Suspect Zero (2004)

Introduction:

The premise of this film sounded interesting, and it had a solid cast too. But for some reason I never heard of it. I also enjoyed the director’s previous film Shadow of the Vampire, a fun and demented take on the making of Nosferatu. So I figured a serial killer film featuring Ben Kingsley was going to be good. But was I just falling into the cleverly laid trap by a criminal mastermind?

Summary:

Thomas Mackelway (Aaron Eckhart) is an FBI profiler who has been having a rough time on the job. His last case ended up falling apart because he let his emotions carry him away and vital evidence could not be used to convict the killer. Since then Mackelway has been suffering from headaches and strange hallucinations. Then he receives a letter from a man who claims to know what is going on in his latest case.

Mackelway begins to suspect that this man, O’Ryan (Ben Kingsley) may be a serial killer. Mackelway’s partner Fran (Carrie-Anne Moss) sees that Mackelway is starting to slip into an obsession with catching O’Ryan, but there are other troubling signs. The murder victims seem to be less then innocent. On top of this Macklway’s visions may be connecting him in a strange psychic way to O’Ryan. At the center of the mystery is the deadly killer known only as Suspect Zero.

Good Points:

• An intriguing concept lies at the center of the film.
• A very effective mood and some atmospheric scenes
• A couple of moments with Kingsley really creep under your skin

Bad Points:

• Feels like it was longer and was edited with a chainsaw
• Some of the acting feels too broad
• While it comes together in the end, the final moments don’t deliver a punch

Overall:

Ugh, what a frustrating film this was. I can see a really good movie buried inside, but the final result is so fragmented, so off kilter and so choppy that it is hard to recommend. Some of the visuals are really unsettling and creepy. Sometimes the performances are really handled well, especially when Kingsley is keeping things low key and intense. But other times characters seem to be ranting and raving with no build up. And that is my biggest problem, it feels like all the tension building scenes were chopped out, leaving us with the procedural moments and the finales, but none of the middle material. If you are into serial killer movies, this makes an OK rental. But it feels like it wanted to be like the disturbingly unique Cure, but missed the boat.

Scores (out of 5)

Visuals: 4

Sound: 3

Acting: 3

Script: 3

Music: 3

Direction: 3

Entertainment: 2

Total:  3

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

The Village (2004)

Introduction:

I remember when this film’s trailers came out, I was pretty eager to see it. It looked like an interesting film. However, it was around this time that Shyamalan started rubbing folks the wrong way. I heard some really negative things about the film and ended up missing it. But it popped up on Netflix download and I figured, what the hell, why not give it a shot.

Summary:

In a small, secluded village in Pennsylvania a community struggles to survive, not just against the powers of nature and fact that they are using 19^th century technology – but there is something in the forest that holds them in terror. The elders of the village lead by Edward Walker (William Hurt) have a set of rituals and rules that the village must follow if they are to survive. This includes never using the color red.

In this village Lucius Hunt (Joaquin Phoenix) discovers secrets buried in the hearts of these rituals. He begins to suspect that the elders aren’t telling the people the whole story. His friend, the lovely but blind Ivy Walker (Bryce Dallas Howard) cares for him a great deal, even if he is the black sheep of the village. Her kindness has won the heart of a mentally disturbed man named Noah (Adrien Brody) who appears to have encountered the creatures in the forest, and lived to tell the tale (in his own unique way). These three will find themselves forced to face the darkness beyond The Village and either bring hope to their community or destroy it forever.

Good Points:

• A visually gorgeous film with excellent cinematography by Roger Deakins
• The score by James Netwon Howard is haunting and effective
• A solid premise and interesting take on the hero’s journey

Bad Points:

• Stilted dialogue ends up hurting performances and deliveries
• The twist ending will land with a thud for some viewers
• The slow pace will not work for some folks

Overall:

An interesting movie that nearly works, but ends up stumbling a bit by the end. Shyamalan is one of those directors who does great work with visuals, but needs to work with a screenwriter to get dialogue and flow hammered out. Performances seem stiff and stilted at times, but I believe it is the odd dialogue and phrasing. I understand that is supposed to be archaic sounding, but it just doesn’t work. If you can get past that, you’ll find film with wonderful visuals, a lovely score (with excellent violin work by Hilary Hahn) and one of the few times in a Hollywood film of the era where a woman takes on the classic hero’s journey.

