Tag: Brock

Pokemon 3: The Movie – Spell of the Unown Review

This may sound a bit hyperbolic, but Pokemon 3: The Movie felt like the end of an era. Now, Pokemon’s popularity hasn’t exactly waned at all in the years since the film’s 2001 release (it’s still the biggest merchandise seller of any franchise in any medium, and the games remain best-sellers to this day), but this seemed to mark the end of the world’s initial Pokemania, when Pokemon was an inescapable phenomenon. This was the last Pokemon movie to have a wide theatrical release in the United States (subsequent Pokemon features were relegated to select theaters, before receiving the straight-to-video treatment), and it also seemed to be the point when “pet monster” anime was dying down a bit (even Digimon – the closest thing Pokemon had to a rival – fell off the radar with its third season). Pokemon’s fading omnipresence could be seen in Pokemon 3: The Movie itself, as it wasn’t anywhere near the box-office success of its predecessors. Maybe parents were tired of taking their kids to see Pokemon movies, or perhaps the dwindling box-office returns had something to do with the lack of new Pokemon in the movie, and kids didn’t have as much interest (it would be another two years before the third generation of Pokemon hit stateside). But Pokemon 3: The Movie’s relative unpopularity is a shame, as it might actually be the best of the three original Pokemon features, with strong themes and surprising emotional depth.

Although the hero of the film remains Ash Ketchum, it’s hard to refer to him as the main character this time around. The young Pokemon trainer, along with his friends Pikachu, Misty and a returning Brock may be the stars returning from the show, but Pokemon 3: The Movie primarily focuses on a new character, a young girl named Molly, for its emotional core.

Molly is the five-year old daughter of a research scientist named Spencer Hale, who conducts research on legendary Pokemon. During an expedition to study the mysterious, inter-dimensional Pokemon Unown, Professor Hale is spirited away to another world by the Unown. Molly’s mother has long-since disappeared (the movie never really mentions what happened to her), and now with her father gone, Molly is overwrought with grief. Her father’s assistant brings Molly an ancient, puzzle-like artifact as a memento from her father’s expedition. After tinkering around with the puzzle, Molly unleashes the Unown, who begin using their psychic abilities to bring Molly’s dreams to life.

The Unown’s powers begin to meld with Molly’s grief, and soon she begins to alter reality to make her happy. The Unown turn her hometown into a crystalline palace, she can become a young woman at will, and most importantly, her father returns to her in the form of Entei, Molly’s favorite Pokemon. Within this illusionary dream world, Molly becomes delusional and reclusive, preferring the happiness of the Unown’s illusions to the sadness of her real life.

One thing is still missing from Molly’s life, however; a mother. So Molly sends Entei to find a surrogate mother for her, which happens to be Ash Ketchum’s mother (Molly’s family are long-distance friends of the Ketchums). So Ash and friends journey to Molly’s manor-turned-fairy tale castle to rescue Mrs. Kethum and, hopefully, to help Molly out as well.

It’s a pretty simple plot, but it differentiates itself from its two predecessors by making the stakes more personal (saving Ash’s mom, as opposed to saving the planet from Mewtwo or nature falling out of balance), and with its emphasis on Molly, who is uniquely both the film’s protagonist and antagonist (okay, Ash is technically the protagonist, but this is Molly’s story more than it is Ash’s), it stands out a little more. Not to mention with its themes of loss, loneliness and grief, it’s perhaps the most emotional and deep of the original Pokemon trilogy. I mean, when the central dilemma of a film is a small child’s grieving, it’s hard not to get emotional.

The focus on a new character is a little bit of a double-edged sword, however, seeing as Ash and the other returning characters don’t get nearly as much character development as they did in the second film. I suppose by the third entry you need a bit of a change of pace, but it should say something that Meowth makes a fourth-wall-breaking joke about Team Rocket’s minimized role in this film compared to the second feature.

