Rate (Out of 10) and/or Review the Last Anime You Watched~
- Thread starter Aion (Retired)
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Dai
Combat Butler
Chainsaw Man: Reze Arc
This movie confused me. Not with its story, which is pretty simple. Not with its imagery, since anyone who has been watching anime for a while probably won't blink at the sight of a guy made of chainsaws riding a shark. No, what confused me is the level of care and artistry that has been lavished upon what feels like a fairly typical battle anime plotline merged with the excesses of a blood-and-boobs exploitation OVA from the 90s. Rather like the first season of One Punch Man, I was left wondering, "Why was this the story that made these animators bring their A-game?"
To be fair, there's nothing wrong with what's here. The first 40 minutes offer a solid build-up and look like they could present an interesting new angle for the series. I'm not sure the eventual twist can even be called that though, since it's so heavily telegraphed that you would need to have your eyes closed not to see it coming. What follows the twist is almost an hour of some the best animated action scenes I've ever seen. They're so impressive, in fact, that they almost distract from the fact that there is almost zero real plot going on behind them. The narrative arc of that hour of action is just that the villain wants to kill the protagonist for some reason that's never explained. Presumably this will be explained in a later arc (or maybe it was explained in season 1 and I forgot?), but within the confines of this movie specifically the stakes end up feeling like little more than a monster-of-the-week fight. Now, this is a shonen battle anime, so I shouldn't be too harsh on its emphasis on anime battling, but the production team raises the critical bar for themselves by trying to pass the movie off as something more prestige. There's some pathos in the denouement that elevates it, but not to the level that the lavish direction and Kensuke Ushio's patented sad piano are aiming for.
So what we're left with is a 6/10 story that's enhanced by 9/10 direction and music, and 10/10 animation. For me, it ends up at a 7/10.
This movie confused me. Not with its story, which is pretty simple. Not with its imagery, since anyone who has been watching anime for a while probably won't blink at the sight of a guy made of chainsaws riding a shark. No, what confused me is the level of care and artistry that has been lavished upon what feels like a fairly typical battle anime plotline merged with the excesses of a blood-and-boobs exploitation OVA from the 90s. Rather like the first season of One Punch Man, I was left wondering, "Why was this the story that made these animators bring their A-game?"
To be fair, there's nothing wrong with what's here. The first 40 minutes offer a solid build-up and look like they could present an interesting new angle for the series. I'm not sure the eventual twist can even be called that though, since it's so heavily telegraphed that you would need to have your eyes closed not to see it coming. What follows the twist is almost an hour of some the best animated action scenes I've ever seen. They're so impressive, in fact, that they almost distract from the fact that there is almost zero real plot going on behind them. The narrative arc of that hour of action is just that the villain wants to kill the protagonist for some reason that's never explained. Presumably this will be explained in a later arc (or maybe it was explained in season 1 and I forgot?), but within the confines of this movie specifically the stakes end up feeling like little more than a monster-of-the-week fight. Now, this is a shonen battle anime, so I shouldn't be too harsh on its emphasis on anime battling, but the production team raises the critical bar for themselves by trying to pass the movie off as something more prestige. There's some pathos in the denouement that elevates it, but not to the level that the lavish direction and Kensuke Ushio's patented sad piano are aiming for.
So what we're left with is a 6/10 story that's enhanced by 9/10 direction and music, and 10/10 animation. For me, it ends up at a 7/10.
Aion (Retired)
Chuunibyou
Disclaimer: I ain't seen the movie (yet), despite my namesake Dan having posted a review on the other page. Do have some insight via the manga, though.
Volume 6, which the film adapts, was probably the best single volume in the entire series. And whilst it was bombastic enough for the big screen, with shark riding and general bomb chaos, with an emotive
end twist, I can't imagine beyond the audiovisual spectacle it'd be ideal stretched into a movie given the aforementioned telegraphing and general 1vol>movie pacing differences. Likely better as a fast/intense page flicker than flick. But too short be a TV arc, hence this situation.The series goes utterly batshit, starting the next arc but more so after
. Less interested in telling a story than insanity where characters are killed off willy-nilly, and the good parts like Power's driving skills are more isolated. Much of the remainder is like v6, but amped up to 1000%. After v9, it jumps the shark rather than continuing to ride it. So in that sense, giving one of the best remaining more... coherent bits the highest quality makes sense. If not to you as the viewer, to meeeee as a manga reader that dropped the series after v11.