Scores (out of 5)

Visuals: 5

Sound: 3

Acting: 3

Script: 3

Music: 4

Direction: 3

Entertainment: 3

Total:  3

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Forgotten (2004)

Introduction:

This was one of those movies that I remember seeing trailers for and being intrigued by. But for some reason or another I never got around to checking it out. Then it popped up on the Netflix download, I had a flashback to the trailer and decided to give it a spin. Was it worth digging up this… un-remembered movie or should it have stayed… in oblivion.

Summary:

Telly (Julianne Moore) is trying to cope with the loss of her son. Her husband Jim (Anthony Edwards) starts to believe that she will never cope with anything. Mostly because they never had a son!  Telly refuses to beiieve that all her memories of her child are some kind of mental breakdown. She receives confirmation of this when she meets a Ash Correll (Dominic West). His daughter has also disappeared from everything but his memories.

The two begin a search for these missing children and a world that seems bent on erasing them from existence. Along the way they finds clues that point them to a decietful Dr. Munce (Gary Sinise) and put them in the way of determined detective Pope (Alfre Woodard). Have Telly and Ash gone completely insane or is there a secret behind the Forgotten children?

Good Points:

• Julianne Moore delivers a very moving performance
• Alfre Woodard injects some energy and personality into the film
• Has a couple creepy moments

Bad Points:

• Moves too slowly losing all sense of momentum
• Never feels like it goes quite far enough with certain concepts
• The final reveal is a bit of a let down

Overall:

About halfway through the film I wished that Woodard’s detective character had been the main character. She brings life and energy to this turgid film, and whenever she’s around the movie picks up. Sadly most of the film wallows in slow conversations that meander around but never quite gel. I see what director Joseph Ruben was going for, but he never quite captures that mood or atmosphere. The end result is a dull film that is quickly… forgotten. (had to be done)

Scores (out of 5)

Visuals: 4

Sound: 3

Acting: 4

Script: 3

Music: 3

Direction: 2

Entertainment: 2

Total:  2

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Ghost in the Shell 2: Innocence (2004)

Introduction:

Color me shocked when I saw that this movie came out ten years ago. In some ways anime has evolved quite a bit since 2004. But it also marks the last time that director Mamoru Oshii helmed a story in the Ghost in the Shell universe. This film was released after the television series Stand Alone Complex aired in 2002. For many the television version was the way a Ghost in the Shell story was supposed to be. But Oshii was going to do what he does best, and that means tell the story with lots of slow pans, long dialogue scenes and amazing visuals.

Summary:

It has been a number of months since the events of the previous Ghost in the Shell film; Section 9 is still operating as an anti-tech-terrorist unit, but without the guiding hand of Major Kusanagi (Atsuko Tanaka). Instead her former partner, Batou (Akio Ohtsuka) finds himself teamed up with Togusa (Kouichi Yamadera), on a case that appears to involve a serial killer. Someone is hacking into the cyber brains of servile androids and causing them to kill their owners. When several of these owners turn out to be prominent politicians and businessmen, a foreign power is suspected behind the plot.

As Batou and Togusa dig deeper into the investigation they find that these servant androids are actually prototype models of illegal sex-roids. Is the company creating them, Locus Solus, covering up a mistake in the new cyber brains, or is something more sinister going on? It all leads to a tangle with a yakusa gang, Batou getting his cyber brain hacked, a house of illusion and a final battle against an army of killer gynoids aboard a huge ship.

Good Points:

• Some beautiful visual sequences and tense action scenes
• Explores themes and ideas beyond the main plot
• Expands on the world created in the first film

Bad Points:

• Moves very slowly with lengthy dialogue sequences
• Lacks the stand out action sequences of the previous film
• Far removed in tone and tempo from the manga and television series

Overall:

Expectations are the key to this movie. If you are expecting a solid follow up to the previous Oshii film, then you’ll be fine with this movie. Just know that it moves much slower and spends more time philosophizing about existence then ever before. Action hounds will be disappointed, with the exception of one scene. But animation fans will have a visual feast, as Oshii creates vivid and memorable settings and sequences that will stay in your mind long after you’ve seen the film.

