"Kizumonogatari" has a long and interesting history that perhaps only the most die-hard of fans will care to know, and they probably already know it. It started with the anime adaptation that became the television series "Bakemonogatari" in 2009, a 15-episode series that became a cult-classic, featuring episodic arcs around supernatural possessions of ordinary school girls, told through fast-paced and witty dialogue and a unique directing style from Akiyuki Shinbo. Shortly after, an adaptation of "Kizumonogatari" was announced (reports say as early as in 2010), and a teaser trailer with animated footage for a feature film was released in 2012. However, "Kizumonogatari" was put on hold for unknown reasons, and meanwhile Shaft, the animation studio behind the series, continued to release further seasons of the Monogatari franchise. This came first in "Nisemonogatari" in 2012, a side-story-prequel that gave some appreciated development to the two sisters of main protagonist Araragi. Afterwards, further episodes slowly released either as complete seasons or as television specials. As of 2017, over 80 episodes have been released, and more still planned as the original light-novel series is ongoing. Any television anime that lasts longer than 50 episodes is usually limited to marketable action shonen anime, so to have a series like Monogatari continuing is a fascinating sign of its popularity in the anime community. All the same, the series mostly became retreads of the same types of stories, often using the same characters. As much as I would like to see Senjogahara tackle her personal demons for the n-th time while moving from high school to college and beyond, I cannot afford to, and the series could have just as well ended in its first season. And since "Monogatari" is a common Japanese word for "story" used in other franchises, trying to follow the complex maze of episodes that exist for the show is only for the most devoted.The only sliver of hope was with Kizumonogatari. For one, it was the prequel of it all, the very first book of the franchise (although it technically was published in Japan after the books that made up the "Bakemonogatari" series). While the future was infinite, there was only so far you could go back in the series, and it seemed possible to enjoy without dedicating a large portion of your life to it. Second, based on that teaser trailer, it would be a darker and exciting story told not as television episodes, but as a FILM, which on its own suggested higher-quality of animation and care in its telling. Ultimately, the film did come out of limbo, releasing not as one film but three, released in Japan from 2016 to 2017, about four years after its teaser of animated footage (of which none was actually used, it was redone in the final product). This trilogy was the event of the year based on fan reactions - when it was given a limited release in North America, it is to date one the only anime film I have seen to sell out every ticket, far more than recent theatrical releases for DragonBall Z, Digimon, Studio Ghibli, Evangelion, or anything else that would normally be considered popular to a larger audience. To do this for all three movies is staggering. Admittedly, I didn't appreciate sitting in a theater full of otaku-stereotypes, playing Nintendo DS and phone games with full volume in the theater and having in-depth discussions of all of Mongatari's female cast and which was "best girl." On home video, Aniplex USA released a nearly-complete reproduction of the Japanese release to have each film sold separately, the sets in fact being MORE EXPENSIVE to obtain than in Japan, only for having English subtitles in the film (and not having the joke commentary, as was omitted in Aniplex's American releases since after the first season), otherwise being generous in including the soundtrack and a better produced art book than usual. But was this dedication from the devoted and in-the-know anime fan (in North America, is there any other kind?), was this worth the wait? Was it essential viewing? The answer is a very loud and blood-curdling "yes." For the most part, it exceeds hopes and expectations and reminds everyone why they love the franchise, while at the same time giving just enough for first-timers to be entertained (and slightly disgusted).The film series tells the story of Araragi, a perfectly normal high-school student, perhaps a bit goth in that he doesn't socialize often, and how he ultimately became a half-vampire as we know him the television series. This occurs because of a fateful run-in with Kiss-Shot-Acerola-Orion Heart-Under-Blade, a legendary vampire on the verge of dying, which in a fit on panic Araragi agrees to save by allowing her to drink his blood. Instead of dying, Araragi finds himself also a vampire, next to a much younger version of Kiss-Shot. To return Kiss-Shot to her formal glory and to return Araragi to become human again, he must retake Kiss-Shots limbs (did I mention on her death-bed she had no arms or legs?) from three vampire hunters who had stolen them from her: Dramaturgy, Episode, and Guillotine-cutter (stop laughing, those are their actual names). This also introduces Memo Oshino and Tsubasa Hanekawa to Araragi, both allies in this adventure and recurring characters of the franchise.The entire cast consists of these seven characters, not a single character more (like most of the series, environments are often stark empty, both for dramatic effect and for production-cost purposes). The three movies are also just barely over an hour long, barely qualifying as a film trilogy to most viewers. And yet, these limitations are used to their absolute finest and feels packed with material. Part 1 does its job in setting up the premise I mentioned in the previous paragraph, which in itself is a lot of content to explain. Part 2 quickly and surprisingly handles the battle against the vampire hunters (spoiler: he succeeds), and Part 3 deals with the aftermath of Kiss-Shot having returned to being a full-vampire and what that really means to Araragi.
