SEASONAL PRATTLE
Closing out in style, Akudama Drive manages one last propulsively polished episode – an exciting display leveraging a true to character Swindler performance that ultimately paves the way to a rewarding finish, all choreographed with a vibrant aesthetic effort and vision. Smart use of close-ups and plenty of brass, kinetic moments with various design appeal make this final attempt to get the kids to safety not just engaging, but due to its visceral nature, the small ins and outs of the escape along the way its own treat. I’ve said it multiple times throughout this season’s set of Check-In’s for this show, but I’ll say one last time now that it’s all done: Akudama Drive was never textually adept and that outlook remains intact even in its finale. The show does enough script and character-wise to hold its ground given the type of work it clearly wants to be, leaning on other clear craft strengths to take it to the finish line. And that’s perfectly fine! It’s a formula that can be efficient in specific instances and Akudma Drive makes the most of it, ending up as one of Fall’s brighter spots when the dust settled despite its written limitations
Munou na Nana (12)
“A sharp vocal performance from Ookubo and rounded out with a sprinkling of sneakily strong composition choices”
Good finish to what’s largely been an enjoyable work. Munou na Nana’s storytelling is active in its delivery, completely fixated on closely-knitting the remains of Michiru’s narrative thread into something tangibly applicable to Nana, all while setting itself up in a good position to take a calculated emotional stab with her second half downfall. The narrative appeal is supported by a sharp vocal performance from Ookubo and rounded out with a sprinkling of sneakily strong composition choices – a factor Bridge hasn’t leaned into too much throughout the season but comes off as natural in doing so in the end nonetheless. Sad to see an entertaining show like this leave and would be very happy to see news of a second season.
Jujutsu Kaisen (13)
“One last wave of MAPPA’s visual functionality”
Happy to see Jujutsu Kaisen pull to a temporary close, and for the most part, be good in doing so. This cour finale’s biggest strength is yet one last wave of MAPPA’s visual functionality as the rest of the bout with Mahito gives it a lot of fuel for flexing its production muscles – which it takes plenty advantage of. However, the actual writing plays out a little too textbook for its genre, ultimately robbing it of any higher weight and leveling it out into a fine finish rather than something truly head-turning. Jujutsu Kaisen has been a show that has been more competent than not throughout the Fall, and on a whole, one of the better works to emerge for this season. It should be fully expected for that to continue as we move ahead into 2021.
Adachi to Shimamura (12)
“Has a sense of charm that allows them to carry nonchalant outings like this”
Adachi to Shimamura had a decent finale, whipping up its usual servings of grounded dialogue and casual character acting that one has come to expect from this show. The cast thankfully has a sense of charm that allows them to carry nonchalant outings like this, and its craft is clean enough in patches to reinforce that – resulting in a twenty-minute endeavor that didn’t have quite the relationship push for Adachi and Shimamura to suit a finale but gets by on a chunk of reasonable progression made between the two that the episode does end up achieving. There’s certainly more this series could have done here, another intimate, purposeful moment or two between our leads would have helped a lot for this episode’s energy and impact, and thus, the overall final impression for this series on a whole – but there’s always more that could be done. In close, the series does a good job of embracing its genre space and that’s nothing to be underestimated.
Kamisama ni Natta Hi (12)
“Evidently determined to go out as Maeda’s worst written effort with as little competition as possible”
Kamisama ni Natta Hi concludes with no shortage of sewage – evidently determined to go out as Maeda’s worst written effort with as little competition as possible. Without a hint of exaggeration, episode twelve is a mushy clump of the series’ lows mashed together with blatantly rehashed plotting cues from Maeda’s previous works – lead with an abrasively pushy Youta, a supporting cast that may as well be an afterthought, and a climactic high that forces viewers to actually watch the clown quality Summer movie that was being stitched together all along as if it’s a legitimate emotional touchpoint.
However, all of that could be excused and the episode would still sink in an avalanche of its garbage as the bold lowlight of taking Hina from a quality care facility – in which she had access to vital personnel along with other key tools and amenities for her around the clock rehabilitation – so she can live at Youta’s ordinary house has the situational awareness of a brick and only outdone in measures of awful by the logic the rest of the cast has to make her finish filming a movie when she can hardly even walk or speak.
In hindsight, it’s a fitting cherry to the spoiled sundae that is this series. It shows that Kamisama ni Natta Hi could top off the appalling display that it demonstrated through most of the Fall, making an already disappointing entry even rougher than before.
