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Mononoke Hime (Princess Mononoke) |
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| Reviews & Articles |
| Reviews 6 |
Reviews of the Miramax English-language version -- Film: Reviews 101 through 120
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101). 5x5Media
The following are representative quotes only; the full
text is available online at: November 11, 1999, Thursday By Emru Townsend [...] Unlike other themes that Miyazaki revisits repeatedly
in his work, the thoroughly delightful Totoro represents Miyazaki's only
other venture into this kind of animist world, and in Toronto I asked him about
the relationship between Totoro and Princess Mononoke. "Actually," he said, "I take the exact
same approach in both films, which is that there is an invisible world that is
surely as real as the world we can see with our eyes, and that we cannot live
ignoring the invisible world." Whereas Totoro was a gentle reminder
of the world outside, Princess Mononoke serves as a warning. Miyazaki has always been clear about his goal in the
past: entertainment first, lessons second. But while Princess Mononoke
features his most visually appealing work to date, it was made with its
messages foremost in his mind. During the round table, he elaborated:
"We've made many films in the past, and our goal with those films has been
to send a message of hope and the possibility of happiness to growing
children." But children, he eventually realized, were quite conscious of--
and worried about--the crises around them. "What we realized was that by
continuing to make movies that only taught them about hope and happiness, we
were in fact turning a deaf ear to their very urgent needs and pleas, and that
if we did not make a movie that directly addressed their needs and pleas, we no
longer would have the right to make films that would encourage them to be
hopeful and happy. So we made this film knowing that we would need to step
outside the boundaries of what you call entertainment; we made this film from a
sense of mission." [...] 102). Daily Bruin (UCLA) The following are representative quotes only; the full
text is available online at: October 29, 1999, Friday By Michael Rosen-Molina "Princess Mononoke" is more than a simple parable of good
and evil, and Lady Eboshi is not your standard cartoon villain. She is an
honest, well-meaning progressive, and it is the fair treatment of her character
that elevates "Princess Mononoke" above the usual Saturday morning fare. [...] From the lush, swampy grove of the forest guardian to the
industrial grime of Irontown, the breathtaking visuals easily rival the best of
Disney. The animation is smooth and beautiful - never once reverting to the
cheap, jerky movements for which anime is famous. [...] [...] "Princess Mononoke" may not be the greatest
animation ever, as it has been called, but it certainly comes close. 103). CNN The following are representative quotes only; the full
text is available online at: November 15, 1999, Monday By Paul Tatara [...] Adults and "deeper" teens can warm to the Japanese
tendency to mythologize cartoon characters. If you're the type who thinks the
paint-by-number spirituality of "Star Trek" is enlightening, the whispered
theology and ecological preservation theme of "Princess Mononoke" will knock
your socks off. And if you're looking for gross-out action sequences
seldom found in American animation, director Hayao Miyazaki thoughtfully
includes a variety of decapitations and warrior-induced mutilations. Unfortunately, if you don't fit into either of those
categories, you might be left wondering what all the fuss is about. [...] Be warned. You're setting yourself up for schoolboy
irritation of all ages if you don't bow before the throne of "Princess
Mononoke." The entire undertaking is presented as if we're being taught a very
complex lesson in enchantment and earthly conservation, and people who lean
toward Japanimation will convince themselves they're watching something
visionary. But it's just a cartoon in the (very) long run, and a surprisingly
pompous one, at that. "Princess Mononoke" has an adolescent fixation on garish
violence to offset its self-importance. One guy somehow manages to get both his
arms cut off with a single arrow, and heads roll when need be. It's all
extremely silly, but children should stay away. Rated PG-13. It's 135 minutes
long, so you may want to bring a thermos full of coffee. 104). TV Guide Online The following are representative quotes only; the full
text is available online at: November 18, 1999, Thursday By Maitland McDonagh Lavishly animated and painstakingly dubbed into English,
this grand-scale adventure revolves around man's relationship with the natural
world, and the dire consequence of a life out of balance. [...] Directed by
revered Japanese animator Hayao Miyazaki and scripted for US release by cult
comic book icon Neil Gaiman (Sandman), this melancholy epic blends mythological
archetypes with timely ecological concerns. Its imagery is never less than
breathtakingly beautiful, and is occasionally truly awesome: The last stand of
the boar tribe and the Nightwalker's rampage are simply unforgettable. And it
deftly negotiates the line between accessibility and exoticism: The story's
fairy-tale appeal is universal, but the animals are less sweetly
anthropomorphized than their Disney cousins, and the clattering tree spirits,
with their blank faces and child-ghost bodies, are truly eerie. [...] [...] 105). Kids-In-Mind: The Parents' Guide to Movies &
Video The following are representative quotes only; the full
text is available online at: November 19, 1999, Friday By Aris T. Christofides In this Japanese animated tale based on Asian folklore,
humans, animals, spirits and workers at an iron factory battle for space within
a forest. [...] SEX/NUDITY 1 [...] VIOLENCE/GORE 6 [...] PROFANITY 3 [...] ADULT ISSUES - Asian folklore, nature, demons and gods,
industrialization, intolerance, hatred. MESSAGE - If you don't respect nature, nature can destroy
you. 106). Orlando Sentinel The following are representative quotes only; the full
text is available online at: November 19, 1999, Friday By Jay Boyar Whatever you do, don't get Pokemon mixed up with Princess
Mononoke. Yes, they're both from Japan. Yes, they're both cartoons.
