'The Boy and the Heron' Review: Hayao Miyazaki’s Latest Isn’t His Swan Song, But It Sure Feels Like It

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'The Boy and the Heron' Review: Hayao Miyazaki’s Latest Isn’t His Swan Song, But It Sure Feels Like It
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Miyazaki's newest film is a testament to the overwhelming creativity and ambitious storytelling that makes him one of the greatest directors ever.

While it’s recently been disputed that Hayao Miyazaki’s mysterious twelfth movie, The Boy and the Heron, would be his final film, it certainly feels like a final film. The director’s 2013 film, The Wind Rises, was an elegant exploration of Miyazaki’s interests, which also managed to feel like a pseudo-biography for the director himself.

'The Boy and the Heron' Is Miyazaki at His Most Unusual Miyazaki's films have always been odd, but The Boy and the Heron sees him taking the limitations off just how unusual he can be. While these strange touches have often been relegated to supporting characters or cute little creatures, The Boy and the Heron takes his idiosyncratic style and makes it the primary focus.

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