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Galaxy Express 999: The Movie

Galaxy Express 999: The Movie

Adventure · Animation · Science Fiction · 1979

In the future, one can achieve immortality by obtaining a mechanized body. Orphaned, young Tetsuro hitches a ride on the space train Galaxy Express 999 in the hope of obtaining a cyborg body to avenge his mother's death. Along the way, he meets Maetel, who is the spitting image of his dead mother.

Movie details

Galaxy Express 999: The Movie

“Your imagination is the final destination”

1979 Adventure · Animation · Science Fiction 2h 8m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

In the future, one can achieve immortality by obtaining a mechanized body. Orphaned, young Tetsuro hitches a ride on the space train Galaxy Express 999 in the hope of obtaining a cyborg body to avenge his mother's death. Along the way, he meets Maetel, who is the spitting image of his dead mother.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Galaxy Express 999: The Movie?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Rintaro

Written by

Kon Ichikawa · Fumio Ishimori · Leiji Matsumoto

Masako Nozawa

Masako Nozawa

Tetsurô Hoshino (voice)

Masako Ikeda

Masako Ikeda

Maetel (voice)

Yoko Asagami

Yoko Asagami

Claire (voice)

Miyoko Aso

Miyoko Aso

Tochirô's Mother (voice)

Toshiko Fujita

Toshiko Fujita

Shadow (voice)

Yasuo Hisamatsu

Yasuo Hisamatsu

Antares (voice)

Makio Inoue

Makio Inoue

Captain Harlock (voice)

Court is in session

Put Galaxy Express 999: The Movie on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.