And, yes, they both start with a "P" and have an "oke" and a "mon" in there
somewhere. But that is where the resemblance ends. Where Pokemon:
The First Movie is an innocuous, if tedious, kiddie flick, Princess Mononoke is
a much more ambitious --and much more adult -- effort. [...] Besides, you don't get a free trading card with your
ticket to Princess Mononoke. What you do get is a visually intriguing -- but
maddeningly complex -- epic adventure set during Japan's Muromachi era (1392-
1573). [...] As a fan of such kid-friendly Miyazaki films as the
delightful Kiki's Delivery Service and the soulful My Neighbor Totoro, Princess
Mononoke came as a special disappointment for me. Although I admire the new
film's epic aspirations and visual sophistication, ultimately they are defeated
by its almost incoherent plot and sometimes-ludicrous dialogue. [...] Watching this film is often like observing a group of
people playing an elaborate game for which you don't know the rules. What
they're doing obviously has enormous meaning for them, but that meaning is
mostly lost on outsiders. Watching Princess Mononoke, come to think of it, is a
little like watching a bunch of kids playing Pokemon. 107). Girls on Film The following are representative quotes only; the full
text is available online at: November 1999 By ALeve When I went to buy tickets to this movie, there was a
sign taped to the glass at the box office. It read: “Warning. Princess Mononoke
contains graphic depictions of human and animal violence. It is not Pokemon.”
This to me, seemed like a rather ominous warning. Especially since POKEMON
wasn’t even playing at the same theater. Why would the box office feel
compelled to contextualize? It’s not as though they had signs for DOGMA saying,
“this is not THE BONE COLLECTOR.” Perhaps it’s because POKEMON and MONONOKE are
both animated films from Japan. Still, one would think the customer could, um,
read. After seeing the movie, I understand the sign a little
bit better. It acts as a heads up, a courtesy for the potential viewer. But it
should have read this way: “Warning. Even if you are over the age of 10, you’re
still going to have a hard time following the plot.” PRINCESS MONONOKE has the scope of a Japanese epic, which
is to say its storyline is complicated and extremely difficult to follow.
[...] [...] Obviously, this is a film for Japanese animation buffs.
If you don’t fall into that category (and I don’t) it’s confusing, boring and
very, very long. It seemed every time a conflict was about to be resolved,
another one would pop up. After two hours of watching people fighting animals,
people fighting people, animals fighting forest spirits and Billy Bob
Thornton’s voice... no matter how beautifully designed a film is, I need an
ending. I’m sure people will have issues with the violence because the battles
are bloody. But for some reason, when blood gushes out of a cartoon character,
it’s just not that horrific. What is horrific is the pacing of this film. It
goes on forever. 108). IMDB The following are representative quotes only; the full
text is available online at: November 1999 By Jun Yan [...] The moral ambiguity makes the story interesting, but the
noise from all groups and so many side characters dilute the main conflict and
make the plot cluttered and confused. The most annoying is the ape tribe... I'd
rather see Miyazaki completely abandon some of these miscelleneous subplots and
concentrate on the main story line. Another consequence of the moral ambiguity is the feeble
and naive plea of Ashitaka -- Hatred is bad. Can't we all get along? The appeal
of the central character is significantly impaired. Ashitaka is perhaps the
most bland hero I've seen for a while. He is so boring, dull, and blah [...] In
fact, there is almost no chemistry between San and Ashitaka. [...] [...] 109). Movie Magazine International The following are representative quotes only; the full
text is available online at: November 3, 1999, Wednesday By Alex Lau Majestic. Complex. Contemplative. Subtle. These are not
the usual adjectives one would use to describe an animated film, but "Princess
Mononoke" is not your usual animated film. [...] The artwork is lush and gorgeous, almost all of it
painstakingly done by hand. Still, both the action and the quiet scenes display
a smooth power that often made me forget that I was watching animation. The voice cast, headed by Claire Danes as San, Billy
Crudup as Ashitaka, Minnie Driver as Lady Eboshi, and Gillian Anderson as Moro
the wolf god, is adequate at worst and utterly convincing at best. Driver's
Eboshi easily wields her power and influence as leader of Iron Town, but never
loses sight of her compassion for her fellow humans. [...] 110). Detroit News The following are representative quotes only; the full
text is available online at: November 5, 1999, Friday By Susan Stark Those who take the visual aspect of the art of animation
seriously want their water evoked to the Disney standard: wet, without a doubt.
