In the year 2032, Batô, a cyborg detective for the anti-terrorist unit Public Security Section 9, investigates the case of a female robot--one created solely for sexual pleasure--who slaughtered her owner.
A.D. 2034. It has been two years since Motoko Kusanagi left Section 9. Togusa is now the new leader of the team, that has considerably increased its appointed personnel. The expanded new ... See full summary »
In this prequel set one year after the fourth World War, cyborg and hacker extraordinaire Motoko Kusanagi from the military's 501st Secret Unit finds herself wrapped up in the investigation of a devastating bombing.
The year is 2030 and an influx of refuges have effortlessly transformed themselves into a terrorist organization known as the Individual Eleven. With a sadistic intent of mass destruction, ... See full summary »
The anime's story is set in 2027, one year after the end of the fourth non-nuclear war. New Port City is still reeling from the war's aftermath when it suffers a bombing caused by a ... See full summary »
Batô is a living cyborg. His whole body, even his arms and legs, are entirely man-made. What only remains are traces of his brain and the memories of a woman. In an era when the boundary between humans and machines has become infinitely vague, Humans have forgotten that they are humans. This is the debauchery of the lonesome ghost of a man, who nevertheless seeks to retain humanity. Innocence... Is what life is. Written by
A co-production with Studio Ghibli. Production I.G. president Mitsuhisa Ishikawa personally asked Ghibli president Toshio Suzuki to co-produce, as the projected budget of 2 billion yen ($20 million) was too much for one studio to handle. See more »
During the forensics examination, one of the computer screens misspells "research" as "RESAERCH". See more »
Major Motoko Kusanagi:
We weep for a bird's cry, but not for a fish's blood. Blessed are those with a voice. If the dolls also had voices, they would have screamed, "I didn't want to become human."
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A new Japanese cyberpunk masterpiece that makes the original GiTS look primitive by comparison. Mamoru Oshii and his crew did a masterful job creating a worthy successor to their 1995 adaptation of Masamune Shirow's original manga.
As in the original movie as well as in that other quintessential proto-cyberpunk movie, Blade Runner the movie explores human nature in a world that is becoming more technological all the time, to a point where people ARE technology, the boundaries are rapidly fading away. What does it mean to be human? If we join with technology, would we become something else? Should we welcome it, or fear it? Will humanity lose or gain from the changes?
After the events of the first movie, Major Motoko Kusanagi has seemingly disappeared; focus of the second movie has shifted to Bateau, who is still working for the secret government "Section 9". This is by no means a bad thing, since Bateau is at least as interesting a character as Kusanagi ever was. Going beyond your basic cyberpunk cyborg tough guy with attitude, he is very intelligent, and has some nice human touches (like the dog he loves taking care of). At various points he and other characters routinely indulge in philosophical debate, often quoting literature, from Milton to biblical psalm verses. Just to say this isn't your typical sci-fi action movie, although there is some action, and when it comes, it's fast, brutal & violent.
The actual plot involves an incident with a sophisticated robotic "pleasure model", if you will, gone berserk. The investigation leads us through the darker parts of near-future Japanese society, including yakuza, companies with questionable ethics, and mysterious hackers.
Visually, the movie is stunningly beautiful, using a combination of traditional cell animation and state of the art CGI. Many of the movie's backgrounds are gorgeous to just look at; even dark and dirty back alleys are shown so rich in color and detail, you could gaze at them all day. Like in the first movie, Oshii lets the movie halt at times, immersing the viewer in the richly detailed world he created. Many of the computer screen readouts resemble those seen in Oshii's "Avalon" a lot which again is not a bad thing, as they look both high-tech and yet elegant & artistic.
Last but not least, the music by Kenji Kawai is hauntingly beautiful, adding more layers to the sophisticated richness of it all.
I cannot recommend this movie highly enough. Anyone who likes science fiction, anyone who was blown away by movies such as Blade Runner and of course the first "Ghost in the Shell" (which you should see before watching this one) will enjoy this.
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