Scores (out of 5)

Visuals: 5

Sound: 5

Acting: 4

Script: 3

Music: 4

Direction: 3

Entertainment: 3

Total:  4

In Depth Review

A killer doll, or a doll made killer?

This movie is a tough one to review. Much like Ghost in the Shell, it is very serious, very cold and often more concerned with theme and atmosphere at the expense of plot and characters. But that is what makes the film stand apart from much of the other science fiction films and anime of the same era. Compared to something like The Matrix and its sequels (heavily influenced by the original Ghost in the Shell), Innocence feels more like an art film than anything else.

But to be very honest here, Mamoru Oshii takes all the elements that seem to annoy critics of his films and indulges in them endlessly in this film. I don’t like to use the term self-indulgent, but in many ways Innocence feels exactly that. You get the feeling that Oshii is more concerned with cramming as many quotes from literary sources into his film as possible. Or including as many scenes with a basset hound as possible. Or having as many long slow dialogue scenes as possible. It feels excessive. But for all that, it is part of what makes an Oshii film an Oshii film. I don’t whine about David Lynch showing another scene of red curtains blowing in the wind, or a blonde with ruby red lips exhaling smoke in extreme close up. That’s just what he does.

Batou is our hard boiled hero.

Oshii builds this film off of the world he created in Ghost in the Shell, but there are a few changes. First off, it feels more like a noire film than science fiction. Batou becomes our gruff detective out to solve the mysterious crime. There are plenty of scenes where Batou moves in and out of shadows. The city (still appearing to be Hong Kong) is a dirty dangerous place, and in many ways feels more oppressive and grim than in the previous film. Adding to this feel are the cars roving the street, looking like they could have rolled out of Chinatown or Double Indemnity. Of course inside they have full-blown computer systems, but on the outside they look like 1940s cruisers.

The other major change is the color palette. It is based on yellows, golds and oranges. This gives the movie a very unique look, a warm feel at odds with the coldness of the characters and the direction. Darker scenes end up a murky wash of yellows and browns. But later in the film, we a dazzling array of gold, copper and brilliant bronze reflections as Batou and Togusa explore the estate of a hacker who may have already penetrated their cyber brains. The contrast between the visual warmth of Innocence and the cool world of Ghost in the Shell makes for a striking and interesting contrast. It explains why Oshii felt the need to go back to his older film and change the hues more toward that warmer palette (but you can read my thoughts about that little redux over here).

One of many amazingly detailed settings.

Even with the changes to the style, the detail, depth and scope of the film are impressive. The backgrounds and settings are filled with all kinds of little elements and intricacies. At the time it pushed animation detail to an amazing level, one I have rarely seen topped. While the film does take its sweet time doing anything, it does slow down to allow us to really drink in these visuals.

Innocence has a few action scenes in it. The most impressive is when Batou takes on a whole building full of gun touting gangsters. The action is fluid and a nice mix of angles and perspectives. The finale scene also focuses on Batou as he raids a floating gynoid factory as all the defenses are armed. This includes the androids themselves: dolls with the ability to smash a man’s head into pulp. The scene jumps from Batou’s perspective, and his cyber vision feeding him critical information, to amazingly animated combat. But none of these scenes are as exciting as the highlights from the previous film.

Sound effects work is excellent in this film, and it should be considering they got Skywalker Sound to give them a hand. It really immerses you in the world. The quieter scenes work great, especially the scenes inside the mansion of illusion. But the action scenes are a blast, with gunfire seeming to rain all around.

Batou and his guardian angel battle the dolls.

Composer Kenji Kawai returns to work with Oshii again. Innocence is a natural extension of the musical sound he used in the previous film. It is moody and atmospheric, with no real themes or melody. Percussion and simple strings are used to create tension pieces or pulsing moments. The stand-out pieces are the vocals, and once again Kawai uses ancient Japanese singing style and lyrics to create an audio contrast with the high tech world. The new theme song is actually a revision of the previous film’s with slightly altered lyrics and melody. Kawai also worked on a couple of torch songs that play in the film and fit the overall noire feel. It’s an interesting and eclectic mix, one that will rub some viewers the wrong way. But I think Kawai’s score and songs actually help make these films stand out from the crowd.

