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Mononoke the Movie: Chapter II - The Ashes of Rage (2025)
The Medicine Seller returns as the Edo harem faces a new crisis, with family feuds, inner turmoil and fiery envy igniting the birth of a raging spirit.
The Medicine Seller returns as the Edo harem faces a new crisis, with family feuds, inner turmoil and fiery envy igniting the birth of a raging spirit.
The film's central thesis explicitly promotes a progressive ideology by critically examining authoritarian and patriarchal power structures, highlighting systemic oppression, and challenging economic policies that harm individuals for a purported collective good.
The movie critically examines gender inequality and class discrimination within a patriarchal and caste-based society, portraying systemic barriers faced by women and marginalized groups. Its narrative explicitly critiques male-dominated power structures and entrenched hierarchies, using supernatural elements to underscore the emotional and societal costs of exclusion and oppression.
Mononoke the Movie: Chapter II - The Ashes of Rage does not portray the LGBTQ community or engage with LGBTQ-related themes. The film's focus is on supernatural horror, power struggles within a historical imperial harem, and traditional gender roles, with no identifiable LGBTQ+ characters or storylines present in its narrative.
Based on current information, Mononoke the Movie: Chapter II - The Ashes of Rage does not appear to feature transsexual characters or themes. The film's focus is on supernatural horror, psychological elements, and Edo-period palace drama, with no mention of gender identity or transformation. Consequently, there is no depiction to evaluate.
The movie does not contain any action or adventure elements.
Based on available information, all characters in Mononoke the Movie: Chapter II - The Ashes of Rage maintain their established canonical or historical genders from the source material, with no reported instances of gender swaps.
The film portrays all major characters and the general population as ethnically and phenotypically Japanese, consistent with the source material, traditional depictions, and the historical Edo period setting. No character established as one race is depicted as a different race.
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