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Aion (Retired)
Chuunibyou
Frieren - Season 2: 7/10
Chainsaw Man – Reze: 8/10
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Vashdaman
Cardcaptor
Riding Bean
Really enjoyed this action crime comedy which I gather is a pilot, sadly, for a show that never got made. It kind reminds a little of a slight version of something like Castle of Cagliostro. Just a fun joyous romp, with some really lovely animation (why doesn't modern animation look this good?), and some brilliant exuberant car chase scenes. The lead protagonist Bean Bandit is for some unexplained reason invincible and impervious to seemingly all forms of physical harm. Bullets bounce off of him like he's Superman. I don't know if there was ever any plan to explain these powers, but while it's unusual to see a protagonist so explicitly unkillable, it's sort of fun and it doesn't really impact tension much when the average action hero is essentially usually invincible anyway. But anyway, Riding Bean is wonderful fun, full of cool action and style and a great soundtrack too.
I know this ended up sort of becoming Gunsmith Cats, but it kind of surprised me looking at Wikipedia to find that the 3 episode OVA is all the Gunsmith Cats anime that was ever made. For some reason I was under the mistaken impression it rumbled on through into the noughties and received multiple different series. But I suppose not! It's such a well known title I always thought there was more, and it's a shame there isn't.
Really enjoyed this action crime comedy which I gather is a pilot, sadly, for a show that never got made. It kind reminds a little of a slight version of something like Castle of Cagliostro. Just a fun joyous romp, with some really lovely animation (why doesn't modern animation look this good?), and some brilliant exuberant car chase scenes. The lead protagonist Bean Bandit is for some unexplained reason invincible and impervious to seemingly all forms of physical harm. Bullets bounce off of him like he's Superman. I don't know if there was ever any plan to explain these powers, but while it's unusual to see a protagonist so explicitly unkillable, it's sort of fun and it doesn't really impact tension much when the average action hero is essentially usually invincible anyway. But anyway, Riding Bean is wonderful fun, full of cool action and style and a great soundtrack too.
I know this ended up sort of becoming Gunsmith Cats, but it kind of surprised me looking at Wikipedia to find that the 3 episode OVA is all the Gunsmith Cats anime that was ever made. For some reason I was under the mistaken impression it rumbled on through into the noughties and received multiple different series. But I suppose not! It's such a well known title I always thought there was more, and it's a shame there isn't.
Dai
Combat Butler
His leather jacket and headband are lined with Kevlar, but it's not mentioned in the anime. I only recall that from the liner notes included with the VHS release. Those notes don't explain how he can rip a car door off with his bare hands though...
I presume that was rhetorical, but if not then the answer is the combination of the 80s bubble economy, OAV budgets, and animators who weren't yet burnt out from an industry that would demand an ever increasing amount of product to be churned out each year after the turn of the millennium.
Vashdaman
Cardcaptor
I was going to reply with "but doesn't he get shot in the head?" But I googled it and discovered that Bean's headband is bulletproof too, which is pretty funny.
The animation question wasn't completely rhetorical. Although I knew that its budget definitely was a factor, as I'm watching Bubblegum Crisis at the moment, and despite it still looking great to me, it's obviously nowhere near as lavish as Riding Bean. I would think the other points you mention about animator burnout and workload churn are really key and important points too.
But I also wonder even with all those aforementioned factors in place, how much the actual physical materials involved in older animation contribute to the look. Like, presumably even high budget anime these days simply won't use cels and thus won't use real paint etc. I remember a while back looking at some Reddit thread and the OP poster was like "bring back cel anime!" but the consensus in the comments seemed to be, from what I can remember anyway, that there are no inherent qualities to cel based animation and that cels are completely redundant. Now, I know absolutely nothing about the science and the art of animation, but I really struggle to wrap my head around the idea that using an entirely different set of materials as the basis of an animation wouldn't impact the final result in any way. Surely there'll be more variation in the end product of cel animation, more richness you could even say? Often even when I encounter some slightly "shoddy" irregular bit of animation in older shows, like recently when I was watching GTO, it really makes it a richer visual experience for me. Now that I'm typing this it's occuring to me that there's probably some sort of cursed AI generated "cel animation filter" out there. But it still wouldn't be the same.