The DVD I have of this film is actually in Japanese only, so I have to judge the voice acting as best as I can. It is the same cast reprising their roles, and they do a fine job with them. Especially given the fact that they have many long dialogue scenes to work through.

The journey to the mansion is a visual treat.

The script for Innocence is actually based on one of the manga stories from the original run of Ghost in the Shell written and drawn by Masamune Shirow. Unlike the previous film, which combined several of Shirow’s stories into one, this film uses the single story as the focal point. Oshii penned the script himself and keeps a few key moments from the original manga intact. An example is when Togusa nearly gets killed and says “All I could see was my wife and my daughter.” To which Batou replies, “That wasn’t your wife or daughter, they were angels of death”.

And speaking of quotes, Oshii decided that Shirow’s original dialogue just didn’t include enough literary quotes. So he grabbed Bartletts and started highlighting. The result is a film filled with characters quoting Milton, Confucius and ancient proverbs. It becomes a bit comical at times, trying to imagine a world where everyone has extensive knowledge of these texts. The quotes do all end up working with the themes of the film, so I can’t fault the selection, but I do end up wondering if Oshii is trying to impress us with these lines, or if he figured that everything he wanted to say had already been said, so why rephrase it. It’s an interesting choice, and once that ends up distracting me as the film continues.

The mansion is filled with reflective and metallic
surfaces.

Ghost in the Shell was concerned with the nature of life. What do we consider “alive” and to that point, what do we consider “human”. Was Kusanagi, a woman who was pretty much completely synthetic except for her brain a human? And was project 2501, a program the gained sentience and seeking to reproduce also “human”? Innocence goes a step further, asking if something that we don’t even consider animate capable of having a soul? This is an idea that seems very strange to Western thought, but is something that is very much part of Japanese culture and ancient Shinto beliefs.

As the investigation continues, Batou and Togusa discover that the killer androids all end up destroying their cyber brains. But one message is clearly found, the single phrase: “Help me.” This puzzle causes them to wonder who is asking for help, the killer, the victims, or is it somehow coming from these “dolls”, who are being mass produced to serve humans as slaves and sex toys. How far does making something look human go toward giving it a soul? Can a doll be alive?

The blood of the victim obscures Batou's view.

The two men are given multiple answers to the question as the film continues. A coroner tells them that dead human flesh and “dead” mechanical body parts are very similar. They meet a cyber hacker who has completely abandoned his flesh and lives only in his machines and false bodies. And then there is the Major, a fusion of a woman and a cybernetic program, alive on the internet, but physically dead. Kusanagi is literally a ghost in Innocence, mentioned often, and obviously mourned by her companions. But she is still listed as “missing” by Section 9, and Batou talks about her like she is still alive. When he does eventually run into her, she is called a “guardian angel”, a being transcended and alive, but nothing like the physical characters in the film.

There is another subtheme about perception. This is something Oshii has been exploring since his early days with Urasei Yatsura 2: Beautiful Dreamer. In this film, there are countless shots of eyes, POV shots and strange shots with fisheye lens effects. You have many scenes of characters looking and being looked at. And most disturbing are the scenes of the lifeless eyes of the “dolls” staring at us. These scenes build a visual motif asking us how do we perceive life. Is it simple enough to trust our eyes to tell us when something is alive?

Hope you like hound dogs, because this movie is
full fo them.

Oshii makes a point in Innocence to say this is not the case. Many times in the film are we presented with false images. Batou has his brain hacked into, and nearly kills several innocent people because he believes he is under attack. We see most of this scene from his point of view, a flawed one. Later in the film it is Togusa who is hacked, and we see a sequence in the mansion of illusion play out three different ways, because Togusa cannot distinguish reality from the program sent to his mind. If humans are so easily fooled by these tricks (including the viewer of the film, who is along for the Groundhog Day-esque antics), can these humans be certain that what they view as “alive” is truly alive.

The mystery is eventually solved, with the killer being exposed and the murder spree halted. But Batou wonders about all the “dolls” that were forced to act in such a horrible manner. What did they feel? Could they feel at all? How many victims were in this crime?

