The opening chapter of the final “Demon Slayer” movie trilogy begins with our heroes in free fall. Tanjiro Kamado and the other slayers are plummeting down endless stories after the ground was quite literally pulled out from under them in a cliffhanger at the end of season four. There’s no time to catch a breath between then and now, just as there’s no chance for Tanjiro to do the same as he immediately springs into action, slicing through swathes of demons who look like twisted rejects from the bathhouse in “Spirited Away.”
“Demon Slayer” is in constant motion, and the same is true of the franchise as a whole. Much like the endless Infinity Castle from which this trilogy draws its namesake, there seems to be no limit to the success of this hit anime — and no space for latecomers to hop aboard. After smashing box office records for the biggest single-day and opening-weekend in Japanese history earlier this summer, “Kimetsu no Yaiba Infinity Castle” has become the highest-rated original anime movie of all time on IMDb. Undisputed classics such as “Your Name” and “Perfect Blue” have fallen under Tanjiro’s blade, not to mention every single Studio Ghibli movie ever made. And that’s before “Infinity Castle” has even arrived in the West.
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It’s safe to say that “Demon Slayer: Kimetsu no Yaiba Infinity Castle” is on track to become the most successful anime film of all time — at least, in terms of international box office — with the potential to beat out none other than “Demon Slayer: Kimetsu no Yaiba: Mugen Train” (which knocked “Your Name” from the top in 2020).
With such a considerable fanbase behind it, “Infinity Castle” doesn’t need to cater to newcomers, but for wider audiences who might be curious, know that you’ve come in right at the end, just as Tanjiro and his friends are gearing up for one last fight to the death against Muzan Kibutsuji. But first, they must contend with the upper rank demons who defend the demon king, each more deadly than the last in ways reminiscent of classic video games as we build up to the final boss. That’s not all though. The castle itself is an enemy in its own right, shifting and breaking around the slayers to throw them off guard and keep them apart. This dangerous playground they find themselves in is as expansive as it is claustrophobic, stretching out beyond where the eye can see even as floors give way and the walls close in.
Working alongside animation director Akira Matsushima, longtime “Demon Slayer” director Haruo Sotozaki has elevated his already stunning series to new cinematic heights, combining hand-drawn frames with computer graphics to truly stunning effect. From intricate background details to the propulsive fight choreography, everything is just seamless, vividly rendered to perfection. Against such impressive craftsmanship, Koyoharu Gotouge’s original character designs pop like they never have before on screen. Some might go so far as to suggest that Ufotable’s work approaches the pinnacle of what animation can achieve this decade, tapping into that infinite potential of cinema’s most pliable medium (your mileage will vary).
Speaking of, such bold claims risk distracting from the film’s equally impressive auditory elements such as new songs from Aimer and yes, LiSA (not to be confused with BLACKPINK’s Lisa, of course). Combined with Yuki Kajiura and Go Shiina’s score, this soundscape bolsters the fights and emotional flashbacks alike with no degree of subtlety. That cinematic excess they bring is mirrored in the sound effects, with every loud grunt and squelch befitting of speakers at your local theatre rather than just a laptop back home. What stops all this from becoming too overwhelming or over-the-top is the film’s calculated use of silence throughout, heightening the tension at key turning points in each battle. Plus, it’s not like anyone’s coming to a “Demon Slayer” film just to chill. In fact, the franchise is mostly defined by excess, be it through Inosuke’s outbursts, Tanjiro’s big heart, or, of course, “Demon Slayer’”s signature fight scenes.
“Infinity Castle” doesn’t disappoint on that front either. Just like in the show, blistering choreography that defies every law of physics known to man pits slayer and demon against each other with artistic flourishes personified by elements of the natural world. There’s real beauty in the way Giyu Tomioka channels water breathing techniques, for example, complete with elaborate names such as First Form: Water Surface Slash or Seventh Form — Drop Ripple Thrust (which, of course, must be spoken aloud each time they’re used). Despite the lyrical quality to these moves, “Infinity Castle” is perhaps more violent than usual. Were this film traditionally animated, Japan would be in short supply of red ink in every shade thanks to the sheer volume of blood on display that drips and splatters and even bursts out of severed arteries depending on the moves in question.
