INU-OH

A rollicking good time!

An affirmation of lost histories and outcast perspectives that screams with a protean power.

It feels like the sort of film [Akira] Kurosawa would have made had he worked in animation.

Basically, “Inu-oh” is to Noh as spray-painted graffiti is to traditional Japanese calligraphy.

A psychedelic, bombastic rock opera.

Yuasa's adaptation of Furukawa’s book is half-thrilling and half-underwhelming.

This is maybe the finest work Yuasa Masaaki has done in the last decade, and it has so much of animation's ability to produce a cinematic breeze of fresh air. I love it unreservedly and hope to be able to revisit it many, many times.

If this is where Yuasa intends to leave us for a while, he's done so with the best possible reminder of what a remarkable talent he takes with him.

The Noh of the 14th century meets the rock of the 1970s in this unusual anime offering.

Director Masaaki Yuasa deliberately indulges in jarring imagery, refusing to wrestle the plot into coherent sense, especially as it spirals into a surreal rock-n-roll musical. What emerges is an intriguing exploration of storytelling.