the audience applauded

That was an excellent one.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

After playing with our expectations, this turns out to be a very different sort of film.

Takashi Miike is one of my favorite directors and I was worried about him doing a kids film, because I would hate to see him depart from his films I came to love: Visitor Q, Gozu, Izo, Ichi the killer and Black Socioty Trilogy. Lately he seems to be exploring new territory and I think he's succeeding. Still this was the first of his films I'd seen him take that direction, so I was nervous. Of coarse I bought it without seeing it and was glad I did.Great Yokai War is a perfect kids film and adults should like it too. The whole film reminded me so much of the movies I loved as a child: Neverending story, Labyrinth, Return to Oz, etc. I enjoyed those films because they didn't treat kids like they're stupid and this one doesn't either. The dark underlying morals are there, but, it's also as silly as any kids film should be. I personally wasn't bothered by the CGI and prosthetics. I feel like they fit well and don't think kids will notice.If you are a die hard Takashi Miike fan, you may not like this one. But, I suggest giving it a shot. It proves that Miike is as diverse and talented as I suspected he is. He also continues to make his signature Miike films outside of these ones, which is very reassuring.To those people that are new to Takashi Miike and want something light hearted or dramatic like this one, I suggest these other Miike films: 'Zebraman' 'The Happiness of the Katakuris' 'Sabu' and 'The Bird People in China.' Good job Takashi Miike! 8/10 stars.

One of director Miike Takashi's very best. It's so good it's difficult to put into words. At nearly fifteen years older than the target audience it thrilled me from beginning to end.It recalls similar children's films from the 1980s in the sense that (unlike today) those films weren't afraid to scare - there's a lot of nasty detail here that I initially found jarring but soon realised it's nothing different to what I grew up on. The film is a compilation of '80s kid's films conventions. You name it, it's there: a young boy hero thrust from his own unhappy/dysfunctional world into another, inhabited by mythical and mystical goblins; a quest to save both worlds from an evil force; a beautiful heroine he has a crush on; a sadistic henchwoman (Go-Go Yubari from Kill Bill Vol. 1); a lead villain who draws his evil power from something everyone in the world can relate to. But all these genre conventions are given a fresh spin and added depth.One of the IMDb reviews begins "Where was this film when I was a kid?" and it's a sentiment I agree with wholeheartedly. Even while watching it I lamented the fact that I hadn't grown up on it; that it wasn't a part of my childhood like Labyrinth, Masters Of The Universe and, to a much lesser extent, The Neverending Story. Those films, and others like The Goonies are recalled but never copied - Miike relentlessly offering us a new take on things.Poor CGI is a staple of many of his films, sometimes due to budgetary limitations but just as frequently an artistic choice - a desire to present things in an outlandish way. Here the CGI is mostly average, solely due to budgetary limitations, but nevertheless he does a fantastic job of putting on a spectacle. The CG effects combine with traditional puppets, animatronics and truly extraordinary make-up to create a world filled with rich characters (and characterisation) that frequently borders on the visionary.This ranks as one of the greatest children's films ever made. Not for younger or more sensitive kids though.Just jaw-droppingly wonderful. See it for yourselves and if you think your kids can handle/appreciate it then show it to them. Let them grow up on The Great Yokai War as some small compensation for the fact you couldn't.

