Ponyo 2008 123movies

Watch: 崖の上のポニョ 2008 123movies, Full Movie Online – The son of a sailor, 5-year-old Sosuke lives a quiet life on an oceanside cliff with his mother Lisa. One fateful day, he finds a beautiful goldfish trapped in a bottle on the beach and upon rescuing her, names her Ponyo. But she is no ordinary goldfish. The daughter of a masterful wizard and a sea goddess, Ponyo uses her father’s magic to transform herself into a young girl and quickly falls in love with Sosuke, but the use of such powerful sorcery causes a dangerous imbalance in the world. As the moon steadily draws nearer to the earth and Ponyo’s father sends the ocean’s mighty waves to find his daughter, the two children embark on an adventure of a lifetime to save the world and fulfill Ponyo’s dreams of becoming human..
Plot: The son of a sailor, 5-year-old Sosuke, lives a quiet life on an oceanside cliff with his mother Lisa. One fateful day, he finds a beautiful goldfish trapped in a bottle on the beach and upon rescuing her, names her Ponyo. But she is no ordinary goldfish.
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Ratings:

	7.6/10 Votes: 144,974
	91% | RottenTomatoes
	86/100 | MetaCritic
	N/A Votes: 3431 Popularity: 58.014 | TMDB

Reviews:

All the Enthusiasm of Finger Paints
Gake no Ue no Ponyo is like something you might get if you mashed My Neighbour Totoro into The Little Mermaid, then put the entire project in the hands of a five-year-old animation prodigy. The film is simultaneously stunning in its beauty and endearing in its simplicity, unrestrained enthusiasm walking the edge between inspired brilliance and mind-addling delirium.

In the opening sequences, literally thousands of individually animated fish swirl across the screen—a task Western animators wouldn’t touch without a room full of computers. And yet the film’s omnipresent water is defined by hard lines that seem to have been drawn in with crayons and coloured by pastels. In style and content, this is clearly a children’s fantasy, and yet it isn’t.

Remarkably, Miyazaki has yet again achieved what he created in Totoro: a film that draws the viewer indelibly into the world of children, reminding us of the time when every discovery was unique, every possession precious, and the agony of loss crouched behind every well-meaning mistake. Perhaps this is why the film has appealed more to adults than to children in Japan: children still live in this world. They need no such reminders.

Sousuke, a five-year-old who retrieves the eponymous Ponyo from the ocean, is not another Pinocchio-like screen caricature. He is a real boy. He is intelligent yet careless, deeply conscientious but distracted by impulse. He grounds us in a world that wavers between the real and the surreal.

Wide-eyed wizard Fujimoto, voiced with narcoleptic mania by comedian Tokoro Joji, is by far the most rational of the film’s fantastical creations. He’s an oddball, but he makes sense. But when waves begin to lap at the doorstep to Sousuke’s hilltop home and the townsfolk jovially pile into rowboats to scud over a swollen sea of prehistoric fish, we begin to wonder whether this is the real world or some beatific daydream. Miyazaki draws no clear distinction.

Gake no Ue no Ponyo is a children’s love story, driven with monomaniacal ferocity by Ponyo and Sousuke’s pure mutual affection. Composer Joe Hisaishi underscores this intensity, calling up mighty swells of strings to accompany Ponyo’s first ascent to the surface, and later evoking Wagner’s Ride of the Valkyries in a stunning sequence where Ponyo chases down a speeding car while running atop a cascading tsunami of gigantic fish.

While the film loses much of its energy—though none of its eccentricity—in the final act, Miyazaki has nonetheless succeeded in creating yet another modern fairy tale. It is a simple, pure vision, guilelessly washed across with a devoted kindergartener’s finger paints.

Miyazaki’s most adorable work since Totoro… that it’s a masterpiece should be a given
Ponyo is the kind of movie you’ll want to see to enjoy the- insert superlative/great-awesome-wonderful adjective here- animation, the outstanding and eye-popping wonders of water (yes, water) and all of the characters who have a purity and goodness that reaches to everyone, even the supposed villain. But it’s also a movie you will *need* to see if you’ve had a bad day, or unsure that humanity is worth a damn or has people who can actually be caring and thoughtful or unselfish. Sometimes those of us who aren’t children need these kinds of stories and works of art, that lift the spirit and get us going on our day a little brighter, if only for a little while, thanks to a piece of anti-cynicism. My Neighbor Totoro was like that, as are Miyazaki’s other great films, and this is another.

