Name: Earwig and the Witch
Genre: Animation, Fantasy, Family, Music
Released: 2021-02-03T00:00:00+00:00
Cast: Kokoro Hirasawa, Shinobu Terajima, Gaku Hamada, Sherina Munaf, Etsushi Toyokawa

The opening scene of Earwig and the Witch is a whirlwind of energy, with Earwig, a rambunctious 10-year-old orphan, bossing around her peers in St. Morwald’s Home for Children. This spirited girl, voiced by Kokoro Hirasawa, is the centerpiece of Studio Ghibli’s first venture into CGI animation, directed by Goro Miyazaki. Based on Diana Wynne Jones’ novel, the film follows Earwig as she’s adopted by a witch named Bella Yaga (Shinobu Terajima) and plunged into a world of spells, potions, and musical mysteries.

What immediately strikes viewers is the film’s departure from Studio Ghibli’s traditional hand-drawn aesthetic. The CGI animation, while technically proficient, lacks the organic warmth and intricate detail that define Ghibli’s classic works. The character designs feel stiff and flat, and the environments lack the lush, textured beauty of films like Spirited Away or My Neighbor Totoro. This shift in medium is jarring for longtime fans, as the film struggles to find its visual identity.

The story, while imaginative, suffers from pacing issues that leave it feeling disjointed. The first act establishes Earwig’s rebellious nature and her reluctance to leave the orphanage, but once she’s adopted by Bella Yaga, the narrative stumbles. The film’s structure is uneven, with scenes that drag—such as Earwig’s initial adjustment to her new home—and others that feel rushed, like the revelation about her mother’s connection to the band Earwig. This inconsistency makes it difficult to become fully invested in the story.

Performances are a mixed bag. Kokoro Hirasawa captures Earwig’s spirited defiance well, making her a compelling protagonist despite the film’s flaws. Her delivery of lines like “I don’t want to be adopted!” is filled with conviction, and she brings a lively energy to the role that keeps the film engaging. Shinobu Terajima’s Bella Yaga is memorable for her selfishness and eccentricity, though the character could have benefited from more depth. Terajima’s performance is a highlight, but the script doesn’t give her enough room to explore the nuances of Bella Yaga’s motivations.

The supporting cast, including Gaku Hamada as Thomas the talking cat and Etsushi Toyokawa as Mandrake, deliver solid performances but are hampered by the film’s uneven pacing. Hamada’s portrayal of Thomas is charming, particularly in his interactions with Earwig, but the character’s role in the story feels underdeveloped. Toyokawa’s Mandrake is more one-note, serving primarily as a foil to Earwig’s mischief rather than a fully realized character.

Originality is where Earwig and the Witch stumbles the most. While the premise of an orphan discovering a world of magic is familiar, the execution feels derivative. The film’s attempts to blend humor with darker themes fall flat, resulting in a tone that oscillates between whimsical and awkward. For example, the magical mishaps involving Earwig’s spells—like the literal “extra pair of hands” she gives Bella Yaga—lack the charm and wit of Ghibli’s best work.

As a family fantasy, Earwig and the Witch fails to deliver the enchantment one expects from Studio Ghibli. The film’s CGI aesthetic, while ambitious, doesn’t capture the studio’s signature magic. The story’s pacing issues and underdeveloped themes leave it feeling incomplete, and the performances, though solid, can’t compensate for the narrative shortcomings.

The film’s target audience is unclear. It’s too dark and slow-paced for younger children, yet it lacks the depth and emotional resonance that would appeal to older viewers. The humor is hit-or-miss, and the magical elements feel more gimmicky than meaningful. This ambiguity in tone and audience makes Earwig and the Witch a difficult film to recommend.

In terms of direction, Goro Miyazaki’s approach is bold but flawed. His decision to use CGI animation is a departure from Studio Ghibli’s tradition, and while it shows ambition, it lacks the polish and artistry of his father Hayao Miyazaki’s work. The film’s pacing issues suggest a lack of narrative cohesion, and the visual style feels unrefined compared to Ghibli’s hand-drawn classics.

Themes of family, identity, and self-discovery are present but underdeveloped. Earwig’s journey from orphan to witch-in-training could have been a rich exploration of these themes, but the film’s rushed pacing and uneven storytelling prevent it from delving deeply into them. The revelation about Earwig’s mother, for instance, is intriguing but feels tacked on rather than organically integrated into the story.

In comparison to other Studio Ghibli films, Earwig and the Witch falls short. It lacks the whimsy of Kiki’s Delivery Service, the emotional depth of Grave of the Fireflies, and the visual splendor of Princess Mononoke. Even among Ghibli’s lesser-known works, it struggles to stand out.

Ultimately, Earwig and the Witch is a missed opportunity. It’s a film that strives for innovation but falters in its execution, leaving viewers with a sense of what could have been. The CGI animation, while technically competent, lacks the warmth and artistry of Ghibli’s hand-drawn classics.