Princess Mononoke offers another, equally striking, deeper, far more abstract
visual standard when it comes to water. That’s just an arbitrarily chosen starting point for the
re-education in the art of animation offered by this film from Japan’s Hayao
Miyazaki. His water is a simple, variegated blue ground broken by a
small flurry of gracefully curved white lines that refer directly to the
tradition of Japanese prints. It’s by no means the reality of water, as in
Disney; rather, it’s the essence of water, as in handmade reports from Japan
over the centuries. Set your cap, then, for a visual experience unlike the
one you have come to expect from the great Disney fantasies, dramatic or comic.
This is heady but deep stuff that happens to be animated, but might as well
have been summoned by straight live-action drama. [...] 111). FilmHead.com The following are representative quotes only; the full
text is available online at: November 15, 1999, Monday By Matt Heffernan This has been a great year for animation, with such
varied entries as Tarzan, The Iron
Giant, and even South Park: Bigger,
Longer, and Uncut for the older crowd. Currently, the top film at the
box office is an animated feature from Japan. Unfortunately, it's the Pokémon movie,
and not the film I am reviewing today. If the former film is your only
exposure so far to what the Japanese call anime, then you have entirely
the wrong impression. Animation is not considered a medium exclusive to kiddie
fare in Japan, but an artform that allows filmmakers to present a world that
cannot be captured properly with live action. Disney attempts to do this, but
they can't free themselves of the "family entertainment" burden that they
thrust upon themselves many decades ago. [...] Between the dynamic visuals and the inspired story, this
is easily the best action film of the year. Of course, that's not saying much
in a year with hardly any decent action films, but I do not want to discount my
previous statement. In fact, this could be the film that finally breaks
anime into the American mainstream. But wouldn't you know that Disney
has the ball in their court. Their Miramax division bought Princess
Mononoke for distribution outside of Asia. Of course, they don't want this
film to be widely distributed, because Toy Story 2 is coming on
Thanksgiving. Maybe someday they will learn that this film commands a
different audience. [...] 112). AOL Member Pages The following are representative quotes only; the full
text is available online at: November 17, 1999, Wednesday By Anthony Leong [...] "Princess Mononoke" is by no means your average song-and-
dance Disney musical. Those expecting a relaxed afternoon with the kids may be
shocked by the level of on-screen violence, including scenes in which numerous
characters are decapitated or dismembered (interestingly enough, this film was
cited as being an influence on a serial killer in Tokyo who dismembered several
schoolchildren). However, like "Saving
Private Ryan", the violence of "Princess Mononoke" does not serve the
purpose of 'mindless visual eye candy'-- it is there as a statement against
'cartoon violence', depicting the horrible consequences of hatred and
aggression. Likewise, there are no clear-cut 'good' or 'bad' characters in this
film, as the characters' actions are based on their own perspective and values.