Oh sure, if you have a little kid- or if somehow you’re a kid reading this- you should not be wasting any more time and rush out to see it. A clue to its appeal as a modern-day work of the extraordinary is that the English dubbed version, the one that I and American and English audiences are seeing in theaters, was written by Melissa Matheson, the writer of E.T. the Extra Terrestrial. And no wonder: it’s about a little boy living with his mother- we get the sense, as in E.T., that the parents have some problems getting along, though in this case it’s because the father works on a ship out at sea- and one day he finds a goldfish by the water at his home (the ‘cliff by the sea’ that the Japanese title originally had), accidentally cuts his little finger which the goldfish suckles at, and takes the goldfish home.

Unbenownst to the little boy, Sosuke, little Ponyo as she is called turns into a human – or rather, wants to become human once she is taken away by her father, the underwater wizard-of-sorts Fujimoto (voiced perfectly by Liam Neeson). She comes back to Sosuke after a daring escape thanks to a horde of other little goldfish, and the little boy and half-girl-half-magical-fish become best friends. If this sounds silly, maybe it is. In other hands this could be mangled kiddie-movie fodder that might play out to only that little-kiddie movie audience. In the hands of Hayao Miyazaki, it’s a one-of-a-kind marvel that will make one think of other movies and things, like E.T. or the Little Mermaid or even Pinocchio. It would be, I hope, the highest of compliments to say that Miyazaki’s own love of Disney has at this point in his career reached another high-water mark; I would possibly want to watch this movie just as much, if not more, than the classic Disney at its best. It’s that frickin’ awe-inspiring.

To give you an idea of the kind of awe it conjures, and the point of view that Miyazaki operates here as he has before in Totoro, a little tangent. For those who may have played the video game Katamari Damacy, there are little scenes that play in-between the individual boards where we see a story develop with two little kids who are being taken along to the airport by their mother. They keep looking out their window in the car and on the airplane and see so many wonders: the Cosmos himself, a crazy universe-god-thing, and other wild visions, and the kids say simply “Mom, it’s the Cosmos!” “That’s nice dear, there’s our flight,” the mother replies. There’s a scene just like this in Ponyo, where we see more clearly than even before this point of view, of a child’s wonderment and happiness at fantastical things, and the adult’s deadpan understanding of this. Only in Ponyo, it’s nowhere near as campy or unintentionally hilarious as in Katamari.

This is such magical material; I say that in the way that you’ll be smiling even when you know there’s nothing too extraordinary on the screen. But Miyazaki pushes his animators to another level than before, with his use of watercolors and pastels creating the underwater world like we might imagine or dream about after reading a book. Things move that normally wouldn’t in animation, flow and vibrate with electricity, and the story keeps things lively and fun. And yet, Miyazaki has serious touches too, and like in Totoro we have that moment where a very hard moment for a child comes up (namely the possible peril or mortal danger their mother is in), but its done delicately and with tact, and the resolution just adds to the magic element in the material.

Ponyo will make you giddy and squeal in delight. It’s made not just for those who love animation (forget ‘anime’), but for those who go to the cinema for something extra than just escape. It’s the cinematic equivalent of a gigantic, all-encompassing hug – for 100 minutes. You don’t want to leave it, and the only sadness is that it ends, even in that as-adorable-as-Totoro theme song over the credits. It’s one of the best films of the decade, nevermind year.

Other Information:

Original Language ja
Runtime 1 hr 41 min (101 min)
Budget 41677699
Revenue 202404009
Status Released
Rated G
Genre Animation, Adventure, Comedy
Director Hayao Miyazaki
Writer Hayao Miyazaki, Melissa Mathison
Actors Cate Blanchett, Matt Damon, Liam Neeson
Country Japan
Awards 12 wins & 20 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital EX (as Dolby Digital Surround EX), DTS-ES (6.1 channels), Dolby Digital (English-language version)
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory DeLuxe, Hollywood (CA), USA (prints: US version), Imagica Corporation, Shinagawa-ku, Tokyo, Japan (prints)
Film Length 2,756 m (Sweden), 2,760 m (Portugal, 35 mm), 2,773 m (Japanese version) (UK)
Negative Format Digital
Cinematographic Process Digital (source format), Digital Intermediate (2K) (master format)
Printed Film Format 35 mm (Kodak Vision 2383, Fuji Eterna-CP 3513DI), D-Cinema