'Ghost In The Shell''s opening scene; the first U.S. 'Death Note' trailer; 'Outlaw Star' and 'Big O' are headed back onto shelves
Tezuka's 'Metropolis' comes to BD, but beware; Amazon's anime ambitions; 'your name.' shatters records; Hiroaki Samura's next story; and 'In This Corner Of The World' wins top movie honors
'Gantz' was never long on story to begin with, and so this new adaptation, an eye-popping CGI killstravaganza, works best as pure spectacle. Would that it didn't have to, though
Everything that was both grand and frustrating about Oshii's original 'Ghost In The Shell' film is redoubled in its follow-up, a visionary work that neglects to give its characters their own voices
When the director of 'Mind Game' and the author of 'The Eccentric Family' got together, they created a comedic masterpiece that plays like 'Groundhog Day' fused with both of those visionary projects
I'm writing this only a few days after an announcement that a live-action Attack On Titan movie is to be produced by a Hollywood studio. It couldn't happen soon enough. There are so many things wrong with the existing live-action Attack On Titan movie that I scarcely know from what end to begin slicing this particular rotten tomato. Fans of the original material will despise it for mangling the storyline, the characters, the setting, and the significance of much of what happens. Casual viewers, if any can be found for this thing, will wrinkle their nose and drum their fingers. But the biggest problem is not that it's an inept adaptation; it's that it's an ugly, joyless, ungainly movie by any standard.
The problem with being immortal is that it’s a package deal from hell. Yes, you get to live forever, but typically at some drastic cost — like, for instance, the fact that while you might get to live forever, anyone else you could come to care about typically doesn’t. And then there’s all that nasty, unwanted attention if your secret ever gets out, and the way that bad hair day you’re having never goes away, and …
That’s how it works in Blade of the Immortal, Hiroaki Samura’s widely-acclaimed, long-running, and blood-splattered manga epic about a (theoretically) unkillable rōnin in feudal Japan. The story doesn’t fall into the trap of assuming immortality is some great treasure — here, it’s a curse written in the blood and entrails of the undying, and it comes at a cost so huge that only the most wretched would ever want it. Small wonder it ends up being inflicted on Manji, a former samurai now turned freelance death merchant, whose attitude towards this very mixed blessing is to laugh in its face and spit in its wind.
Here's a test for you: Would you rather see a story about a) a group of writers whose powers allow them to manipulate reality according to their respective worldviews, or b) a rehash of a bunch of clichés about Roaring '20s-style gangs with some X-Men style superheroics slathered on top?
If you answered b), little I say about Bungo Stray Dogs will matter; it'll be a fun diversion for you, end of discussion. If you answered a), you'll understand why I found this show such a tremendous letdown. It's as if someone said, "What if J.D. Salinger was a superhero, and his super-power was to be 'The Catcher In The Rye'?", and decided no further work was needed. But a gimmick is not a story, and this show is a case study in why that is so.