Similar to Princess Mononoke and Spirited Away, Hayao Miyazaki's Howl's Moving Castle is a sumptuously illustrated fairy tale with a pro-environment and anti-war slant, though unlike those modern classics, the animé titan's latest suffers from a narrative confusion that bogs down its initially effervescent spirit. A gloriously animated fantasia blessed by familiar Miyazaki hallmarks - vibrant, ethereal artwork, whimsical creatures, a rural world in which mysticism and technology happily coexist - the film (being released in both subtitled and dubbed versions, the latter of which I saw) has a light aura of juvenile romanticism and a manic, tangible physicality that stands head and shoulders above anything previously crafted by the maestros at Japan's legendary Studio Ghibli (including Katsuhiro Otomo's recent Steamboy).
The story of a young girl who, after being changed into an elderly woman by an evil witch, joins forces with a petulant playboy wizard against a nefarious sorcerer, Howl's is akin to a cluttered, cacophonous childhood dream come to life. However, as with dreams, Miyazaki's film is also far-too-often a bewildering jumble of intriguing ideas and ingenious images that never fully coalesce into a moving or compelling whole.
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