More on the bright side of things, the popular-for-their-time pop tunes that littered the first movie and had a presence in the second are nowhere to be found. On the downside, that may have been another indicator of the franchise leaving the public eye a bit at the time (having a popular band attached to Pokemon was great promotion back then). But I’d much rather here the cheesy-yet-indelible original songs of Pokemon than hear a distinctly yesteryear pop tune shoehorn its way in.

Following in the footsteps of Pokemon: The Movie 2000, Pokemon 3 has a surprisingly strong original score. I’m not sure if any one track reaches the heights of “Lugia’s Song” from the second film, but its still an effective and memorable score nonetheless.

Once again, the animation takes a step up from the TV show to better fit its presence as a movie. The characters move more fluidly than the TV show to be sure, though it does seem a little inconsistent within itself (sometimes the animation looks like a remarkable improvement, other times, merely an improvement). And like the second feature, we get some fun and varied locations to see, with the sometimes surreal world of Molly’s fantasies being a highlight, and making the first film’s focus on Mewtwo’s labs look even more bland in retrospect.

Pokemon 3: The Movie – Spell of the Unown may not be a cinematic classic by any means – its structure is sometimes lacking, and certain plot elements feel rushed together – but it is a great reminder that Pokemon can be (and often is) more than the simple money-printing franchise it also very much is. I mean, how many more “legitimate” movie franchises have an entire feature about grieving, and trust that its young audience is wise enough to understand such a heavy concept?

It’s a shame Pokemon 3: The Movie came at the end of Pokemania’s initial run. Despite its (sometimes quite obvious) flaws, its heart is in the right place. And if any of the subsequent Pokemon features shared its heart, then it’s all the more disappointing to see them relegated to the straight-to-video section.

 

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Pokemon: The First Movie – Mewtwo Strike’s Back Review

Go back to 1999. Pokemon dominated the Earth. The monster collecting video game franchise got its start in Japan in 1996, but by the time it made its way to the western world in 1998, the games had a wildly successful anime and a trading card game to go with them. And they all hit stateside at the same time, creating a pop culture phenomenon that I don’t think has been equaled in my lifetime.

It’s not hard to see what made Pokemon popular: It’s ever-increasing roster of Pokemon give it a seemingly endless supply of cute and cool characters, its emphasis on collecting, trading and sharing makes it engaging, and its kid-friendly exterior hides a deceptively deep set of rules and mechanics, whether its in its original video game form or the other media that have spawned from it.

Despite being a marketing goldmine (its merchandise sales exceed that of Star Wars even today), Pokemon was always more than that. As stated, the games were (and are) much deeper than they let on, and the TV series – though often lacking in structure, heavy on repetition, and having its share of cheesy moments – similarly made the effort to be something more. It’s shortcomings were still there, of course, but the Pokemon anime made many attempts at pulling at the heartstrings with its themes of friendship, love, and even loss. It wasn’t simply a fun little franchise, but something that really resonated with its target audience.

A Pokemon movie was inevitable, and it arrived sooner than anyone could have guessed. Going back to 1999, a mere year after Pokemon made its way westward, the Pokemon generation was elated to see their beloved franchise make its way to the big screen.

Pokemon: The First Movie – Mewtwo Strikes Back was a big deal in its day (it remains the highest-grossing anime film in North America, with only its immediate sequel coming close), and it remains a nostalgic treat for those like me who were at the center of Pokemania in 1999. Although I wouldn’t classify Pokemon: The First Movie as a great film by any means, I would still label it as something more than a mere guilty pleasure, seeing as it – much like the TV show – made the effort to be something more than the cash-grab cinematic transition it also very much was.

As the title makes quite clear, Pokemon: The First Movie centers around Mewtwo, the legendary Pokemon who was – at the time – the most powerful Pokemon of all. While most Pokemon are like animals, and the other legendary Pokemon are akin to mythological creatures, Mewtwo was engineered by humans in a laboratory, by means of cloning the “first” Pokemon, the legendary Mew.