As such, there’s always been a thrill of danger to every fight, but the difference this time around is that the stakes are far higher than usual. If you haven’t read Gotouge’s manga up until the end, there’s a real sense here that anyone (aside from Tanjiro) could die within the ever-shifting walls of this castle stronghold. And that’s especially true when a demon as insidious as Doma or brutal as Akaza steps into frame (special shout-out to the deliciously cruel and twisted sympathy Doma shares for his opponent Shinobu Kocho during their fight).
Like “Mugen Train” before it, “Infinity Castle” really looks like it belongs on the big screen, perhaps more so even than that mammoth hit did in 2020. The problem, however, is that this latest installment still feels like it belongs on the small screen, at least in some key respects. As refreshing as it is to see Tanjiro enjoy a new adventure rather than a compilation movie of what’s happened previously in the show, there are some unfortunate pacing issues here which are impossible to ignore.
As is often the case with “Demon Slayer,” many of the fights are punctuated by flashbacks that pull you out to reveal some hidden backstory or motivation that adds new layers of emotion to the conflict in question. That in of itself is not an issue. In fact, this is very typical for not just this series, but Shōnen anime in general. I’d also argue this approach can actually be rather effective at times, especially during Shinobu’s fight with Doma that’s fueled by past trauma which comes to light midway. Zenitsu Agatsuma also enjoys some much-needed growth in all aspects of his confrontation against Kaigaku, a former senior with whom he has unresolved beef. But the more these breakaways happen in the context of a film, the quicker a pattern emerges where critical moments are undercut by multiple breaks that drag things out to a not-so-welcome 155 minute runtime. It’s like the story is interrupting itself to tell you other stories so that the central one will make more sense.
This isn’t so much a problem with a weekly anime drop, especially as those built-in pauses between episodes can encourage reflection on each new reveal or twist that these flashbacks bring. When handled right, it’s actually one of the franchise’s biggest strengths. The problem is how jarring this can become over the span of a rather unwieldy runtime, especially when it comes to Tanjiro’s climactic fight with Akaza at the end. Flashbacks to the demon’s past are admittedly rather moving and add emotional depth at exactly the time it’s needed most, so as a story on its own terms, it’s quite effective. The problem isn’t with the story itself then but how said story is told, to the point where the third act’s momentum slows just when it needs to amp up most. Had Sotozaki and his team cut the source material up a bit differently, deviating more from the manga’s original structure, concessions to what works best in a cinematic space could have really benefited “Infinity Castle” a great deal more.
This insistence on being faithful to Gotouge’s vision — while admirable — also means that the titular Demon Slayer is barely in the first hour or so, and his sister, Nezuko isn’t in the film at all, aside from one quick aside. Considering that she was once the heart of this story, and remains the primary drive for Muzan’s destruction, Nezuko’s absence is a failing of the source material that continues to be felt here in this adaptation. Other popular characters are largely missing in action too, including the fan-favorite Love Hashira Mitsuri Kanroji, although they’re clearly being lined up for what comes next.
It’s unfair, perhaps. to critique a first instalment of a trilogy for not cramming in even more than it already has). After all, “Infinity Castle” has the thankless job of continuing Tanjiro’s story from season four and setting up the final trilogy while also delivering a worthwhile, standalone experience for cinema-goers. With that in mind, it’s no wonder that the story feels a bit busy or overstuffed in places. But for a franchise that’s so frenzied and kinetic in general, “Infinity Castle” effectively sets the tone for what’s to come, promising diehard fans the spectacle they’ve been craving which newcomers will also find enjoyable, if somewhat confusing at times. So sure, the beginning of this franchise’s end might not be up there with defined classics of the past such as “Your Name,” “Perfect Blue” or most things Ghibli, but regardless, that won’t stop “Infinity Castle” from taking over the world.
Grade: B-
Crunchyroll will release “Demon Slayer: Kimetsu no Yaiba Infinity Castle” in theaters on Friday, September 12.
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