I used to believe that Anime was nothing but sex and violence -- stuff for grown-ups only. However, I take it back. And I owe it to this cute little gem called KIKI'S DELIVERY SERVICE that really turned me around for the better. It introduced me to arguably one of the greatest animators of all time, Hayao Miyazaki, who happens to be dubbed as the Walt Disney of Japan. Having since seen virtually ALL of his films, from CASTLE OF CAGLIOSTRO to SPIRITED AWAY, I can see why he is such a highly acclaimed artist -- his works (and I mean every one of them) are a stroke of genius.

KIKI'S DELIVERY SERVICE may have been my first real exposure to Miyazaki, but this happens to be the director's fifth film, which was the highest grossing movie of its year in Japan. Adapted from a children's book by Eiko Kadono (which is to be released in America as of this writing), the film is not a typical good-versus-evil conflicted, dysfunctional story but a gentle, character-driven story with endearing characters, beautiful artistry, and a strong, positive message about confidence and independence that are quite encouraging for all, from the youngest of children to the oldest at heart. (On a side note, it persuaded me to get some exercise! The "fat, fat, FAT!!!" line did it for me.)

The story is about 13-year old Kiki, an adorable witch-in-training, who, on one moonlit night, leaves her hometown to seek her independence and fortune. She's accompanied by her wisecracking and hilarious pet black cat, Jiji, and a little wobbly when it comes to takeoffs and landings while maneuvering her broomstick. Kiki arrives at a luxurious town with an ocean view where she eventually finds work at a bakery run by the generous Osono and her silent, gruff husband. There, she starts a high-flying delivery service which opens up many new relationships for the budding witch -- including a friendly painter, Ursula, a kind old woman, Madame, and a boy named Tombo, who dreams of flying.

The above synopsis may sound dull, but KIKI'S DELIVERY SERVICE certainly is not. It is a joy to watch from start to finish as we see Kiki slowly grow up and learn to have faith in herself, especially when her powers begin to fade away toward the end of the movie. It's engrossing enough to keep one's attention and there are a number of tear-jerking moments that make it more than just a movie. This is a characteristic you'll only be able to find in Miyazaki, and KIKI'S DELIVERY SERVICE "delivers" a wonderful movie which shows that movies don't have to be about overcoming evil or action-packed or angst-ridden to be entertaining.

In 1996, Disney struck a deal with Studio Ghibli, Miyazaki's studio, to distribute the director's movies worldwide. KIKI was their first release. It proved to be a very successful release when it was released to video on September of 1998; it sold over a million copies in the US - a record for any Anime video. But since then, the movie has been out of print, and there was never a DVD release. Recently, however, Disney has given this movie its first ever DVD release in America (debuting alongside CASTLE IN THE SKY and SPIRITED AWAY).

The movie was originally dubbed into English by Carl Macek of Streamline Pictures, but Disney redubbed the movie when they struck a deal with Miyazaki's Studio Studio Ghibli (for worldwide distribution of his movies, starting with this) with an all-star cast whose performances hold up well even today. Thirteen-year-old Kirsten Dunst is perfect as Kiki, eliciting just the right touch of cuteness, spunkiness, independence, and poignancy to her role. The other actors, which include Debbie Reynolds (Madame), Tress MacNeille - of TINY TOONS and ANIMANIACS fame - (Osono), Jeanane Garofolo (Ursula), and Matthew Lawrence (Tombo), give similarly superb performances. Of the actors, however, it is the late Phil Hartman's witty, sarcastic take on Jiji that steals the show. He added in some new dialogue and proved to be so good at his role that he actually expanded the character. I swear, I just cannot get enough laughs every time I hear his lines. ("First, don't panic! Second, don't panic! And THIRD, did I mention not to panic?!?") The opening and ending songs were replaced by two gorgeous, rollicking numbers from Sydney Forest, but even they seem to suit the story wonderful. In fact, I find myself bouncing to them every time they pop up over the opening and closing credits of the show.

Recently, however, Disney has given KIKI'S DELIVERY SERVICE a second DVD edition, which offers a lot more extras than its previous edition did (there's newly recorded interviews with Miyazaki and a half-hour long documentary on the locations Miyazaki and his staff visited in order to get ideas for the film's settings). Controversially, though, the new edition also makes some significant edits to the English dub--all the extra dialogue for the dub is gone (which includes much of Hartman's one-liners for Jiji: although one of them omitted--the last in the film which alters an important plot point--is beneficial), and so are the Forest songs. In fact, the entire sound mix has been reverted to the original Japanese music and sound effects, but the vocals aren't as well mixed--there are times when the actors sound like they're talking into a fan. Whether the extras warrant a double-dipping of this revised special edition is up to the customer.

Having seen the previews during a lazy summer, I figured it would be fun to take my girlfriend and her little sister to a cute little movie spoofing beauty padgeants. Never in my life have I laughed so hard in the theater. I could barely stay in my seat. The twisted, dark comedy was absolutely unexpected, ruthless, undaunting and hilarious. For those of you who are familiar with the state, the Minnesota jokes are right-on-target. The mentally-challenged mocking was tasteless, crude and offensive, but all those of us who saw it know it was funnier than hell. Any of you who have a taste for black comedy and don't take life too seriously should see this movie. I promise you will be pleasently surprised.

Loved this movie! And not just because it was filmed around my home town and state. But because it was everything I didn't expect and more.