The animation question wasn't completely rhetorical. Although I knew that its budget definitely was a factor, as I'm watching Bubblegum Crisis at the moment, and despite it still looking great to me, it's obviously nowhere near as lavish as Riding Bean. I would think the other points you mention about animator burnout and workload churn are really key and important points too.
But I also wonder even with all those aforementioned factors in place, how much the actual physical materials involved in older animation contribute to the look. Like, presumably even high budget anime these days simply won't use cels and thus won't use real paint etc. I remember a while back looking at some Reddit thread and the OP poster was like "bring back cel anime!" but the consensus in the comments seemed to be, from what I can remember anyway, that there are no inherent qualities to cel based animation and that cels are completely redundant. Now, I know absolutely nothing about the science and the art of animation, but I really struggle to wrap my head around the idea that using an entirely different set of materials as the basis of an animation wouldn't impact the final result in any way. Surely there'll be more variation in the end product of cel animation, more richness you could even say? Often even when I encounter some slightly "shoddy" irregular bit of animation in older shows, like recently when I was watching GTO, it really makes it a richer visual experience for me. Now that I'm typing this it's occuring to me that there's probably some sort of cursed AI generated "cel animation filter" out there. But it still wouldn't be the same.
Aion (Retired)
Chuunibyou
Feeling lazy since nothing has triggered my semi-autistic tltr recently, soooo... here be my latest (failed) attempt at being concise. Ganbare, Aion~
Perhaps fittingly given its snowy Mother... "R/Loviet" setting, this proved to be the only of Takeshi Koike's four Lupin OVAs to leave me cold. Well, that is not entirely true, as I unsurprisingly found myself initially immersed by his tonally muted yet visually stylish approach. Which was further fueled by Bourne-esque car action and an Uncharted train set-piece, complete with some light boxing and train top / bridge jumping... only for it to then - perhaps also fittingly - completely derail in the last half.
The second half was rushed and, at times, utterly baffling. Half-arsed peace treaty / terrorism plot shenanigans, with Koike clearly struggling once his brand of to-the-point action coolness bashed head first into his Achilles' heel: nuanced complexity. Worse, there is no fun heist subplot to distract or intrigue 'ere, and not helping matters any is Zenigata coming across like a support character in his own OVA due to the titular Lupin duo having all the focus. Zeni was reduced to bizarrely spending the last half dragging himself around with a totally-non-fatal gut wound (conveniently ambling into the bunker of replacement-Putin, for a Lupin x Zeni x Lupin finale. Somehow.) Lupin's clone meanwhile remained a 1D cartoon that had his most interesting aspect turn out to be just... how, exactly, he disguised himself as a certain femme fatale. HOW!? I could more readily accept a genetic clone body double! The final showdown also proved anti-climatic, given Evil Lupin was a dumbarse and Zeni remained half-dead.
This is all such a pity when Zenigata is my favourite Lupin character. He was made endearing to me in a Lieutenant Yamamoto (/Tylor) despairing reaction sense. His character also channels Inspector Javert's (/Les Mis) obsession, turned comical via forever chasing/losing Lupin. Often paired with some surprisingly excellent introspective heart-to-heart moments in other Lupin works. In Koike's universe though, the comedy is drained of cartoony silliness in the pursuit of 'cool', so all you're left with is a man with tunnel vision for justice so narrow that it lead Javert to his own bitterest of ends. It's all played too straight, simply put, with musings on justice an edgy teenager could readily share when interacting directly with Lupin.
'Tis the problem with Koike's approach: whilst Jigen/Goemon's OVAs gained my strong approval as standalone Kawajiri>Koike wild west/samurai duel legacy works, they were not 'good Lupin' entries. Although I am at a loss as to what actually is when you need combine a thief, gunslinger, samurai, cop and seductive woman into one cohesive narrative, inevitably resulting in a mess. Koike narrows the scope, whilst adding stylish 80/90s manly sex appeal... that, and Fujiko fully nude in a fish-tank; chased by a manbot and its drillcock (srsly: Jigen's OVA). And killing with 'love' in her OVA, for how else can a woman kill in a man's fantasy?...
At the very end, the whole cast converge to head towards a movie finale that connects all four spin-offs. The whole thing being essentially one big A-to-B airport means to an end, leaving everything of consequence to be resolved in Immortal Bloodline. That was the only goal... and we'd have likely been better off skipping from Fujiko's OVA to that point. Whilst Lupin's clone saw Mamo in a brief trippy sequence, there was assuredly little else worth seeing. But I guess if you're going to be a mediocre filler tangent, best to do it in style. Maybe.
