QUOTE (Animeoldtimer @ Feb 12 2012, 12:34 AM)
QUOTE (zonkiethegreat @ Jan 24 2012, 11:10 PM)
Yeah, well, I saw the movie last weekend (posted a review about it here too)
I was very disappointed, with how they used Roy, and Alex mostly. I mean, what's point of having Armstrong on screen if he is not taking his shirt off, and showing off those incredible muscles???
And don't get me started on ROY (my fav character EVER). I don't think he ever even snapped his fingers in the movie!!! He just kinda stood there. Ugh....
That sounds sad. I would love to see a FMA movie that includes more of a focus on the original characters like Roy instead of only focusing on Ed and Al and bringing in new characters. Roy, Winry, Riza and Alex are essential as far as I'm concerned.
I also had the opportunity to see the movie during the limited U.S. run, and I'll simply say this by way of contrariety: Milos is meant to be viewed within the larger continuity of Arakawa's story, not as a two hour orgy of fan service; if you read the manga from its beginning until the break-off point for the Milos arc, along with the special introductory chapter linking Ed and Al's adventures to the events in Sacred Star, you will not be disappointed with this film.
I absolutely adored The Sacred Star of Milos
, and was actually considering a lengthy response to Zonkie's review because it struck me as so arbitrary and unfairly critical; in essence, she dismisses fantastic animation, inventive art direction, and expressive thematic material with observations amounting to little more than "not enough fan service." I find this both intellectually dishonest and rhetorically manipulative, and though I promised myself I wouldn't rant, these latest remarks are like salt on an open wound.
Movies need to be judged by what they set out to achieve, rather than some laundry list of fan demands with no relevance to story. Honestly, how could anyone reasonably expect Roy to go "all out" in a movie where his injuries render the simple act of filing paperwork a challenge? Beyond that - why would Armstrong be ripping off his shirt in the middle of a military compound with absolutely zero provocation? Not everything with the title Fullmetal Alchemist needs to feature Roy causing explosions or Armstrong stripping or Winry hitting Ed with a wrench. Those moments are cool, but the series has always been about so much more than that - a truth illustrated again and again by the excellent scripting of Milos Star. Themes such as sibling love, personal sacrifice and the value of suffering, religious discrimination, ethnic persecution, the value of a life, the power of human will and the possibility of redemption for even the most physically or emotionally scarred individual are all presented in a manner that exudes respect for Arakawa's work.
Having said that, the series staple characters do
get their moment to shine. Roy's role in the story is fairly significant, and I think the majority of fans will appreciate it, as long as they are willing to overlook the fact that he's not a constantly flurry of snapping fingers and fiery combustion. Subtlety is key in Milos, and limited screen time doesn't necessarily imply diminished importance. This is especially apparent during some of the film's darker, more reflective moments - Winry's fleeting memories of a happier childhood during a star lit train ride, Al's dark rumination on the costs of human transmutation from the shadowy corners of a subterranean prison, the flickering light of a funeral pyre illuminating the blackness of a deep valley and highlighting the sad fate of the Milosian people - all carry emotional weight far exceeding their screen time. One scene in particular, which casts Roy as an agent of healing rather than as an instrument for destruction, is to me a perfect example of FMA done right.
And, while Milos does tragedy and drama with great panache, its sense of humor is equally wonderful. There's some great stuff to be had here for Fullmetal enthusiasts: Mustang slams phones, Riza protects Roy's back, Ed transmutes objects into an increasingly tasteless procession of geometric absurdities, and Winry makes grizzled auto-mail engineers stare in disbelief at her cuteness. Heck, there's even a bit of Miyazaki inspired Edwin. Armstrong's potential was
short changed, but that didn't stop my theater from thoroughly enjoying the brief wink we did get.