Ghost in the Shell: The New Movie [攻殻機動隊 新劇場版 Kōkaku Kidōtai Shin Gekijō-ban] (2015)
AKA Ghost in the Shell: The Rising
Starring Maaya Sakamoto, Kenichiro Matsuda, Mayumi Asano, Kazuya Nakai, Ikkyuu Juku, Miyuki Sawashiro, Shunsuke Sakuya, Takurou Nakakuni, Tarusuke Shingaki
Directed by Kazuya Nomura
A few years back I did a rundown of all the Ghost in the Shell films. Since then there have been a few more releases in the franchise, and I figured I would give them a glance before checking out the new live-action film slated to release at the end of March. Now it’s never a good idea to call your new movie in a long running franchise “The New Movie.” It just means that a couple of years later when a newer, higher profile production starring Scarlett Johansson comes out your no-longer-new movie just sounds dumb, and probably confusing for the audience. But I can’t stop some idiot without a scrap of originality from doing just that, so unfortunately we’re stuck with it.
In another really confusing move for a film so concerned about its timeliness, Ghost in the Shell: The It Was New a Couple Years Ago Movie is actually a prequel to the original story, showcasing how Major Motoko Kusanagi put together the team of operatives that work for Section 9. This far into the series we have only heard small bits about her past, mostly that she has been a cyborg since childhood, so I was a bit unconvinced that exploring her background was a good idea. We’ve gone this far without it. Why do we need it now? But the film does go a good way toward establishing some of the motivation for her decisions at the end of the first film, so I think they actually did find a pretty good reason to go back and examine her history.
Continue reading Stephen reviews: Ghost in the Shell: The New Movie (2015) →
Bayonetta: Bloody Fate [ベヨネッタ ブラッディフェイト] (2013)
Starring Atsuko Tanaka, Daisuke Namikawa, Mie Sonozaki, Miyuki Sawashiro, Norio Wakamoto, Tessho Genda, Wataru Takagi
Directed by Fuminori Kizaki
Usually, I am rather dismissive of films based on video games (and vice versa), but Bayonetta somehow felt like a potentially good idea. I don’t think I had any actual reason for this uncharacteristic optimism other than the vague notion that the game was so absurd it would at least be interesting to see what they did with it in film. This seems to have been a mistake as the film mostly uses the least ridiculous aspects of the game.
As far as video game films go, Bayonetta: Bloody Fate isn’t bad, though. It retells the story functionally while maintaining the game’s style and tone. Bayonetta is a sexy witch with amnesia searching for clues about her past. All she knows is that she woke up in a coffin at the bottom of a lake and angels are out to kill her. She finds out about a church leader named Balder who might be involved somehow, and she tracks him down to find out more. Along the way, mass death and destruction ensue, along with a gallon of fan service.
Continue reading Stephen reviews: Bayonetta: Bloody Fate (2013) →
Appleseed: Ex Machina [エクスマキナ] (2007)
AKA Appleseed Saga: Ex Machina
Starring Ai Kobayashi, Kouichi Yamadera, Gara Takashima, Miyuki Sawashiro, Naoko Kouda, Rei Igarashi, Takaya Hashi, Yuuji Kishi
Directed by Shinji Aramaki
I suppose Appleseed: Ex Machina is a sequel to the 2004 film, but there isn’t any carryover between the two films. They’re basically two completely unrelated stories about the same people in the same place doing the same stuff. Athena is clearly younger than before, though, so make of that what you will. Maybe plastic surgery in Olympus is really awesome. I would say that it’s a good idea to watch one of the prior films just to have an idea about the characters, but honestly things here are so unrelated and formulaic that there’s no real point. The background and setting are pretty much irrelevant in this film. It’s a future police action movie; that’s all you need to know.
They also nabbed John Woo as producer, and they’re quite proud of that fact, even blasting loose with a flock of pigeons when his name pops up in the opening credits. I’m not sure how much he was involved with things, but I can definitely see the difference his influence made. The action scenes are a lot more over-the-top and intricate than the 2004 film, despite having the same director.
Continue reading Stephen reviews: Appleseed: Ex Machina (2007) →
Loups=Garous [ルー=ガルー] (2010)
Starring Kanae Oki, Hiromi Igarashi, Marina Inoue, Miyuki Sawashiro, Kana Uetake, Yutaka Aoyama, Kunihiro Kawamoto, Eriko Hirata
Directed by Junichi Fujisaku
Loups=Garous opens with a statement about wolves killing people in the distant past, and the title itself translates from French as werewolves. This is not a film about werewolves, though, or even regular wolves. They apparently died off a long time ago in this story. The film is about serial killers, which makes it something of a mystery story.
It’s also set in a utopian future where all food is synthetic, thus eliminating the need to kill animals for food. That theme of what it means to be a killer is the primary focus of Loups=Garous. Unfortunately, it seems to lose track of that theme for half of the film. After the brief opening, we don’t see anything that connects to that idea until the second half. It makes the film feel like two different stories spliced together. It also makes that theme feel unclear. I could see its shadow under the surface trying to make itself known, but I never got a feel for where they were going with the concept.
Part of the trouble is that the main character, Haduki Makino, has nothing much to do with things. She’s present for all of it, but she just sits around more often than she participates. She is a regular high school girl with “communication impediment,” which basically means she’s shy and doesn’t make friends easily. In the future where most communication is done through technology rather than face to face, this isn’t uncommon. The first half of the film is more of a high school drama that revolves around her growth as she tries to overcome her shyness and talk with her friends.
Continue reading Stephen reviews: Loups=Garous (2010) →