Seven kids find themselves transported to a medieval castle and are greeted by a mischievous girl wearing a wolf mask. There they are given the task of finding a key, with the reward being that one person gets their wish granted. The problem with this setup is 40-minutes (out of 2hrs) and around 4-months pass with barely anything happening. The castle becomes a support group/hangout spot for troubled teens (some recluses, some going to 'alternate schools'), instead of the magical locale being explored (not helped by the bland CG bgs). Much of the fantasy is mere window dressing for interpersonal drama. Think Persona but only early social linking, at the dungeon instead of outside it, and you wouldn't be far off the mark. Only the introverted and socially anxious heroine shines, here. And this is likely why Colorful remains something of a buried treasure: the director goes at his own slow-burn pace, with little interest in hooking viewers.
Lonely does however come to life, after its mundane and surface level trauma beginnings: we get to see how the bullying the heroine endured affected her, including one deeply unsettling scene where her bullies show up at her house as she desperately tries to lock all the doors. The mystery of the castle and how all seven are connected is explored--both inside and outside the castle. And the trauma of another one of seven comes to the fore; pushing the film towards an emotionally moving finale that ties every character together.
Even so, ultimately the earlier pacing issues and a lack of time/effort put into explaining the supernatural setting (complete with a mythical
) left me disappointed. Instead of there being a price of admission for fantastical wish-granting, an attempt was made at papering over the many holes with lost sister sentiment. And that, along with the big twist of how the seven were connected being hidden behind no-one bringing their phone/trendy clothes etc hurt it for meeee. Plus, 3-4 of the kids barely had any development.
Still, it carried an emotional weight and had the sort of impactful resolution that few cartoons manage nowadays. Colorful is undoubtedly the better of the two yet this director is doomed to be in the 6-7+ range. His films structure often makes me ask 'Why is this an anime moviefilm?'... all the while leaving me wanting to watch more. As luck would have it, turns out own two more films had long since forgotten were directed by Hara: Birthday Wonderland and Coo. Thanks, Anime (un)Limited xmas sales. And farewell.
Lupin the IIIrd: Zenigata and the Two Lupins
5.5/10
5.5/10
Perhaps fittingly given its snowy Mother... "R/Loviet" setting, this proved to be the only of Takeshi Koike's four Lupin OVAs to leave me cold. Well, that is not entirely true, as I unsurprisingly found myself initially immersed by his tonally muted yet visually stylish approach. Which was further fueled by Bourne-esque car action and an Uncharted train set-piece, complete with some light boxing and train top / bridge jumping... only for it to then - perhaps also fittingly - completely derail in the last half.
The second half was rushed and, at times, utterly baffling. Half-arsed peace treaty / terrorism plot shenanigans, with Koike clearly struggling once his brand of to-the-point action coolness bashed head first into his Achilles' heel: nuanced complexity. Worse, there is no fun heist subplot to distract or intrigue 'ere, and not helping matters any is Zenigata coming across like a support character in his own OVA due to the titular Lupin duo having all the focus. Zeni was reduced to bizarrely spending the last half dragging himself around with a totally-non-fatal gut wound (conveniently ambling into the bunker of replacement-Putin, for a Lupin x Zeni x Lupin finale. Somehow.) Lupin's clone meanwhile remained a 1D cartoon that had his most interesting aspect turn out to be just... how, exactly, he disguised himself as a certain femme fatale. HOW!? I could more readily accept a genetic clone body double! The final showdown also proved anti-climatic, given Evil Lupin was a dumbarse and Zeni remained half-dead.
This is all such a pity when Zenigata is my favourite Lupin character. He was made endearing to me in a Lieutenant Yamamoto (/Tylor) despairing reaction sense. His character also channels Inspector Javert's (/Les Mis) obsession, turned comical via forever chasing/losing Lupin. Often paired with some surprisingly excellent introspective heart-to-heart moments in other Lupin works. In Koike's universe though, the comedy is drained of cartoony silliness in the pursuit of 'cool', so all you're left with is a man with tunnel vision for justice so narrow that it lead Javert to his own bitterest of ends. It's all played too straight, simply put, with musings on justice an edgy teenager could readily share when interacting directly with Lupin.
