Bearing the title of The Last: Naruto the Movie, the animated film brings in high expectations especially for avid readers of the manga. After all, this is the first theatrical film to be rendered canon, or as an official part of Masashi Kishimoto‘s Naruto.
(For full disclosure, I watched the series since 2007 back when it was available in local TV, continuing to Naruto Shippuden through the manga, with just 50 or so chapters still on queue.)
Set two years after the Fourth Shinobi World War, where Naruto is dubbed as the greatest shinobi/ninja in existence, peace has permeated throughout the regions. Hinata, one of Naruto’s peers and long-time friend since childhood, has been mustering up the courage to express her feelings to Naruto. Through flashbacks, we witness how intense these emotions were, and for regular readers, we’ve all seen this one-sided love peak only to a certain extent. The film would have been fine if the relationship dramatics is solely elucidated throughout the next two hours, and not just of Hinata repeatedly knitting a scarf for Naruto for the whole duration of the film.
Given 700 chapters of character development interspersed within hundreds of battles, it wouldn’t hurt if we were treated with the human side of our main characters. Two years after an era of perpetual apocalypse, it is perfectly logical to breathe fresh new air by showcasing the culture of Konoha and simmering in the lovers’ idiosyncracies. Instead, we still have to be introduced to a new global threat, that comes of as generic from backstory to motives to characterization. Simply put, Toneri Ōtsutsuki is an utterly forgettable one-note villain armed with a grand scheme of taking control of the world. His newly-defined relation to Hinata’s clan, which thereby affecting the budding romance between our two leads, is quite too convenient. By the middle of the film it becomes frustrating to see the Naruto and Hinata connection be weakened only due to external circumstances. It would have been more satisfying, especially to the NaruHina fanbase which this film blatantly caters to, to see how Naruto’s cluelessness to romance and Hinata’s decades-long unrequited love would make their relationship bloom.
Aside from the relatively shallow characterization, what hinders the viewer to connect to Naruto and Hinata is the poor emotive display through facial expressions. It might be due to the nature and market of the genre but given that the love story is central to the film, it necessitates more lingering moments and dimension to the individual passiveness of the lead couple.
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On its shonen form, of imaginative ninja battles and physical power escalations, The Last: Naruto the Movie, is decent but not impressive with its fight choreography. The animation is of good caliber, as expected, but there is no action sequence worth viewed repeatedly. There are some nods to Gundam, Akira and Evangelion but these don’t jive well with the world of Naruto with its elemental nature-borne tone not in conjunction with the realm typically populated by Gundam, mecha or sci-fi. This is understandable though since such approach has not been done before in the series, in canon terms. However, the flimsy execution borders to roll-your-eyes hilarity. Without the superb action, we could have at least be immersed with the world, the castles, the enemies who have personality. Whether they be dummy robots, dolls, or realhumans, their design elements, color palettes, could have at least be united. Instead of fitting in new mythology, all we get is a side-story bragging itself as purposeful, and official to the established history of the shinobi world.
One of the distinctly memorable flavor of the anime is its soundtrack enhancing the ninja fight sequences. Sadly, the original tracks are only used sparingly, albeit arranged differently, during the final action scenes. As it seems, the whole film is just a faint semblance of the great Naruto episodes. Both the fans and the characters deserve better for something called The Last: Naruto the Movie.
The Last: Naruto the Movie exclusively opens in SM Cinemas on May 13.
