This was one of the first studio ghibli films i had seen and i was pleasantly surprised. it's a really sweet and cute movie and i believe it is suitable for all ages :>

I love all the Studio Ghibli masterpieces that have been directed by Hayao Miyazaki, and feature an original score and original songs composed by Joe Hisaishi. This is a movie released in Japan that contains beautiful artwork, and a story to it where there is a thirteen-year old girl named Kiki. She is intending to be a witch-in-training, because it is a tradition that when a girl turns thirteen they go away for two years on broomsticks. That's what Kiki does with her beautiful black cat named Jiji. Together, they use Kiki's mother's broom, and go to a French town where Kiki stays with a baker named Osono. During her stay with Osono, Kiki loses her witch's powers, so she flies down a local hill where the broom breaks in half. A woman named Ursula then takes Kiki to her cabin/art studio, where Kiki learns that when she flies, she has to rely on what's inside of her. She then takes the broomstick of a man who lives in the same town as Osono, to save a local teenage boy who is learning all about aviation from Kiki. His name is Tombo, and he is seen taking Kiki on a tour of town on his bicycle that comes with a propeller so he can actually bike on air. It breaks, and they land on a beach shore, but this happens before Kiki loses her witch's powers later in the film. So, getting back to the part with Tombo when Kiki has a brand new broomstick, Tombo is seen riding on the bottom of a huge dirigible that flies into the town. What happens in that scene is that the dirigible is flying towards the top of a clock tower, and when it gets to that point there is a huge crash. Kiki has to save Tombo from falling down when the bottom of the dirigible breaks, and she has to rely on her spirit to save Tombo. She catches him, and they float down to a mat. Kiki writes to her parents at the end of the movie, to tell them her delivery service is going well, and that she misses home, and is getting comfortable where she is living now.About what my opinion is about this classic from Studio Ghibli in Tokyo, I love the songs at the beginning and end of the original Japanese release, and they are called "Rouge no Dengon" in the start of the movie, and "Yasashisa ni tsutsumareta nara" in the end. They respectively translate in English to "Message in Rouge", and "If I've been enveloped in tenderness". However, I have different opinions about the English dub. I am very entertained by the comedic acting of the late actor Phil Hartman, who voiced Jiji in the English release of this Miyazaki/Hisaishi project. The English dub also includes Kirsten Dunst as Kiki, Matthew Lawrence as Tombo, Debbie Reynolds as Osono, and Janeane Garofalo as Ursula. They are very good, too. What I probably have as the only complaint I have against the English dub is that the songs that were included in the Japanese release were replaced by two songs that I don't think were as good. They are "Soarin'" in the opening credits and "I'm Gonna Fly" in the end credits.All in all, though, I think this is a must check-out for everyone who is fond of anime.

Thoroughly likable story of self-purpose and acceptance with Studio Ghibli's usual flair for picturesque seaside locals (these movies are never an eyesore). Like "Totoro", "Kiki's Delivery Service" has little in the way of conflict and moves like a cool breeze, but is rich in character (kinda surprising how much personality can be found in an impudent black cat).This is just about the most good-natured thing I've seen in a while. Plenty of heart.7/10

If there ever was a missed opportunity in Miyazaki's oeuvre, it was having Kiki settle down above a bakery and have almost zero depiction of the arts of creating bread. Miyazaki has always been known for his attention to detail, and this is most notable on an empty stomach. From the viscosity of the egg whites and yolk in Howl's Moving Castle, to the great towering feasts in Spirited Away, he makes food memorable. It is not just a source of sustenance, but a hearty and delicious experience in itself. Where were the scenes of Kiki, sleeves rolled up and determined expression, kneading and working the dough as if her life depended on it (her accommodation does)? Where is the shot of the glowing coals in the oven turning rows of bread golden? Granted, we do see a herring pie being lovingly crafted. The end result of this dish, however, is the abrupt realisation of the brattiness of some girls her age - it's an important moment of growth for Kiki, who has been struggling to make ends meet and on the verge of feeling sorry for herself.So, while the civilised society of the larger city may marvel and gasp at her flight, there is a secondary layer to examine here; the surprise that a thirteen year old is already out surviving on her own. Kiki's entire existence contradicts what the people of Koriko believe, that children her age should still be building toys to play with and having parties and gifts showered upon them. Miyazaki has embedded this theme of early blossoming and coming-of-age well, so that it becomes universal rather than just an examination of a witch's unique journey. Kiki's challenges don't manifest in mastering magic spells or concocting problems, but rather those that most people will need to face sooner rather than later; making her own living, managing her finances and meals, taking responsibility for her own mistakes. In the beginning Kiki favours the smaller, fashionable broom over her mother's, which is larger and bulkier, although safer. We see that even within the witch community we have divas - a brief appearance from a snide, prettied up witch whose skill has already been realised. This is revealed to be fortune telling, specifically in the domain of love and romance. I love this little detail because Miyazaki doesn't ever feel the need to explain the legitimacy of her talent. It's left up in the air, for Kiki and the audience to judge for themselves; is being told where your love life's future lies all that valuable? This question prompts the start of Kiki's self- evaluation. And later, we have something that momentarily shakes her; is delivery a more valuable and enriching talent, if it is to snobby brats that deride gifts from their loving grandmother? Kiki's Delivery Service is as technically proficient as any Miyazaki and Ghibli feature, who have continually raised the bar for animation for years and years. The idyllic coastal town is made beautiful with stunning overhead shots from Kiki's perspective, swooping in and out of the clouds and alongside migrating birds. Miyazaki has never shied away from exaggerated facial animations, from as early as Castle in the Sky; wide open grins, great belly laughs, the way character's eyes shimmer and widen in surprise and indignation. Wonderful stuff. And the English voice dub, overseen by Miyazaki himself, is as always top quality for a Ghibli feature. A young Kirsten Dunst brings such a nuanced vulnerability to a mere child forced to fend for herself. I'd even say it surpasses the original Japanese; there is moment after she finally delivers the herring pie in the rain, only to have its recipient not even be grateful, and realises that her wet clothes and lateness has made her miss the party. Osono tries to persuade her and lift her spirits, but she replies "It doesn't matter anyway. I can't go in these wet clothes." and there is just the slightest hit of a sob that Dunst holds in at the end of the sentence, but it is enough to tell us that she is close to breaking down. Another great little feature of the dub is the way that Tombo's (Matthew Lawrence) voice is chopped up by the rotating rotor as he tries to takeoff in the wind. What great care and attention to detail. My favourite moment is dear old Bertha in the hallway, who is making vroom vroom noises and pretending that she is young again and flying high amongst the skies. Even in the most unlikely of moments Miyazaki can find our inherent childhood.