What a strangely wonderful, if sometimes slight and bulky, big-budget fantasy this is. Takashi Miike had already proved, by the time he got to The Great Yokhai War, that he could dip into other films aside from his supposed niche of the crime/yakuza genre (Visitor Q and Andromedia showed this, the former great the latter lesser). But here Miike, in his first and only co-screen writing credit no less, proves that he can deliver the goods on a post-modern soup of mythical fantasy conventions, and with it boatload of CGI, creature-effects and make-up, and an epic battle that is more like a "festival" than something out of Lord of the Rings. The comparisons can be made far and wide, to be sure, and the most obvious to jump on would be Miyazaki, for the seemingly unique mixture of kids-as-big-heroes, power-hungry sorcerers looking for the energy of the earth as the main source, machinery as the greatest evil, and many bizarrely defined, flamboyantly designed creatures (or Yokai of the title). But there can also be comparisons made to Star Wars, especially to the Gungan battle in TPM, and to the whole power-play between good and evil with similar forces. Or to anime like Samurai 7. Or, of course, to Henson's films. And through all of these comparisons, and even through the flaws or over-reaching moments, it's Miike all the way with the sensibilities of effects and characters. Here, Ryunosuke Kamiki plays Tadashi, the prototypical kid who starts out sort of gullible and sensitive to things in the world, but will become the hero in a world going into darkness. The darkness is from an evil sorcerer, who gets his energy from all of the rage and wretched vibes in the human world, and who is also starting to put to death the spirits and other creatures, the Yokhai, into a fire that sends them into gigantic robots that have only one mission- to destroy and kill anything in their paths. Tadashi gets as pumped up to fight Sato the sorcerer as the Yokai once Sato's main minion and cohort, Agi (Kill Bill's Chiaki Kuriyama, another great villainies) steals Tadashi's little furry companion, a Sunekosuri. Soon, things come to a head, in a climax that brings to mind many other fantasy films and stories, but can only be contained, up to a point, by Miike and his crew. I would probably recommend The Great Yokai War for kids, but in the forward note that it's not some watered down fantasy in American circles. This has creatures galore, including a one-eyed umbrella stand, and a walking, talking wall, not to mention a turtle, a fire serpent, and a woman who became cursed by Sato. So the variety is on high on that end, and one might almost feel like the creatures and effects- which grows to unfathomable heights when the "festival" hits with the Yokai reaching hundreds of miles in scope. But there's also a sense of fantasy being strong in both the light and the dark, and Sunekosuri becomes perhaps the greatest emotional tool at Miike's disposal (and not just because it's cuteness squared); where else to get an audience riled up than over a little furry ball of fury, who ends up in a tragic battle with Tadashi in robot form? Yet through all of this, the sense of anarchy that can be found in the brightest spots of Miike's career is here as well, which distinguishes it from its animated, Muppet and sci-fi counterparts. There's the bizarre humor as usual, including a song dedicated to Akuzi beans at a crucial moment in the climax, and more than a few flights of fancy with the creatures and fight scenes (I loved, for example, the guy with the big blue head who has to make it smaller, or the anxious turtle-Yokai). The biggest danger with Miike's access to bigger special effects and computer wizardry, which he flirts with, is overkill on this end. He's got everything down, I'm sure, with storyboards, and he creates some memorable impressions with some compositions (one of them is when all is said and done, and Tadashi and the 'other' human character are in the middle of the Tokyo rubble in an overhead shot), but the CGI is sometimes a little unconvincing with the robots, and the interplay skirts on being TOO flamboyant, and some visuals, like the overlay of the Yokai spreading the word about the big festival on the map, just seem weak and pat. I almost wondered if Miike might dip into (bad) Spy Kids territory, quite frankly.But this liability aside, The Great Yokai War provides more than a share of excitement, goofy thrills, and innocent melodrama that came with many of the best childhood fantasies. It owes a lot to cinema, as well as traditional Japanese folklore, but the screws are always turning even in its most ludicrous and veeringly confusing beats. It's not the filmmaker at his very best, but working in experimentation in a commercial medium ends up working to his advantage. It's got a neat little message, and lots of cool adventure. 7.5/10

I believe that almost every fan of Japanese film, if they actually like his films or not, are familiar with the cinema of Miike Takashi. With such films as Audition, Ichi the Killer, and Visitor Q Miike has left his mark on the world of cinema because of the pure brutality often depicted in his films, however, there is also another side of Miike. With films such as The Bird People of China Miike displays that his filmic scope can go beyond the realm of visceral violence, and with The Great Yokai War Miike does something that few of his fans and critics would think possible: create a film for children.After his parents get divorced, Ino Tadashi moves with his mother to his grandfather's home in a rural village. Teased by the other children because of his Tokyo origins, Tadashi leads a pretty solitary existence either reminding his grandfather that he is not his mother's deceased older brother Akira or leading his grandfather back home from one of his aimless wanderings. He lives a pretty drab existence, but this is soon to change. One night while attending a local festival, Tadashi is chosen by the Kirin, two men in a costume, to be the one that it will bite that year. Receiving gifts of azukj beans and rice and a towel, makes his way home and has a phone conversation with his elder sister who he longs to see. Later he learns from a couple of the boys who bully him that because he is the Kirin Rider he must climb Hobgoblin Mountain to retrieve the sword of the Hobgoblin King. Making his way up the mountain, Tadashi is frightened by some voices and he runs to board an odd bus where he encounters an odd cat/rat/hamster creature that had been injured in an earlier scene by a mechanical monster and a female yokai, Kuriyama Chiaki, sporting a beehive hairdo and wielding a whip. However, this little, fuzzy creature is only the first of many yokai that Tadashi will meet. Later after learning that because he is the one chosen to be the Kirin Rider he is the one chosen to save the yokai from evil, Tadashi joins a group of yokai, including a kappa, a water princess, and an azuki bean washer in an amazing quest that will remind any child of the 1980s of the films The Never Ending Story, The Dark Crystal, Labyrinth, and Legend.Although this might seem like an odd comparison, the first film director I thought of while watching this film was Miyazaki Hayao. While it does not play as strong of a role in this film as it does in many of Miyazaki's animated classics, the battle between nature and technology does play a role in this film. However, this role is quite tenuous at best and at some points it comes across as being a bit heavy handed. However, underlying meanings are not the main purpose of this film, what The Great Yokai War brings to the table is a visual delight of monsters that have filled Japanese folklore for centuries. While many of the creatures will remain unknown to the non-Japanese many such as the snow woman, tengu and demonic lanterns and umbrellas will be familiar to those with a basic familiarity with Japanese folklore. While not a great film, The Great Yokai War is a fun film to watch and, as I stated above, it is an interesting film to be added to the cinematic work of Miike.