"Innocence" is a visual feast that shouldn't be missed for this reason alone, but the stunning (and seemingly endless) scenes of slow moving flocks of birds flying around sky scrapers and three dimensional environments alone couldn't save this movie from it's none sensible proverbs and it's horrid story neglect.
When I went into this film, I believed that it would be about a man whose soul's installed into a robot and he and his bassinet go searching around the distopic city to unravel the cyborg's lost past which involves homicidal robotic concubines and the mafia. Of course, it wouldn't be fair to criticize a film on what it isn't but I find absolutely no difficulty in criticizing what it which remains unbelievably unclear throughout the film.
The story begins with our hero, the hard-nosed, "philosophical", cyborg police officer, who discovers a robotic concubine within an apartment who is fresh after killing and our hero coldly slugs her with three shots from his gun. The concubine goes down and is taken to forensics where our hero and his nervous human partner speak with an elderly robot (either robots age, she was made to look elderly, or she was elderly when modifications were put in) who fills us in with how and why these concubine robots named "sexoids" were made.
That sounds good enough except for one problem, the whole time we are told "philosophical insights" with more holes in them than your regular robot concubine. Almost all of which take away from the plot and force the audience to deal with them when they'd rather deal with the story. And they NEVER stop! Every scene we are bombarded with about fifteen proverbs or fifteen minutes of CGI imagery gracing the city as well as horrible Japanese singing!
Finally there are three scenes that contribute to the plot.
The first, we enter into a murder scene of a wealthy man who was killed by a Yakuza cyborg with illegal weaponry and has a holographic photo of a girl who looks eerily similar to the sexoids.
In the next scene our hero decides to 'speak' with the Yakuza by beginning a senseless shooting-em-up scene followed by a hand to hand combat with the illegally armed cyborg. Yes, that was to me the greatest evidence that the movie isn't about searching into the very essence of man's soul through the eyes of a robot, but to do a shoot-em-up movie filled with mundane proverbs to make the audience feel like they're watching Shakespeare while they're really watching Die Hard.
And finally, there's the scene where our hero's shopping for dog food and his brain is hacked into causing him to rampage but is cured before any true damage is done.
This was truly interesting for introducing this device into the psyche of the robots, thus rekindling my curiosity over the inner workings of their world. But soon enough the concept gets swallowed up by an endless amount of inane proverbs and only comes back later in like a Frankenstein.
In the next scene where, after about thirty minutes of swooping around the city in wide shots, a quick intermission of unnecessary and ridiculously mundane Myron, Confucius, and Biblical proverbs...and that horrible singing
the two detectives end up at the front steps ancient hacker's mansion. There, they walk very slowly across a bridge, through the heavily latched doors, and into the ballroom where our hero spies a hologram sexoid robot and bassinet, and feels that it's only economical for him to make these images appear in "zoomed-in" style with a few factoids appearing at the top. I'm sorry, but isn't it easier to look at things as a whole and gain instant insight from that without the use of such useless devices as a ticker? Frankly, if that's how the robots live, it must be hell. Well, anyways, they walk up the stairs, wake up the hacker who is feigning death, and start what I earlier stated as the birth of Frankenstein.
Over and over, the minds of the two are hacked into and the audience is forced to watch them approach the mansion exactly the same way again except with minor variations. This sequence takes about thirty minutes and ends when our hero tears the cables running into the dream hacker's head in reality (What use is there in the cables if they didn't hinder the dream tapper in any visible way?). Then, our hero reveals that he was hinted by "a guardian angel" that his tapped-dreams were false. Then the too end up at the doorstep again and speak apathetically about the value of reality and perception.
The next scene, our hero latches tightly to a submarine driven by a robot, which tells our hero not to let go because if he did, he'd sink to the bottom. Why the robot was in the cockpit when an auto pilot would suffice is beyond me. But our hero held on tightly throughout what proved to be a much tagged on scene. All the while, his partner and the hacker were hacking into the security system of the secret base where the sexoids were being manufactured so our hero could slip in and pull a Wolfenstein on those robots. And then, a couple of soldiers went in as well through the front door. So, bang bang, shoot shoot, lop, lop, the soldiers retreated or were all killed and our hero was left getting overwhelmed until the nick of time, The Major, who was spoken of regularly, dropped in while possessing a sexoid robot and helped our hero survive the ambush. For a while she was very reliving to have until she gave an analogy about mirrors creating evil and evil creating mirrors. Agggh!
Then, at long last, the film ends with a final appearance of the greatest character in the film, the bassinet. Hooray!
End of Spoilers
Ghost in a Shell 2: Innocence
Really bad movie for those who thought Matrix:Reloaded was great.
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