In the film, Mewtwo’s creation was commissioned by Giovanni, the mysterious leader of the villainous Team Rocket organization. Giovanni manipulates Mewtwo to be his own personal weapon, but as Mewtwo gains greater sentience and begins pondering his existence, he abandons Giovanni in hopes of making a greater purpose for himself. Mewtwo plans on creating his own cloned Pokemon to inhabit the Earth, after he rids it of humans and the Pokemon of the natural world (beginning with a massive storm that Mewtwo is creating using his psychic powers).

It’s a pretty heavy story for Pokemon, with the point being hit home when Mewtwo destroys the lab that created him (killing all the scientists therein) within the first few minutes. No one died in the TV series up to this point, so that shift in subject matter definitely made this feel like Pokemon the movie.

Mewtwo decides to prove the worth of his clone Pokemon by posing as “the world’s greatest Pokemon master,” inviting trainers over to New Island to do battle. Among these trainers are the series’ original heroes Ash Ketchum, Brock and Misty. The trio – like the other trainers invited to New Island – are unaware of Mewtwo’s identity and of his clone Pokemon, and are only looking to test their Pokemon battle skills. When the trainers arrive and discover Mewtwo’s intentions, they find themselves trying to stop the legendary Pokemon’s plot.

It’s not exactly anything Earth-shatteringly new, but as stated, it certainly made Pokemon feel more dire than it did on the small screen. On the downside of things, the English version of the movie shoehorned a “fighting is wrong” message into the film, which is repeated ad nauseam in a single scene towards the end. Given the nature of the Pokemon franchise, with trainers battling each other with their Pokemon, it’s kind of hard for an anti-fighting message to resonate very strongly. Sure, the point the movie tries to make is that the fighting caused by Mewtwo is something truly brutal, as opposed to the competitive skirmishes of Pokemon battles, but all the movie does to make that point is say “Pokemon aren’t supposed to fight… not like this.” Granted, I understood that even as a kid, but I was familiar with Pokemon. I can’t imagine the parents who took their kids to see this movie in 1999 could understand the difference between a Pokemon battle and what the movie refers to as “fighting.”

It’s simply a forced message that doesn’t really work with the movie that’s presenting it, and it’s made all the less impactful due to the climactic battle between Pokemon and clones being accompanied by a pop tune that’s only included for the sake of a pop tune, which only clashes with the movie.

The Japanese version of Mewtwo Strikes Back better emphasizes the message of man playing God and its consequences, what with Mewtwo’s search for a purpose and all that. The English version may have benefitted both narratively and (perhaps) critically if it focused on that message instead of one that clashes with the nature of the franchise.

There are also some notable flaws with the translated version, with at least three Pokemon being referred to by the wrong name (confusing Pidgeot for Pidgeotto and Sandslash for Sandshrew are at least understandable, but when Team Rocket refers to a Syther as an Alakazam, it’s a hilariously glaring error to any Pokemon fan). Though at the very least I suppose there’s a bit of nostalgic irony to be had with these mistakes, but you do have to wonder if the translators had any reference material to avoid such errors.

In terms of animation, Pokemon: The First Movie is of course an improvement over the TV series, with more fluid character movements and more detailed backgrounds. Granted, it still has its visual limitations, but in its stronger moments, Pokemon: The First Movie has that distinct “90s anime” look that has held up pretty well. And excluding the shoehorned inclusions of 90s bands such as *NSYNC, the music is actually not bad, and hearing that original Pokemon theme brought up to scale for a movie still gives me goosebumps.

Pokemon: The First Movie suffers from some obvious flaws and shortcomings (including a brief running time, with the film’s theatrical release being accompanied by a Pokemon short film to add an extra 20 minutes). But what elevates it to being something more than a mere guilty pleasure of nostalgia for me are its attempts at emotional moments, some of which are actually quite successful. One scene towards the end in particular, is surprisingly effective. Hey, when Pikachu is crying, it’s hard to not get a little misty-eyed.

In the end, Pokemon: The First Movie – Mewtwo Strikes Back is far from a great movie (its sequels – though flawed in their own right – were improvements), but it makes enough worthwhile attempts to be something more that it still provides some entertainment. Despite all the blemishes, Pokemon: The First Movie is still a nostalgia trip that I don’t feel guilty about taking from time to time.

 

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