Don't go seeing Elizabethtown for the full frontal assault of Jerry Maguire or Almost Famous. This one is subtle in the humor and long on thought. The plot is filled with pure Kentuckyiana that gives an insight into the characters. The characters ARE the plot, moving it along in a sweet, poignant adult "coming of age" story. The "suits" had a serious problem with this one because it can't be categorized. There were moments of touching sorrow but it's not a drama. There were moments of laughter, but it's not really a comedy. It's quirky and different. You'll laugh through your tears and cry through your laughing.

Someone complaining about the "lack of chemistry" between Bloom and Dunst didn't pay a whole lot of attention to things. The whole point of the love story is that it grows. That chemistry was played down until the end, as it should have been. The plot isn't about a man falling in love. It's about a man coming to grips with his past, his present, and his future. The love story is an evolutionary thing and takes a backseat to the real plot.

I truly enjoyed this movie. Cameron Crowe gave a unique perspective into the beauty of Kentucky, choosing NOT to show the usual horse farms and antebellum manses...but showing the mountains and the backroads of the state. Bloom is the right mix of sardonic and lost. Dunst offers the irritatingly perky flight attendant that shows a more rich personality later on. They meshed well together. Sarandon is a bloody hoot as the widow learning to cope with being alone. The tapestry of characters weaves a beautiful story that unfolds in layers. It'll leave you crying, laughing, and part of time well spent. I can't wait for this one to come out on DVD. I'll be first in line to purchase it.

"Whodunnit?" This movie tries to answer that -- in 1924, a star-studded boat trip went wrong when someone got shot, and the truth of it was never investigated. This is one thing that might have happened. The actors appear to be enjoying themselves romping through Roaring 20s decadence, but rise to the occasion when genuine acting is called for. It's like an Agatha Christie murder mystery, except no Miss Marple or Hercule Poirot.

A bunch of Hollywood glitterati arrive at a boat belonging to William Randolph Hearst, a rather obnoxious Hollywood mogul. Also on the boat is Marion Davies, Hearst's actress mistress, who is being actively pursued by Charlie Chaplin (who recently got his sixteen-year-old costar pregnant), a cool-and-calm eccentric novelist Elinor Glyn, irritating columnist Louella Parsons, fading superproducer Thomas Ince and his frustrated girlfriend, and a slew of others. Rumors fly about Marion and Charlie's suspected affair, and though Hearst doesn't want to believe it, the clues pile up -- with the assistance of Ince, who wants Hearst to be his business partner. A single gunshot threatens all of them...

This is one of the movies that probably won't appeal to the average viewer, simply because a lot of the people in it, with a few exceptions like Chaplin and Davies, are not now remembered clearly. But if viewers can shut off their "hey, I don't know who that was" signals, then they will find a sort of whodunnit without the detective, a juicy soap wrapped up in a mystery wrapped up in a "Hollywood what-if" tale. Perhaps the biggest problem is that the last part is a bit anticlimactic and the buildup is rather insubstantial -- the biggest buildup is Hearst tearing through the boat in search of Chaplin.

Kirsten Dunst shines brightly as Marion Davies, showing both a deeply conflicted young woman and a flirty party girl. She's never been better, even if she does wear a giant butterfly on her head. (Weird headpieces are a constant in this movie -- watch for Tilly's birdcage) Cary Elwes of "Princess Bride" returns as a desperate man who will go the extra mile to revive his career. Edward Herrmann plays a very intriguing Hearst, who is both obnoxious and tender, jealous and angry, controlling and generous. Eddie Izzard plays an insincere predator as Chaplin, who cares more about the conquest than about the woman; Joanna Lumley is rather underused, but she imbues all her scenes with a hilarious dry wit; Jennifer Tilly plays an irritating flibbertigibbet who has an unexpected cunning streak.

The dialogue is fast, dry and enjoyable -- one of my favorite lines was "Hollywood, a land just off the coast of the planet Earth." There's some sexual content (nothing too graphic) and a fair amount of profanity; teens who like Kirsten Dunst particularly will enjoy this, but younger kids will be bored silly.

This is not the movie that will appeal to the bubble-brained. But anyone who likes witty dialogue, sparkling costumes, a well-thought-out plotline and the shivering thrill of wondering if this was how it happened will think "Cat's Meow" is the cat's pajamas.

Loved this movie! And not just because it was filmed around my home town and state. But because it was everything I didn't expect and more.

Don't go seeing Elizabethtown for the full frontal assault of Jerry Maguire or Almost Famous. This one is subtle in the humor and long on thought. The plot is filled with pure Kentuckyiana that gives an insight into the characters. The characters ARE the plot, moving it along in a sweet, poignant adult "coming of age" story. The "suits" had a serious problem with this one because it can't be categorized. There were moments of touching sorrow but it's not a drama. There were moments of laughter, but it's not really a comedy. It's quirky and different. You'll laugh through your tears and cry through your laughing.

Someone complaining about the "lack of chemistry" between Bloom and Dunst didn't pay a whole lot of attention to things. The whole point of the love story is that it grows. That chemistry was played down until the end, as it should have been. The plot isn't about a man falling in love. It's about a man coming to grips with his past, his present, and his future. The love story is an evolutionary thing and takes a backseat to the real plot.

I truly enjoyed this movie. Cameron Crowe gave a unique perspective into the beauty of Kentucky, choosing NOT to show the usual horse farms and antebellum manses...but showing the mountains and the backroads of the state. Bloom is the right mix of sardonic and lost. Dunst offers the irritatingly perky flight attendant that shows a more rich personality later on. They meshed well together. Sarandon is a bloody hoot as the widow learning to cope with being alone. The tapestry of characters weaves a beautiful story that unfolds in layers. It'll leave you crying, laughing, and part of time well spent. I can't wait for this one to come out on DVD. I'll be first in line to purchase it.