'Tis the problem with Koike's approach: whilst Jigen/Goemon's OVAs gained my strong approval as standalone Kawajiri>Koike wild west/samurai duel legacy works, they were not 'good Lupin' entries. Although I am at a loss as to what actually is when you need combine a thief, gunslinger, samurai, cop and seductive woman into one cohesive narrative, inevitably resulting in a mess. Koike narrows the scope, whilst adding stylish 80/90s manly sex appeal... that, and Fujiko fully nude in a fish-tank; chased by a manbot and its drillcock (srsly: Jigen's OVA). And killing with 'love' in her OVA, for how else can a woman kill in a man's fantasy?...
At the very end, the whole cast converge to head towards a movie finale that connects all four spin-offs. The whole thing being essentially one big A-to-B airport means to an end, leaving everything of consequence to be resolved in Immortal Bloodline. That was the only goal... and we'd have likely been better off skipping from Fujiko's OVA to that point. Whilst Lupin's clone saw Mamo in a brief trippy sequence, there was assuredly little else worth seeing. But I guess if you're going to be a mediocre filler tangent, best to do it in style. Maybe.
Lonely Castle in the Mirror
6.5/10
Watched out of affection for director Keiichi Hara's other film, 'Colorful', which won a place in my otherwise monochrome heart. Much like Lonely (and so much so that he had reservations about adapting another, similar novel), Colorful explores the mental health struggles of junior high aged kids. Where as that begins more compellingly, with suicide and the chance to try again, Lonely instead has a far more roundabout approach; one that almost suggests a 'battle royale' game scenario is afoot. Alas, 'twas not to be, for that was never the intent. 6.5/10
Seven kids find themselves transported to a medieval castle and are greeted by a mischievous girl wearing a wolf mask. There they are given the task of finding a key, with the reward being that one person gets their wish granted. The problem with this setup is 40-minutes (out of 2hrs) and around 4-months pass with barely anything happening. The castle becomes a support group/hangout spot for troubled teens (some recluses, some going to 'alternate schools'), instead of the magical locale being explored (not helped by the bland CG bgs). Much of the fantasy is mere window dressing for interpersonal drama. Think Persona but only early social linking, at the dungeon instead of outside it, and you wouldn't be far off the mark. Only the introverted and socially anxious heroine shines, here. And this is likely why Colorful remains something of a buried treasure: the director goes at his own slow-burn pace, with little interest in hooking viewers.
Lonely does however come to life, after its mundane and surface level trauma beginnings: we get to see how the bullying the heroine endured affected her, including one deeply unsettling scene where her bullies show up at her house as she desperately tries to lock all the doors. The mystery of the castle and how all seven are connected is explored--both inside and outside the castle. And the trauma of another one of seven comes to the fore; pushing the film towards an emotionally moving finale that ties every character together.
Even so, ultimately the earlier pacing issues and a lack of time/effort put into explaining the supernatural setting (complete with a mythical
) left me disappointed. Instead of there being a price of admission for fantastical wish-granting, an attempt was made at papering over the many holes with lost sister sentiment. And that, along with the big twist of how the seven were connected being hidden behind no-one bringing their phone/trendy clothes etc hurt it for meeee. Plus, 3-4 of the kids barely had any development. Still, it carried an emotional weight and had the sort of impactful resolution that few cartoons manage nowadays. Colorful is undoubtedly the better of the two yet this director is doomed to be in the 6-7+ range. His films structure often makes me ask 'Why is this an anime moviefilm?'... all the while leaving me wanting to watch more. As luck would have it, turns out own two more films had long since forgotten were directed by Hara: Birthday Wonderland and Coo. Thanks, Anime (un)Limited xmas sales. And farewell.
Hmm, I see your aversion to numbers remains intact, Vash. I shalt break you. Eventually. Then, Aiondamann will be my new username, for there can only be one, much like in the case of 'Dan'~
Anime was once art. Every background etched with hand-drawn wear & tear, colours hand-painted vs accursed digi-paint. The whole image blended seamlessly, with nary a bland CG wall/house in sight. And talented people revolutionising the industry; creating as fans, for fans. Now, it's merely a product, often made as cheaply as possible, without soul or passion bar some (mostly) shounen exceptions. Just look at Disney: from magical 2D creativity, to all CG soulless, around roughly same time period. Once the 2000s began and the digital switchover became the norm, with even Madhouse falling and Ghibli trailing off, it was the end. But before that, with AIC etc and the OVA boom ending, the rot began. Not even Trigun could not save it.
