Opiniões dos críticos

While Marnie lacks the densely mystical, immersive quality of Ghibli at its best, the film features characteristically exquisite hand-drawn animation and a sensitivity to the precarious, friable quality in an adolescent girl's self-worth.

That's what Ghibli's films have always done – they sweep over you like summer showers, and leave the world seeming brighter and refreshed. It makes perfect sense for the studio to end their extraordinary, three-decade run with a film about that feeling. It's why we'll miss them.

When Marnie Was There, like many of the best Ghibli films, walks a fine line between simplicity and ambiguity. As the film dances around its emotions, we get the sense that it's circling something it can't quite bring itself to express. But this hesitancy rarely bothers us. Because, as we suspected, the film does have a game plan after all: It's saving the emotional fireworks for the end.

Beneath its calm, exquisitely detailed surface, "When Marnie Was There" bubbles with half-formed ideas and undeveloped themes. Suggestion and subtext jostle for attention, and the extent to which they intrude will depend mainly on the age of the viewer.

The director's latest is far less visually elongated and more rooted in the quotidian existence of a young child than his previous film, The Secret World of Arrietty, and at first plays like a refresher and throwback to Miyazaki's Kiki's Delivery Service, before revealing itself to be less minimal than minor.

Alfred Hitchcock's Marnie is a failure by any standards except the most esoteric. Unfortunately, Hitchcock has never accepted the martyrdom of being misunderstood. At the very least, he has preferred, quite sensibly, the loot of the supreme entertainer to the laurels of the sublime enlightener. Is not the forte of a master of suspense casualties rather than causalities, corpses rather than consciences?