While the main body of its story is at tonal odds with its framing device, Junya Satō's Yamato is an impressively made, often brutal exploration into the lives of those aboard Japan's most iconic warship during her final days at sea. Yamato oddly decides to use the Titanic and Saving Private Ryan storytelling formula, which is where this tonal contradiction stems from, it's at heart an anti-war film but the framing device dangerously treads the line of propaganda mode (the song at the end almost tipped it over the edge). However, Yamato manages to sail on unopposed, opening up discussion and criticism of such reckless leadership that led to such an abhorrent waste of life, a suicidal last defence. Satō's clean direction helps to highlight the outstanding production design, most of the budget having been spent on painstakingly recreating part of the titular ship on a 1:1 scale, the two complement each other exceptionally well. Joe Hisaishi's music isn't as memorable as some of his other efforts, it often feels like he's emulating a Hans Zimmer score, but it's an effective soundtrack nonetheless. Backed by great performances and a stunningly realised final battle, Yamato strategically uses the ruptures of trauma in an attempt to erase any inconsistencies, all the while reassuring its shocked audiences with a familiar, if conventional, film style.