Mamoru Hosoda stands as a titan in modern anime, the visionary mind behind critically acclaimed masterpieces such as Summer Wars, Wolf Children, and The Girl Who Leapt Through Time. His filmography is a testament to his storytelling prowess and ability to weave intricate narratives with deep emotional resonance. However, with Mirai, while possessing his signature charm and visual brilliance, the film unfortunately falls slightly short of his highest peaks. While undeniably enjoyable and family-friendly, Mirai suffers from uneven pacing in its initial acts and a comparative lack of thematic depth, especially when measured against Hosoda’s other works. This makes the film feel somewhat underwhelming until its powerful and redemptive final act ultimately elevates the overall experience, making Mirai a worthwhile watch, albeit with reservations.
From the outset, Mirai establishes itself as a more accessible and lighthearted offering compared to Hosoda’s previous, often more emotionally complex, films. Its charm is reminiscent of the gentler Studio Ghibli productions, imbued with a whimsical spirit and breathtaking animation that is consistently delightful. The focus on a young protagonist, Kun, immediately signals a shift towards themes readily relatable to younger audiences. Children will likely find themselves captivated by Kun’s journey as he grapples with the arrival of his newborn baby sister, Mirai, and the subsequent shift in his parents’ attention. This exploration of childhood jealousy and sibling rivalry forms the emotional core of the film’s early stages.
The narrative unfolds in a pleasant and engaging manner, effectively holding attention throughout its duration. For viewers not averse to the sounds of childish tantrums (which are present in notable measure), Mirai maintains a consistent level of entertainment. However, when placed alongside Hosoda’s established body of work, a noticeable gap in emotional depth emerges. The central themes, while relatable, feel somewhat simplistic, lacking the captivating layers of introspection that define his best films. While the experience of jealousy is universal, for adult viewers, the film’s initial focus on this theme may feel somewhat elementary, failing to deliver a profound emotional impact in the way Hosoda’s previous works have. The narrative, particularly in the first two acts, meanders without a strong sense of progression beyond this relatively straightforward thematic exploration.
Adding to the initial sense of being underwhelmed is the film’s somewhat jarring pacing. Mirai oscillates between the present day and Kun’s fantastical journeys through time, where he encounters various family members from different eras. While these time-traveling sequences offer visual spectacle and imaginative scenarios, Mirai struggles to seamlessly integrate these disparate narrative threads. Although thematic parallels exist between the past, present, and future encounters, the transitions between these timelines feel abrupt and disjointed. This lack of narrative fluidity can be frustrating for viewers seeking a more cohesive and flowing storyline, disrupting the overall viewing experience as the film jumps between different temporal settings without a truly smooth connection.
Fortunately, despite the shortcomings of the preceding acts, Mirai culminates in a truly exceptional final segment. This concluding vignette delivers the emotional depth and sense of wonder that felt conspicuously absent earlier in the film. The concept of a child traversing time should inherently evoke awe and amazement, yet the initial time-travel sequences in Mirai are presented with a strangely subdued and almost mundane approach. However, in the final act, Kun is transported to a world brimming with fantastical and visually stunning elements. As he confronts the gravity of his situation and gains a deeper understanding of his family and himself, the emotional weight of the narrative finally resonates powerfully with the audience.
While the central theme of sibling rivalry might initially appear simplistic when compared to Hosoda’s more complex narratives, the film’s finale masterfully crafts a scenario that unlocks the raw emotion and inherent drama of the story. Coupled with a significant enrichment of the screenplay’s depth in these final moments, Mirai achieves a genuinely moving and breathtaking conclusion.
In conclusion, Mirai emerges as a somewhat uneven cinematic experience. While it begins with a shaky and less compelling first two acts marked by jittery pacing and a lack of depth, it ultimately redeems itself with a truly outstanding finale that finally taps into significant emotional resonance and dramatic impact. Mirai remains an enjoyable and visually appealing film throughout, and its overt family-friendliness distinguishes it from Hosoda’s other works, making it accessible to a wider audience. While not a flawless masterpiece and perhaps not Hosoda’s most profound work, Mirai is still undoubtedly a worthwhile film to watch, especially for families and fans of anime seeking a heartwarming tale with a touch of time-traveling magic.