The animation, directing style (again helmed by Shinbo) and production values take this trilogy to new heights that most films never reach. Animation is a significant improvement over the series: there effectively is none in the television show, as 90% of the series is of static characters talking in stylized city environments. Here, there is movement galore with slightly updated 2D character designs placed in moving realistically-rendered 3D backgrounds. The contrast is weird and wonderful, best shown when the camera moves, but even in still shots the composition is carefully planned. Animation varies wildly between standard (sticking mostly to the character proportions), comical and scraggly-high-paced movement, again not unlike the original, but at greater extremes than seen in almost any animated video. It's highly dynamic character animation, and the plentiful action scenes are a roller-coaster to watch. Color palette throughout is consistently given a cold pink tone, giving off a different atmosphere of mostly being in the night opposed to brighter colors of the show. The sound design is equally impressive, mostly subdued with a bass cord strumming during quieter scenes, helping build a tense air of the situation the characters find themselves in. The reason I mention directing style at all is not only for how animation and sound is handled, but for the content of the film and how experimental the editing is, something Shinbo has been known for in his past work. Use of quick cuts to word boards and other methods tell Araragi's personal thoughts and feelings with a depth other directors typically don't capture. The editing and use of certain scenes can seem a bit silly at times however, making a viewer wonder if this is a genius at work, or if the director is simply trolling his audience because he can. Dialogue this time is not quite as wordy as the show, giving more breathing space to both quieter and louder scenes, a refreshing choice. Oh, did I mention the violence and sex yet? The Monogatari series has few action scenes, but when they did appear, they were brutally violent in ways that really should not be allowed on television, and fan-service often came across as risqué in a similar fashion in a unique tone that differed from other fan-service-oriented anime. This film series again takes those up to 11. There are more action scenes, and they are more violent than anything I can recall: limbs are torn off and grown again, guts fly out, heads spin off into the air, skin is torn off, internal organs are played like a piano, and blood gushes everywhere. As for the sex, there isn't any explicit sex occurring, but the air is charged with it whenever Kiss-Shot or Hanekawa are on screen with Araragi, thanks to their outrageously large bouncing breasts, Kiss-Shot's elegant but limited attire and the comedy that occurs when Araragi takes advantage of Hanekawa's friendship. All of this resulted in equal parts roars of laughter and groans in the live audience I watched it with, whom are well-seasoned anime viewers that are used to adulterated cartoons, so this isn't for the faint of heart. If you have the slightest craving for any of that, this is incredible to witness.And I feel like it is important to mention Hanekawa further, one of the more popular characters of the series despite not officially being the main character's girlfriend. This trilogy shows how she and Araragi meet, and it's great to see a more playful and flirty character over the rational class president she is known to be. Even when been taken advantage of at the expense of her skin, it feels like she owns the part with honest reactions of what a best-friend-potential-dating-partner might have. I am more impressed with the handling of her character more than anything in this story. Admittedly, some references with both her and Oshino to what becomes the main series are a little trite, but not ruining the films for first-timers.That final film of the three is the weakest link, sadly. Despite being the longest, it feels like it has the least amount of actual content. Perhaps it is because of weaker writing (Araragi seems to completely ignore rational reasoning from characters around him, spouting the same nonsense that at times conflicts with his decisions in that final act). Perhaps it is because of loss of novelty in the violence, sex and animated spectacle. Perhaps it is because the ending, while fitting, feels more like it ended "not with a bang but a whimper," leading into their state as the original anime starts. It is still a very good film, just not a great one as the two proceeding it. To have a trilogy be this strong overall is rare in itself, and as such the film should be commemorated. So overall, the "Kizumonogatari" films are essential viewing for anyone already wrapped up in the franchise, and its entertainment value is enough to recommend to any anime fan, period. At its core, despite all the flashy anime tropes it uses, it is first-and-foremost a vampire story in the purest sense, so even those who don't normally watch anime are encouraged to seek it out, perhaps with a disclaimer warning. If you like your monster stories with intrigue, character development and a lot of blood, the Monogatari series has it all, and these movies are the best part, all the while able to stand on their own away from the rest of the series.