Renowned anime director Mamoru Hosoda, celebrated for his Academy Award-nominated film Mirai and the beloved One Piece: Baron Omatsuri and the Secret Island, has made his return to theaters with a new release, Scarlet. Despite his esteemed standing in the anime world, early feedback suggests that this latest venture is struggling to make an impact. Reports are surfacing of near-empty theaters and significant criticism aimed at the film’s script.

Following its debut in Japan on November 21, Scarlet has faced challenges in gaining traction among viewers, earning a lackluster 2.9-star rating on Filmarks. In stark contrast, other major releases this year, such as Chainsaw Man: Reze Arc and Demon Slayer: Infinity Castle, boast ratings of 4.3 and 4.2 stars, respectively. Social media commentary further highlights the film’s dismal opening weekend, with attendance reportedly below 5% on its first day. Even on the first Saturday, a day often marked by high turnout for anime films, theaters were reportedly more than half empty. Despite being the third most widely released film in Japan this year, behind Demon Slayer and Detective Conan, Scarlet earned a disappointing 61 million yen on its opening day.

The criticisms of Scarlet mainly target its storyline and visual approach. Viewers have labeled the screenplay as “dull” and lacking innovation, with some going as far as to deem it the worst film of 2025. This sentiment was foreshadowed by the film’s tepid reception at its premiere at the Venice Film Festival in September. Currently, Scarlet holds a 71% rating on Rotten Tomatoes, significantly lower than its peers. The film’s hybrid animation style has also divided audiences; while some appreciate its artistic vision, particularly in the opening scenes, others find the visual shifts “awkward” and “unappealing,” failing to match the distinctive allure of Hosoda’s previous works.

Mamoru Hosoda’s Scarlet Opens to Empty Theaters, Harsh Criticism

The primary complaints leveling Scarlet focus on its flat narrative and visual execution. Audiences have criticized the script as “boring” with “nothing new to offer,” with some outright calling it the worst movie of 2025. The writing was on the wall for Scarlet, as it garnered a lukewarm reception at its Venice Film Festival premiere in September. Currently, the movie holds a 71% score on Rotten Tomatoes, placing it well below its competitors. Visually, the film’s hybrid animation style has also proven polarizing. While some viewers praised the artistic direction and the movie’s visuals, especially from the opening minutes, others dismissed the shifting style as “wonky” and “unattractive,” failing to capture the charm of the director’s previous visually distinct works.

Long-time fans of Hosoda are attributing the critical failure of Scarlet to the absence of screenwriter Satoko Okudera. Okudera was a key creative partner during Hosoda’s golden era, penning the scripts for his universally acclaimed hits, including The Girl Who Leapt Through Time, Summer Wars and Wolf Children. Since parting ways, Hosoda has taken on sole screenwriting duties for his films.

While The Boy and the Beast and Mirai found success, critics have increasingly noted a decline in narrative tightness in his recent solo outings. Scarlet, a Hamlet-inspired revenge tale, appears to be the breaking point for many fans, marking what some are calling the director’s first true “dud,” despite it being billed as a title that would change the image of both Studio Chizu and Hosoda. Ironically, Okudera is currently enjoying massive success with her own 2025 project, Kokuho, with the live-action drama adaptation crossing over 15 billion yen in Japan.

Despite the domestic stumble, there is still a significant path to redemption for Scarlet. Sony Pictures Classics is set to give the film a U.S. release on Feb. 6, 2026. Western audiences have embraced Hosoda’s more experimental works warmly than Japanese crowds, and the film remains eligible for the 2026 Oscars. With its Shakespearean themes and high-pedigree production, Studio Chizu is likely banking on the international market to salvage the project’s reputation and financial standing.

Produced by Studio Chizu in collaboration with Sony Pictures and Nippon Television, Scarlet follows a princess crossing time and space to avenge her father. The film features Mana Ashida voicing the titular princess Scarlet and Masaki Okada playing Hijiri, a modern-day paramedic she meets in the afterlife. Veteran actor Koji Yakusho voices the villainous King Claudius, while Masachika Ichimura plays Scarlet’s father, Amlet. The film’s score is composed by Taisei Iwasaki.