As a result, the central conflict of the film, man vs. nature, is not simply a
matter of 'good' overcoming 'evil'-- instead, the characters must overcome
their own prejudices and agendas to find an uneasy middle-ground. In many ways,
"Princess Mononoke" is thematically-similar to Miyazaki's "Warriors of the
Wind" ("Kaze no Tani no Nausicaa"), a 1984 anime in which a girl finds herself
caught between rival factions trying to rebuild war technology in a post-
apocalyptic world. Like all of Miyazaki's work, the animation is pristine
and often breathtaking, particularly the sharply realized action sequences. The
care and attention to detail that Miyazaki's pays to each animated cel is the
result of the master animator single-handedly drawing every single frame in the
film. Those who believe that only the workshops at Disney can create vivid
landscapes and dynamic characters with a paintbrush should certainly see the
artistry at work here. [...] 113). Sun Newspapers (Cleveland) The following are representative quotes only; the full
text is available online at: November 18, 1999, Thursday By Stan Urankar Uh, animated beheadings can be fun to watch, too. And,
believe it or not, you'll see heads roll and limbs severed with the best of
them in "Princess Mononoke." This Japanese fable, which is the country's second most
popular film of all time ("Titanic" rules!), is part spirituality, part
14th-century folklore and all painstakingly drawn, as created by Hayao
Miyazaki, the Walt Disney of Japan. [...] Though "Princess Mononoke" purposely blurs the lines of
good and evil, its animated artistry becomes plainly obvious to anyone who
spends a rewarding 21/4 hours with it. 114). 24 Frames Per Second The following are representative quotes only; the full
text is available online at: November 19, 1999, Friday By Edward Champion [...] Hayao Miyazaki is considered by many to be the reigning
grand master of anime. Perhaps best known here for his 1989 film, Kiki's
Delivery Service, a tale of a witch-in-training, he is now being given the
royal treatment by Miramax with a dazzling new opus, Princess Mononoke.
While this edition is dubbed (frowned upon by anime loyalists for the Bruce
Lee-like execution and the generally poor translation), this particular dubbing
is different. The English translation has been written by fantasy and comic
book virtuoso Neil Gaiman and Jack Fletcher, a man who worked on some of
Miyazaki's other American translations. The voices have been provided by
top-notch talent. Gillian Anderson, Claire Danes, Minnie Driver, Billy Bob
Thornton and Jada Pinkett Smith have all leant their voices for this task. [...] And if you're thinking that Princess Mononoke
might just be a sweeping allegory of humanity's growing command of technology
and its conflict with the natural elements, then you're spot on. If you've
spent your life resisting the allure of anime, then Princess Mononoke is
the movie for you. It is a film of rich beauty that raises philosophical
questions about our existence. From the cute little Kodama spirits who inhabit
the trees to the noble Yakul elk creatures who meet up with Ashitaka later in
the film, Princess Mononoke is embodied with the ambient textures and
rich details of a world not regularly glimpsed on the big screen, a land
generally confined to our own imaginations when reading C.S. Lewis or Fritz
Leiber. While the storyline may be intricate and a tad convoluted (the above
represents my best attempts to pare it down to the basics), Princess
Mononoke is that rare kind of film that you will find yourself becoming
absorbed into. [...] 115). Nitrate Online The following are representative quotes only; the full
text is available online at: November 19, 1999, Friday By Jerry White [...] [...] The narrative is still pretty heavy on the
fairy-tale tropes, and even though it invokes these metaphors that I just
mentioned, does little to explore them, focusing instead on fairly literal-
minded magical and pastoral themes. [...] I will admit that the film has some bits that are
visually impressive... And yet, there's something that feels a little bit empty
about all of this, and at time veers into the cheesy. The cheesiness is
especially visible in a sequence where our hero shoots opposing warriors with
arrows, and their heads fly off, indicating the supreme, ultimately evil power
he is acquiring. It's difficult indeed to separate these sequences from the
kind of silliness that you'd find in any random comic book, except that they
take themselves a whole lot more seriously. I can see why a lot of people would
understand the concluding, mystical sequence to be the film's supreme visual
achievement [...] And yet, what Miyazaki is evoking here is a kind of
mushy-new-agey linkage of man and nature, which I'm sure has all kinds of links
to Japanese culture and tradition but which is not, in this film, explored with
anything more than a surface, feel-good kind of gloss. [...] Not much judgment seems to have been exercised by
the Miramax people in finding voices that would really suit these characters.
