Please note:This is a review of the English language version of “Lu Over the Wall.” At the time of this writing, I’m unsure if the film’s original Japanese language version will be released in America. This review was written based on the cut that GKids Films is releasing theatrically onMay 11at a limited number of American theaters.
How can an animated movie that looks as good as the family-friendlyJapanesefantasy “Lu Over the Wall” be so unimaginative? If a movie’s style is in fact a reflection of its content, then “Lu Over the Wall” is justas boring as its narrative tropes, many of which rehashconservative ideas from countlessfairy tales, and even recent Studio Ghibli animated films (I’m thinking especially of “Ponyo“). In thisattractive-looking, but predictable and over-long parable,a pre-teennebbishlearns that he’s allowed tooutgrow his inherited prejudices and become his own person. If you thought thatsounds promising: boy, do I have bad news.“Lu Over the Wall” is a crashing disappointment, even if you haven’t seen director Masaaki Yuasa’srelatively inspired and completely unpredictable 2004anti-coming-of-agefantasy “Mind Game.” Its creators listlesslyretread familiar territory andnever add anything that must be seen first-hand in order to be understood.
To be fair: it’shard to say what exactly is different about the English language dub of “Lu Over the Wall” compared to the original Japanese language version.Iknow that thedialoguewas originally written by Yuasa and co-writer Reiko Yoshida,and then adapted/rewritten for American audiences by Stephanie Sheh and Amanda Céline Miller. But beyond that, I don’t know who came up with what ideas.I can, however, tell you that theplot is convoluted and whimsical in ways that do nothing to enhance its under-developed, vaguefamily-first values.
“Lu Over the Wall” followsmopey introvert Kai (Michael Sinterniklaas), an aspiring musician who finds his joie de vivre after he visits Merfolk Island despite the warnings ofhis crotchety grandpa and over-protective dad Teruo. While there, Kai stumbles upon manic pixie dream mermaidLu (Christine Marie Cabanos), who providesKai and his friends’ garage band with a much-needed X-factor element. Soon, the group has a viral hitand more attention than they know what to do with.
At this point, “Lu Over the Wall” becomes arote story about generational differences, or, more specifically, aboutamiddle-school-aged kid who struggles to assert himself against hisout-of-touch guardians. This is the kind of fairy tale that is only superficially for kids. Like the recent cycle of Pixar films, “Lu Over the Wall” is really for parents who are wringing their hands at the thought that their children aren’t ready to swim on their own (looking at you, “Cars 3“). That’s not an exaggeration: Kai is so paralyzed byfears thathis dad and grandpa put in his head, that he needs Lu to teach him how to swim. So it’s up to themagicfish-girl to teach the shy nice boy how to love himselfenough that he can impress his single dad and over-protective pop-pop, making themlower their guard, and realize: hey, maybe this kid’sgonna make it.
Phooey. Why does it take 112 minutes to reach this foregone conclusion? And why is there nothing to latch on to here beyond a convoluted backstory about how mer-people dislike sunlight? And why is the cautionary“King Kong”-esquesub-plot—about exploiting the things you fear/don’t understand—soboring?
How could “Lu Over the Wall” be so lame, given that its animation has such an irresistible cartoon-y feel to it? All the characters move with impossibly flexible rubber limbs, but only when they dance, or are under-water. Yuasa characteristically excels at expressive dream sequences, flashbacks, and under-water tableaux.Theseover-the-topset pieces let him and his team combine all kindsof disparate styles, including hand-painting,and elaborate computer-enhanced montages. Say what you want, but“Lu Over the Wall” isa beautiful-looking film.
Still,I can’t lie: I was bored throughout the 112 minutes I spent watching“Lu Over the Wall.” I initially thought that I was allergic to themediocre English voice actors’ performances. But I soon realized that that my biggest problem was that I couldn’treconcile the basic disconnect between the thrilling story-tellingand the paint-by-numbers story.I wanted the film’s creators to do something withtheirformulaic narrative, buttheynever did.
Kai and his world just aren’tdeveloped wellenough that Iwanted toinvest yet againinthe well-meaningmyth of thefamily whoselove isstrong enough to solve all their problems. It shouldn’t need to be said but: people changebecause theyhave togrow apart from each other, not because aneffervescentfish-tween solves all their problems.Maybe that particular lesson’s more believablein the Japanese-language version. I doubt it, but hope springs eternal.
