Anyway, Mirai was excellent. It deal with time slips in a confident, unfussy way that didn't feel obliged to erect a Heath-Robinson metaphysics to explain everything; it had Summer Wars's interest in family, but didn't bite off more than it could chew. Its use of a four-year-old (or thereabouts) as a protagonist was daring, but really worked. Funny, feel-good and affecting.
I was pleased with myself too, for spotting an early joke. When asked what they should call his baby sister, Kun-chan (who's into trains) suggests "Nozomi", which means "hope" or "wish". It's a reasonable suggestion, but he's made it only because it's also the name of a type of bullet train - something I spotted before his parents. Admittedly they're fictional characters made entirely of pixels, but they're native Japanese pixels, so I felt justified in my self-satisfaction.
Finally, for aficianados, the film gave a nod to Tom's Midnight Garden, the fons et origo of Japanese time-slip fantasy (as my friend Mihoko Tanaka has so eloquently shown in her book on the subject), by including a copy on young Kun-chan's bookshelf.
He must be a little young to read it yet, but when he's ready, the garden will be waiting.