Review of Castle in the Sky

Let’s talk about the first Studio Ghibli movie, Castle in the Sky (1986). It's a foundational piece, sure, but every time I think about it, I just can’t shake that sour taste from my mouth. The movie starts fine. Pazu and Sheeta are these wide-eyed adventurers. They’re scrappy, earnest, and their chemistry is endearing. But as the story moves along, the hollowing effect widens. It’s hard to pinpoint at first. Maybe it’s the villain, Muska, whose whole thing is being a “stock bad guy.” He’s power-hungry, sure, but where’s the meat on that bone? There’s no complexity to him. He’s evil because the movie needs himto be. Compared to a character like Lady Eboshi in Miyazaki’s later film Princess Mononoke (1997), of whom balances industrialization with a genuine care for her people, Muska feels replaceable.
And the themes? I mean, they’re there. Like many Miyzakaki movies we have technological advancements versus nature. But that’s just it, they are JUST there. The film wants to talk about humanity’s hubris and the dangers of self-indulgent ambition, but it never really throws you more than a bone. Instead, it opts for a more visual approach, albeit stunning. The airships, the sky, the crumbling ruins of Laputa, they’re all gorgeous. But beauty alone only takes you so far.
Then there’s the castle itself. When Pazu and Sheeta finally arrive, those nine minutes of exploration are everything I wanted this movie to be. There’s a real ethereal feeling to it all, an earnest discovery, like stepping into a dream you can’t understand. But the magic is over like that, just nine minutes. And the rest of the film can’t match that magic. Instead, we’re back to explosions, chases, and a villain rambling on and on about power.
It’s frustrating. Castle in the Sky teases greatness, brushing by you, just a little too late– then you look back just to get a taste of these glimpses where Miyazaki’s future brilliance really begins to form. But it never self-actualizes. The movie is safe, sticking to a straightforward tale of good versus evil, where the heroes are unambiguously good and the villains just as unambiguously bad. There’s no moral gray.
Don’t get me wrong, I get why people love this one. It’s a main entree at Ghibli’s dinner table. But for me? I wanted more.