Bloody Escape Jigoku no Tōsōgeki Anime Film Review

Bloody Break out -Jigoku no Tōsōgeki- Anime Movie Overview

There are incredibly highs and lows on almost every level in the film Bloody Escape -Jigoku no Tōsōgeki. One positive aspect is how outrageously fantastical this universe is. Wildly entertaining stylistic and tonal conflicts result from combining magic with futuristic technology and fantastical races. Our protagonist, Kisaragi, is a vampire ninja with cyborg parts who must consume regular vampires for his survival. He makes excellent use of the fact that his blood is very poisonous to vampires in several inventive ways throughout the film.

The narrative, on the other hand, is there. In terms of plot twists and character revelations, it’s quite predictable. It becomes quite clear where things are heading, particularly when the adventure transforms into Mad Max: Fury Road but with trains instead of vehicles (and even has its own comic relief character who goes from enemy to friend).

There is a wide range of personality types among the characters. The mercenaries who aid individuals in escaping their clusters and resettling in other ones, as well as the aforementioned mook-turned-ally (whose primary duty is to be repeatedly shot or stabbed), are two examples of the many one-dimensional characters.

Lunalu, on the other hand, is unexpectedly complex, particularly in her handling of the personal pain she undergoes and her subsequent growth as a result of it. Similarly, in the beginning of the film, Kisaragi is a guy who doesn’t know what he’s doing with his life, but at the end, he has found purpose.

Not only does the animation quality vary greatly, but so does the literary quality. The action sequences are creative and well-choreographed, with superb camerawork that makes it simple to follow along despite the visual mayhem. A “web-slinging” hero and a flying villain engage in an absolutely incredible showdown among two racing trains, showcasing Polygon’s 3D animation. Great tiny visual narrative moments abound in the battles, such as Kisaragi’s chronic lack of breath due to extreme physical effort and the villains’ eagerness to amputate any limb contaminated by Kisaragi’s blood. However, the camerawork is usually flat and uninteresting until there is movement. In scenes when there is a lot of talking, the camera stays still and uses simple, front-on views against boring backdrops.

Regarding the auditory aspect, the voice acting, especially that of Lunalu, is superb. Even still, the film’s most poignant scenes suffer from an unusual sensation of dissonance because the character animation falls short of the intense emotions conveyed by the voices. Finally, we reach the one consistent feature of the film: the score, which is adequate but ultimately unremarkable.

In sum, Bloody Escape seems like the kind of anime that will go unnoticed. There is an equally cliched occasion for every instance of wildly imaginative thinking. A scene of spectacular visual flair is accompanied with a discourse that is blandly handled and has one-note characters. The picture shines when it sets out to do great things but falls flat when it tries to stay true to reality. At the end of the day, I’m pleased I saw the movie, even if I probably won’t.

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