The bizarre fisheye lens forces our perspective on
the scene, and the dead eyed hacker's words.

The hacker without flesh says that the world only contains a single type of perfect life form – animals who live in the present and know only what they experience at that time. They don’t have human memories or desires or corruption. They aren’t helpless like dolls. The movie ends with Batou holding his dog and looking at a child’s doll. It’s blue eyes eerily mirroring the eyes of the killer gynoids.

So yes, even the scenes with the basset hound managed to merge with the theme that Oshii is exploring in innocence. As we watch Batou and his dog stare into the eyes of the doll, we are left wondering if there is a ghost in that shell.

What the doll sees.

When it comes down to it, I find it hard not to compare Ghost in the Shell with Innocence. I guess it is inevitable that you do that with sequels. According to Oshii, he wanted to Innocence to stand on its own, and I’m not sure it can. The depth of the themes require you to understand the Major and her story from the first film. She plays a huge role in the finale, and if you don’t know anything about her, you’d be lost. So, I think this film is tied to the previous one, and tightly in many ways.

Innocence feels like an extension of theme and plot from the first film. But it also feels a bit redundant thematically. It explores and restates much of what Oshii covered in the first film, but with longer dialogue scenes, and a slower pace. Yes, it is a gorgeous film, and the eye candy alone makes it worth seeking out. But when it was over, I realized why I hadn’t revisited it in nearly ten years. Ghost in the Shell covered this, and did it exceptionally well. Innocence plays like a coda, crafted to suit the creator more than the viewer. It is an interesting film, but not a necessary one. 

And now a selection of various shots of the staring dolls, just to haunt your dreams and retard your sleep.

Doll: Evidence in the morgue

Dolls: Puppets watching Togusa

Doll: Sacrificial burning during a celebration

Dolls: They approach in legion

Doll: Broken and spattered in still warm blood.

Kill Bill: Vol. 2 (2004)

Introduction:

2003 was the year everyone was talking about Kill Bill (and maybe Return of the King too, but that’s another story). Tarantino fans were thrilled with the movie (for the most part) and were looking forward to what the Bride was going to do next. Would the final confrontation with Bill be worth the wait?

Summary:

The Bride (Uma Thurman) has survived her battles with two of the assassins that destroyed her life, but two more remain: Elle Driver (Daryl Hannah) and Budd (Michael Madsen). Driver in particular seems to have a real grudge against The Bride and is looking forward to a full-blown showdown. But Budd isn’t as energetic and opts for a more laid back approach. The Bride underestimates Budd and soon finds herself buried alive!

But The Bride has trained with the Kung Fu master Pai Mei (Gordon Liu). She was tormented, abused and yet the trial by fire provided her with new skills. She will need all of them if she hopes to escape her premature burial and face Bill (David Carrdine). But Bill has one small surprise that may keep the Bride from completing her mission: to Kill Bill.

Good Points:

• The face off between the Bride and Elle is classic Tarantino
• Bill’s little twist was a nice piece of work
• The Pai Mei sequence was a nice nod to old Kung Fu classics

Bad Points:

• The pacing of this volume slows way down
• Lots of dialogue scenes that seem to go on too long
• The ending may feel anti-climactic to some

Overall:

It was going to be tough to follow the speedy action packed first volume. So Tarantino goes in a slightly different direction, fleshing out the characters a bit more (the Bride finally gets a name) and giving us a lengthy verbal confrontation between Bill and the Bride. This shift will work better for some viewers than others. Watching the films back to back makes volume 2 an uneven experience, but as a stand alone film it’s still a good time. Yes it’s a bit self indulgent with the dialogue, but I don’t mind it too much. Not quite as much fun as the first volume, but well worth a spot in any Tarantino collection.

Scores (out of 5)

Visuals: 4

Sound: 5

Acting: 4

Script: 4

Music: 5

Direction: 4

Entertainment: 4

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.    

Hellboy (2004)

Introduction:

Combine the horror genre with superheroes and you could come up with something pretty interesting.  Bring in a director who has an excellent visual style and how can this not work?