Every medium has a golden age. Be it JRPGs with the PS1, Korean cinema in the mid 2000s: a time when talent is not yet burned out, and what's new is not yet ground into dust via capitalism and time/cost.
That aside: your mention of Riding Bean had me remember I happen to have its BD inside my Gunsmith OVA case, thanks to my friend getting revenge for the discs I sent him. Tried it again dubbed, giving up halfway. A long time ago, half-asleep, I - unwisely as turned out - opted to try its (shoddy iirc) DVD. Going dubbed, in the hope of staying awake. That was a grave error: the dub is comically stilted and amateur, to the point was genuinely unable to follow the what/why besides a guy eating nuts and his car's wheels going... sideways. A highlight was when the scene switched to some older fella tied to a chair, with his female captor overly eager/excited to help him urinate via a handheld urinal (cue his eyebrow raise reaction -> no, thank you!). Then, the girl's femdom gf came in, slapping her around (which the girl liked). But the true highlight - which I'm not sure if I imagined, delirious - was the lead kicking a door down/couch over, followed by saying "I'm Bean, bitch!" in a monotone voice. Or something to that effect. That made me decide to 1/10, just for the experience/Mr. Bean image projected into my head. True story.
I recommend watching 'Drive', instead. It occurred to me whilst watching that it is the anime equivalent to... this. Just not terribly dubbed and without horizontal sidewheeling. The scene early on where Mr. Bean Bandit helped some criminals in masks escape reminded me of it. Drive has a song featuring 'a real human bean' lyrics, even! Ryan Gosling pretending to have Asperger's whilst being the most idealised example of a Clint Eastwood man of few words is also preferable to a... bean bandit. And Ryan Gosling in every other role where he actually speaks.
Anime was once art. Every background etched with hand-drawn wear & tear, colours hand-painted vs accursed digi-paint. The whole image blended seamlessly, with nary a bland CG wall/house in sight. And talented people revolutionising the industry; creating as fans, for fans. Now, it's merely a product, often made as cheaply as possible, without soul or passion bar some (mostly) shounen exceptions. Just look at Disney: from magical 2D creativity, to all CG soulless, around roughly same time period. Once the 2000s began and the digital switchover became the norm, with even Madhouse falling and Ghibli trailing off, it was the end. But before that, with AIC etc and the OVA boom ending, the rot began. Not even Trigun could not save it.
Every medium has a golden age. Be it JRPGs with the PS1, Korean cinema in the mid 2000s: a time when talent is not yet burned out, and what's new is not yet ground into dust via capitalism and time/cost.
That aside: your mention of Riding Bean had me remember I happen to have its BD inside my Gunsmith OVA case, thanks to my friend getting revenge for the discs I sent him. Tried it again dubbed, giving up halfway. A long time ago, half-asleep, I - unwisely as turned out - opted to try its (shoddy iirc) DVD. Going dubbed, in the hope of staying awake. That was a grave error: the dub is comically stilted and amateur, to the point was genuinely unable to follow the what/why besides a guy eating nuts and his car's wheels going... sideways. A highlight was when the scene switched to some older fella tied to a chair, with his female captor overly eager/excited to help him urinate via a handheld urinal (cue his eyebrow raise reaction -> no, thank you!). Then, the girl's femdom gf came in, slapping her around (which the girl liked). But the true highlight - which I'm not sure if I imagined, delirious - was the lead kicking a door down/couch over, followed by saying "I'm Bean, bitch!" in a monotone voice. Or something to that effect. That made me decide to 1/10, just for the experience/Mr. Bean image projected into my head. True story.
I recommend watching 'Drive', instead. It occurred to me whilst watching that it is the anime equivalent to... this. Just not terribly dubbed and without horizontal sidewheeling. The scene early on where Mr. Bean Bandit helped some criminals in masks escape reminded me of it. Drive has a song featuring 'a real human bean' lyrics, even! Ryan Gosling pretending to have Asperger's whilst being the most idealised example of a Clint Eastwood man of few words is also preferable to a... bean bandit. And Ryan Gosling in every other role where he actually speaks.
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