[...] What this English language version of what is at heart a very Japanese
film reminds me of, more than anything else, is the Giorgio Morodoer version of
the silent classic Metropolis (1926). [...] As most readers can guess, that version of Metropolis did
little to increase Fritz Lang's fame among young American audiences; I suspect
that in ten years or so the same will be said about this version of Princess
Mononoke and Japanese animation. This is a film that seems rather unimpressive
to begin with, and this matter is not helped by cynical attempts by Miramax to
exploit its potential for profit. I suspect that hard-core anime fans will find
many familiar aspects to latch on to and admire in Princess Mononoke, but even
they will probably be irritated by the voice-overs. As for the rest of us,
there's not much exceptional about this film in terms of world cinema as a
whole. In so self-consciously seeking the lucrative, mush middle ground,
Miramax is likely to end up satisfying nobody with this film. 116). Pitch Weekly (Kansas City) The following are representative quotes only; the full
text is available online at: November 23, 1999, Tuesday By Dan Lybarger Writer-director Hayao Miyazaki’s Princess
Mononoke may be a cartoon, but it’s an “adult” movie in the
best sense of the word. While it features the same fanciful images that one
typically expects from animated flicks, Princess Mononoke has a moral
and ideological intricacy that has evaded most of this year’s live-action
releases. [...] Of course the situation is a good deal more complicated
than any the participants imagine, and that is exactly what makes Princess
Mononoke so fascinating. Miyazaki skillfully weaves traditional Japanese
folklore and history with his own creations and perspective. The movie itself
is an allegory about the way urbanization has absorbed most of the land in
Japan. But Miyazaki does more than simply sing the praises of environmentalism.
The characters may be imaginative (like the swivel-headed forest sprites called
Kodama), but Miyazaki makes his protagonists as involved and as flawed as real
people. [...] Even if the story were as vapid as a typical
Pokémon episode, Princess Mononoke would be worth viewing merely
for Miyazaki’s lush images. Few details escape his eye. Even the clouds
are carefully rendered. Unlike some recent Disney efforts, the film isn’t
marred by dull obligatory songs or pat conclusions. It is rewarding to see a
cartoon that has more than a McDonald’s tie-in for inspiration. [...] 117). The Commercial Appeal (Memphis, Tennessee) The following are representative quotes only; the full
text is available online at: November 23, 1999, Tuesday By John Beifuss Is America ready for a PG-13-rated cartoon epic rooted in
15th Century Japanese folklore and 20th Century environmental awareness in
which a feral wolf-girl and an elk-riding prince battle demons, befriend forest
gods and lop off the arms and heads of wicked samurai? Let's hope so. Princess Mononoke is a unique
moviegoing experience that should prove to American audiences what the rest of
the world already knows: A cartoon feature doesn't have to slavishly adhere to
the Disney formula of cute animals and singing teapots to be worthwhile. [...] With its epic scope, sometimes gruesome battles and
133-minute length, Princess Mononoke is more reminiscent of the movies
of Akira Kurosawa than of Walt Disney. Still, mature children should enjoy it,
in part because they will envy Mononoke's freedom and her ability to
communicate with animals. The animation - a combination of old-fashioned hand-drawn
cels and modern computer techniques - is beautifully rendered, with the clean
lines and cunning draftmanship that are characteristic of director Hayao
Miyazaki. Two of Miyazaki's earlier movies, My Neighbor Tortoro
(1988) and Kiki's Delivery Service (1989), received limited
American theatrical distribution and are now available on video. Both are
utterly charming and brilliant, and - unlike Mononoke - contain nothing
objectionable for children of any age. After meeting Mononoke, parents
should do their young children a favor and introduce them to Tortoro (a furry
forest spirit) and Kiki (a 13-year-old witch). If the children aren't grateful,
kids today have become more jaded than we feared. [...] 118). Baltimore Sun The following are representative quotes only; the full
text is available online at: November 24, 1999, Wednesday By Ann Hornaday Is a second Golden Age of animation upon us? In a year when "The Iron Giant" was tragically overlooked
by family audiences and "Pokemon: The First Movie" was giving Japanese
animation a bad name, here come two movies that prove once again how ingenious,
artful and flat-out entertaining animation can be. In radically different ways,
"Toy Story 2" and "Princess Mononoke" bring the art form back to its roots as a
medium meant for for general audiences, not just kids. [...] They also serve to remind us of animation's original
premise, that the animated two-dimensional image may have more expressive
latitude and physical flexibility than live-action film. This idea is explored
to its full potential in "Toy Story 2" and "Princess Mononoke," both of which
know that all the technical sophistication in the world can't make up for two
essential principles as old as Mickey Mouse (b. 1928): story and character. Following in the footsteps of such greats as Frank