Summary:

An extended pre-credit sequence shows us the origin of Hellboy (Ron Perlman) - it involves Nazis and Rasputin (Karel Roden). Jump to present day and the demonic lad with the heart of gold and a soft spot for kittens is fighting the forces of evil with a band of super humans. This includes the pyro-kinetic Liz Sherman (Selma Blair) and the half human/half fish Abe Sapien (Doug Jones). Guided by Trevor Bruttenholm (John Hurt) the group finds themselves facing Rasputin again as the mysterious wizard attempts to bring about the end of the world. Isn’t that always the way?

Good Points:

• Some excellent visual sequences with classic del Toro moments
• Perlman makes the whole movie work with his take on the character
• An exciting musical score by Marco Beltrami

Bad Points:

• The pacing seems off the whole movie
• Goes a bit overboard with exposition
• The main villains weren’t too memorable

Overall:

I wanted to like Hellboy more than I turned out liking it. There are plenty of great scenes and some very funny conversations. But overall the movie ends up dragging too often. And when you’ve got Rasputin as your main villain that’s pretty tough to pull off. Still not a bad way to spend a lazy Sunday, especially if you don’t mind a bit of darkness in your superhero flick.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 3

Script: 3

Music: 4

Direction: 4

Entertainment: 3

Total:  3

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Paranoia Agent (2004)

Introduction:

While I tend to focus on movies on this blog, I do like to point out anime television series and Original Animated Videos (OAVs) I think are worthwhile. Well this series comes from one of my favorite directors Satoshi Kon. With 13 half hour episodes to unleash his imagination in, we get a wonderfully disturbing explosion of creativity. But is Paranoia Agent too inventive for its own good?

Summary:

A new urban legend is creeping around the city and terrifying folks. It’s name is Lil’ Slugger, a young man on rollerblades who clobbers people with a golden baseball bat. His first victim is the shy Tsukiko Sagi (Michelle Ruff), the creator of the popular character Maromi (think a pink dog as popular as Hello Kitty). Sagi is beaten badly but not killed. Many of Lil’ Sluggers other victims aren’t as lucky.

As the attacks increase a couple of detectives are hot on the case, trying to piece together clues from the various attacks. But the deeper they dig, the more random the attacks seem to be. Is there a copycat? Is something supernatural at work? Or is everyone in the city going collectively crazy? The series twists through 13 episodes until it delivers a conclusion that my render you the next victim of the Paranoia Agent.

Good Points:

• Visually tricky and disturbing, using Kon’s trademark skill with dream logic
• An excellent musical score by Susumu Hirasawa
• Mixes horror, thrills and dark humor

Bad Points:

• The series breaks down a bit after the halfway point
• Anyone looking for logic is going to be disappointed
• Some of the humor is a bit too over the top

Overall:

If you love Kon’s approach to dream worlds and warped fantasy this series is a goldmine. He creates some memorable characters and fills his setting with tension and darkness. But there are plenty of laughs to be had, with gallows humor being the order of the day. In the end the series doesn’t quite come together, losing its focus a bit in the final third. The last episode is a solid finish, but still leaves you wanting a bit more closure.

Scores (out of 5)

Visuals: 5

Sound: 5

Acting: 4

Script: 4

Music: 4

Direction: 4

Entertainment: 4

Total:  4

In Depth Review

After tackling a story rooted in real life with Tokyo Godfathers Satoshi Kon decided to come back to the dream worlds he was so successful with in Millennium Actress and Perfect Blue. According to Kon, many of the elements in Paranoia Agent came from concepts, brainstorms and one offs created during the previous three films. He grabbed these elements and created a story around them, revolving around Lil’ Slugger and the themes of reality and perception.

Kon’s approach is similar to another series from 2000 called Boogiepop Phantom. Both series approach each episode as a separate story, but provide you with insight into the larger story at work. By the time the series is over, the final piece of the puzzle is laid and you see the whole work. Both series don’t answer all the questions they lay out, but do some clever working of elements. Sometimes you’ll see the same event from three or four points of view, each very different and each providing a little more meat to the overarching story.

Paranoia Agent focuses on those characters attacked by Lil’ Slugger or those hunting him down. The viewers are invited to play detective on their own, watching the victims I their daily routines up to the attack by Lil’ Slugger. This gives us an advantage over the detectives in the show who aren’t able to see all the angles. As a result we feel that we’ve got it over those two dopes – until the show throws a couple curveballs at us.

