has bumbled along without much direction. King's Landing has simply been leading up to Cersei's literal walk of shame which, although brilliantly done and very moving, does not lead anywhere plot wise compared to Ned's death which sparks the whole of Robb Stark's rebellion and the war of the 5 kings.

 Peter Dinklage as Tyrion, Joel Fry as Hizdahr and
Emilia Clarke as Daenarys

The second biggest flaw in this season has been the way the key moments have been integrated. A lot of the most shocking scenes seem to have been filmed in such a way as to generate the most outrage. For example, the rape of Sansa, although possibly justifiable in terms of plot, seemed very much to me an attempt by Game of Thrones to generate the kind of mass attention on social media that TV shows thrive off. Another example would be the burning Shireen, again another incident that was not in the books. Although both these incidents had been built up to and were executed well, GoT's reliance on these shocking incidents shows that they are failing to find other ways of engaging their audience. Previous seasons had fewer of these shock moments, and when they did occur they were only at keys points (e.g. in season 1 there are practically no shocks or dramatic deaths till episode 9, excepting perhaps Robert Baratheon, although his death was not gruesomely shown on screen). I think this increase in shocking scenes has come about because the shock factor has become a major part of Game of Thrones- it is known for it's brutal and surprising deaths so, naturally, it increases them as the best way to engage the viewer. But this is the wrong way to go about it- what was so original and fresh about GoT was its harsh but realistic brutality, but when it is overused the audience becomes numb and frustrated with it. It no longer maintains engagement and simply ends in alienating viewers as the numbers of brutal deaths increase with less emotional weight.

 Lena Headey as Cersei and Jonathon Pryce as High Sparrow- two of
the best performers this season

However, the season has had its moments. The battle with the White Walkers was fantastically done and in fact the wall's story line has probably been the best part of this season. I've never been a Jon Snow fan- his character has always seemed a bit of repetitious conflict between his duty to the Night's Watch and his emotions (s1 tries to desert to help Robb, s3 to help Ygritte, s4 to help Ygritte...again)- but he's really grown on me this season. He's become a leader trying to do the right thing which is not always possible in Game of Thrones. Dany's story line was also the most interesting its been since probably s1, although still rather uninteresting compared to other events. I'm beginning to feel as if she could make some progress across to Westeros and the tensions between the Sons of the Harpy and Dany's new order were also engaging in their own right. King's Landing has been a bit of a weak spot this season, although Jonathon Pryce's performance as High Sparrow was brilliant and elevated the whole story line. That said, the clash of the faith with the crown was quite interesting and Lena Headey once more put in very good performances as Cersei. Her walk of shame in the final episode was a brilliantly executed set piece made even better by the fact that it made you feel sorry for a character who has done so many despicable things. Stannis' story line was also well done in showing the gradual breaking of a strong and dutiful man. The thing the Game of Thrones series has done badly in previous seasons is their poor treatment of Stannis' character, making him unsympathetic and overly cold. However, this season Stannis was made much more human, partly down to Stephen Dillane's increasingly confident performances as a man who loses his soul for nothing.

Liam Cunningham as Davos and Stephen Dillane as Stannis

That said, I thought his end fate was poorly done- how did he manage to survive the battle to be killed by Brienne? It seemed like more of an attempt to appeal to fans with Brienne's vengeance- personally I would have preferred to have just seen Stannis' body after the battle. Brienne's story line has perhaps been the worst this season with no direction at all and very little to do. On top of this, I am unsure about the Ramsay/Sansa storyline. I very much like Littlefinger and so was naturally disappointed to see him go, but there is more than that to why I don't feel this story line works. I think it's down to the fact that Ramsay is basically just another Joffrey- we've seen it all before and so now this pure evil character interests me less. You could argue that this mirroring is deliberate, and shows something about human nature or whatever but I think you would be giving the GoT writers more credit than is perhaps their due. I also feel that Arya's story line has been quite uninteresting- it's so disengaged from everything else that it feels less relevant and even boring. Dorne has been equally forced with the battle in the sun gardens being comically bad (How did Jaime and Bronn get in without guards noticing? Why was the fight choreography so awful?). The sandsnakes are equally boring and interchangeable, with the only distinguishable one being the girl who shows her tits to Bronn (what a well rounded character she is...). That said, I did enjoy Myrcella and Tristain's relationship- nice to see a little lightness in Game of Thrones once in a while. Also, the scene with her and Jaime at the end was very touching (even if it was Jaime basically justifying incest) making the subsequent tragedy even more heartbreaking.

Season 5 consistently got its fight scenes right with engaging battles which focused around characters and didn't simply descend into a CGI gore fest. This is perhaps one of GoT's greatest successes in that it manages to produce epic, large scale battles, yet keeps the focus strongly on the characters involved giving us the thrills but not losing our engagement after 5 minutes of what-the-bloody-hell-is-going-on-in-this-fight-scene like Transformers. The battle at Hardhome and in Meereen's fighting pits were great examples of this, even if the latter's dragon CGI was a little off.

Kit Harrington as Jon Snow- will he be back?

So what about the future? Well first off I don't believe Jon Snow is dead. Not only has George R.R. Martin said, in response to a question about Jon's murder, 'Oh you think he's dead do you?', but the rather contrived reappearance of Melisandre at the wall after the battle (a witch whose red priest powers have been shown to be able to bring people back from the dead by Thoros of Myr) suggests perhaps Jon might be saved. On top of this, from a purely story perspective, with Sam having left the Wall, if Jon Snow is dead then there is no one left at the Wall for us to care about, which will be a problem as the narrative is building towards a white walker invasion. There are also less convincing theories that Stannis may be alive- his death has not been confirmed by the books and we did not see him die (in GoT you always need a body as proof) but I am less convinced of this theory. In terms of the overall story, we need the narrative to start becoming more unified again. I feel as if GoT only really has a couple more seasons left in it before it runs out of steam, and so it needs to start building towards a conclusion. This means war- specifically between the Lannisters and the Martells (as a result of Myrcella's death). Not only that but we need to see Dany invade from across the narrow sea, Arya come back to Westeros to use her new assassin skills wisely and some kind of white walker invasion. Season 5 felt more like a build up season than anything else- not much has really significantly changed since the start but there is a heightened sense of tension and anticipation for the future that perhaps wasn't there with season 4. The question now is- will this build up be used wisely?

Overall, season 5 has had its flaws but also good moments too. There has been significant progress for characters (e.g. Cersei) even if there has been little change in terms of plot. Hopefully this build up will pay off in next seasons and I hope that they continue to streamline George R.R. Martin's work- although the books perhaps manage individual moments with a little more subtlety than the TV show, the later books especially are too expansive and slow so the TV adaption has done a good job of speeding the narrative up.

Ratings: Entertainment: 7 Technical: 4 Intelligence: 3= 14/20

N.B. I was going to give the season 8/10 for entertainment but the first half of the season was much less engaging than the second, dragging the score down. I could be accused of simply loving action too much and therefore being disinterested in the politics of it but my love of the first season, where there is very little action in the first half, disproves this- I love the scheming and politicking, just only when it's well done and engaging.












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