Tashlin, Ollie Johnston, Tex Avery and Chuck Jones, the makers of "Toy Story 2"
and "Princess Mononoke" have animated the two-dimensional image with such
clarity, acumen and expressiveness that they bring entire worlds to life. Where "Toy Story 2" is bold and broad, "Princess
Mononoke" is subtle and shaded. Where "Toy Story 2" is a simple story well
told, "Princess Mononoke" is a sometimes over-complicated story featuring
myriad characters of complex motivations. Where "Toy Story 2" is clearly meant
for children, all the while making sure their adult companions are similarly
entertained, "Princess Mononoke" is clearly meant for teenagers and grown-
ups. [...] Quiet of a different kind lies at the heart of "Princess
Mononoke," Hayao Miyazaki's epic myth set in feudal Japan. From its very first
moments, when a shroud of mist parts to reveal a dense forest underneath, it's
clear that Miyazaki's movie -- his first to be released in the United States --
will have less to do with broad strokes and blustery action than with nuance,
ambiguity and contemplation. [...] With a Luminist's attention to light, water, shadow and
smoke, Miyazaki creates an epochal story born of history, myth and Shinto
animism. Helped enormously by Joe Hisaish's lush orchestral score, Miyazaki
creates an enchanted bower where tiny wood sprites click their heads back and
forth reassuringly, and where a god's footstep creates an imprint of colorfully
unfurling flowers. [...] 119). The Cincinnati Enquirer The following are representative quotes only; the full
text is available online at: November 24, 1999, Wednesday By Margaret A. McGurk Princess Mononoke is an animated fable of dazzling
artistry, one of the most beautiful ever made. [...] Director Hayao Miyazaki, a figure of awed reverence among
animators, spins an enchanted tale that is by turns beautiful, exciting,
violent and very Japanese. Friends become enemies and vice versa. The height of
victory comes not when the enemy is dead and bleeding, but when he becomes your
collaborator. This is a subtle value compared to the ham-fisted
violence of American adventures. It certainly makes for a more sophisticated
story than we’re used to seeing in ‘‘cartoon’’ form. 120). The Cincinnati Post The following are representative quotes only; the full
text is available online at: November 24, 1999, Wednesday By Craig Kopp If ''Pokeman'' leaves you flat, and ''Toy Story 2''
doesn't interest you, ''Princess Mononoke'' is certainly worth a look. [...] [...] ''Princess Mononoke,'' the master work of legendary
Japanese animator Hayao Miyazaki, is long, sometimes violent and too confusing
for young children. But for adults, ''Princess Mononoke'' nearly reinvents our
concepts of what animated features look like and explore. [...] 'Princess Mononoke'' is a more complicated story than
American audiences are accustomed to. But there's ample time to gain enough
understanding to enjoy the challenging story line. And besides, ''Princess
Mononoke'' is flat-out fantastic to look at. [...]
http://5x5media.com/eye/film/mononoke.shtml
Princess Mononoke
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"Princess Mononoke"
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www.cnn.com/SHOWBIZ/Movies/9911/15/review.mononoke/
Review: Drawn-out Japanese animation in 'Princess
Mononoke'
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http://www.tvguide.com/MovieDb/ShowMovie.asp?MI=40167
Twilight of the gods
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Princess Mononoke
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Not for little Pokemon fans
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http://www.girlson.com/
PRINCESS MONONOKE
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http://reviews.imdb.com/Reviews/216/21651
Princess Mononoke (1997)
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http://www.shoestring.org/mmi_revs/mononoke.html
The Princess Mononoke
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http://detnews.com/1999/entertainment/1105/mprincess/mprincess.htm
Japan’s ‘Princess Mononoke’ sets a different standard
for animation
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http://www.filmhead.com/reviews/mononoke.html
Mononoke Hime (Princess Mononoke)
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Princess Mononoke Movie Review
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"Princess Mononoke"
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PRINCESS MONONOKE
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Princess Mononoke
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Princess Mononoke
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World of 'anime'
Where the unique 'Princess Mononoke' rules
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http://citysearch.sunspot.net/E/E/BALMD/0000/79/70/cs1.html
Cartoons of character
'Toy Story 2' and 'Princess Mononoke' may herald a
new golden age of animation where art and maturity are as impressive as the
action.
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http://cincinnati.com/freetime/movies/mcgurk/112699_princessmononoke.html
‘Mononoke’ dazzlingly sophisticated example of Japanese
animation
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http://www.cincypost.com/living/princess112499.html
Fantastic 'Princess' not for little kids
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