That becomes the name of the game here, pulling the rug out from under the viewers. Kon has done it before, especially in Perfect Blue. But here he really goes to town, twisting logic, perception and storytelling back on itself. An event we saw with one character plays out very differently in the eyes of someone else. Motivations we thought we understood become very twisted a couple episodes later. Even the character of Lil’ Slugger isn’t immune to the warping, going from a malevolent killer, to a pathetic loser, and into a supernatural horror over the progress of the series.

Kon appears to have carefully structured the first half of the series, to constantly keep viewers riveted and off balance. Each new episode is a new revelation and with the end of episode seven, we’re hopelessly lost in Kon’s web of dark fantasy. Then come two episodes that break the spell and end up feeling like Kon just wacked us upside the head.

In some ways episode eight and nine could work as stand alone elements, and were probably some fun ideas Kon generated at some point down the line. But in the scope of the rest of the story they are too silly, and kind of pointless. The humor of episode eight is way over the top. It deals with three people who want to kill themselves but are afraid to do it. One is a little cheerful girl! There is some hilarious dialogue done in a pitch-black manner, but some of the humor is so broad and moronic that it just sticks out like a sore thumb. Episode nine at least connects with Lil’ Slugger in a way, but is mostly about how people glom on to urban legends and end up warping them into something very different. Its an interesting concept, but one that Kon is already exploring in the wider scope of the series. Why this episode focuses only on that and not the overarching plot is beyond me.

Episode 10 brings us back into the main story. The final two episodes are well worth the effort of surviving episodes 8 and 9, as they answer several key questions and Kon gets to go bananas with his concepts. The finale is a precursor to some of the visuals he’d use in Paprika. In fact, viewers will notice plenty of little nods to Kon’s previous work including one of the most infamous lines from Perfect Blue giving a disturbing new context, a reference to some of the movies from Millennium Actress and even some of the same settings from Tokyo Godfathers.

Animation-wise, the series looks pretty good. The backgrounds are very detailed, giving us a gritty look to the city, but nothing as dark or grimy as Tokyo Godfathers. The character design is typical of Kon with characters spanning the range from cute to outrageous. The animation quality certainly dips a bit here and there, with detail being lost in longer shots. Strangely the eighth episode looks particularly bad, with a lot of flat looking characters and settings. Maybe Kon was saving some money for the final episodes.

Kon uses his old tricks of switching up animation styles, depending on who is telling what story. He combines dreams, stories and reality into one scene, always keeping the viewer wondering what they are really seeing. He does some great stuff generating tension and horror. In many cases this series has a lot of horror elements in it, giving it a closer relation to Perfect Blue than most of his other work.

Kon also reunites with the composer Hirasawa who provided the very unique score from Millennium Actress. This time he also fashions the opening and ending themes, and uses them with great effect in the final score. The opening theme is insanely catchy and cheerful even if the images during these credits are sinister or bizarre. The end credits music is soothing and light, and yet Hirasawa turns it very sinister in places during the show, putting a whole new spin on it. The score is mostly electronic, but very creative and effectively used in all the scenes. Kon would return to Hirasawa for his final feature Paprika.

I could go on writing about Paranoia Agent and talk in depth about its themes of reality and perception of reality. I could talk about its exploration of the human need to tie a story to everything. I could write about the way it paints our modern society as a group of people looking for excuses for everything – especially our most tragic faults. But I think I’ll stop here and let those of you who are curious about it check it out.

For me this is Kon at his most unleashed. He lets go with Paranoia Agent and the results are both fascinating and frustrating. At times it feels a bit too self indulgent, like he’s having a joke at the viewer’s expense. At other times, his themes and messages are crystal clear and the series is a blast to watch. His visual style and creative voice are very strong and threaten to overpower the need to have logic in our entertainment. In this way he reminds me of David Lynch at his more obtuse (see Lost Highway or Inland Empire). But I’d rather have a mixed bag that is interesting to watch than something boring and safe. So as long as you know that the trip is fun if not a bit bumpy, I think you’ll find plenty to enjoy here.

Kon would take many of the elements here and refine them to a sharp point, taking direct aim at human dreams and jumping in. Paprika just maybe this director’s masterpiece.