Pokémon: The First Movie (Review Revisit) - Nostalgia Critic

Pokémon: The First Movie (Review Revisit) - Nostalgia Critic

Brief Summary

In this episode of Nostalgia Critic, the Critic revisits and re-analyzes "Pokémon: The First Movie." He acknowledges the commercial origins of the franchise but aims to provide an objective review, balancing his outsider perspective with a fair assessment. The review covers the plot differences between the Japanese and American versions, the animation style, and the film's mixed messages about fighting.

  • The Critic revisits "Pokémon: The First Movie" after 15 years, offering a more detailed analysis.
  • He discusses the differences between the Japanese and American versions of the movie, particularly Mewtwo's character.
  • The review highlights the animation style and the film's confusing anti-fighting message.

Intro

The Nostalgia Critic introduces a new segment called "Review Revisit," where he revisits old reviews to analyze them in more detail. He addresses potential criticisms of rehashing old content by acknowledging his insecurities and the evolution of his review style over 18 years. The first movie he chooses to revisit is "Pokémon: The First Movie."

Initial Thoughts on Pokémon

The Critic admits that Pokémon isn't his personal interest, recognizing its commercial origins. He acknowledges that if he had grown up with it, he would likely enjoy it. He aims to be objective, giving the movie a fair chance despite his initial skepticism and jokes about its commercial nature.

Mewtwo's Origin and Differences Between Versions

The review begins with Mewtwo's creation as a clone of Mew. The Critic draws parallels between Mewtwo and Shadow the Hedgehog, noting similarities in their origins and character arcs. He highlights the significant differences between the American and Japanese versions of the film, explaining that Warner Brothers deemed the original plot too adult for children. In the Japanese version, Mewtwo's existential crisis stems from being a copy, while the American version adds a desire for world domination.

Plot and Animation

The Critic summarizes the plot, including Ash, Misty, and Brock receiving an invitation to meet the greatest Pokémon trainer. He praises the animation style, noting its vibrant softness and effective combination of CG and painted backgrounds for 1998. Team Rocket's attempts to capture Pikachu and the storm that trainers must survive to reach Mewtwo's location are also mentioned.

Mewtwo's Plan and Clones

Mewtwo, who has hypnotized Nurse Joy, reveals his plan to clone Pokémon using a special machine. The Pokémon fight their clones, with Mewtwo's clones proving more powerful. Mewtwo captures the Pokémon to extract their DNA and create more clones while planning to destroy the planet with a storm, a plot point added in the English dub.

The Anti-Fighting Message

The Critic discusses the film's bizarre anti-fighting message, which is repeated throughout the last third of the movie. He finds the message hypocritical, given that the franchise is primarily fight-based. The scene of Pikachu beating himself up is highlighted as unintentionally funny.

Cloning Commentary and Ash's Sacrifice

The review touches on the Japanese version's commentary on cloning and valuing clones. Ash's sacrifice, turning to stone while trying to stop Mew and Mewtwo's fight, is discussed. The tears of the Pokémon restore Ash to life, a plot point that seems unexplained in the American version.

Mewtwo's Change of Heart and Memory Wipe

Mewtwo is touched by Ash's sacrifice and decides not to take over the world, instead opting to find a place where his heart can learn. He erases everyone's memories of the event, negating the anti-fighting message. The Critic notes the film's commercial success despite its flaws and mixed messages.

Final Thoughts and Charity

The Critic concludes that "Pokémon: The First Movie" is not a good movie but acknowledges its creative elements and the existential themes present, especially in the Japanese version. He attributes the film's issues to commercialism and the American adaptation's changes. He ends by promoting his charity, SolveME/CFS Initiative, to support research on chronic fatigue syndrome.

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