VIDEO REVIEW: Heavy Metal

VIDEO REVIEW: Ghost in the Shell

VIDEO REVIEW: The Lord Of The Rings

VIDEO REVIEW: Perfect Blue

VIDEO REVIEW: The Hobbit

VIDEO REVIEW: Paprika

The Lucid Nightmare - Paprika Review by jayskitstar

VIDEO REVIEW: Akira

REVIEW: Time Masters

Time Masters

Director: Rene Laloux

Year 1982

Time Masters, AKA Les maitres du temps, is a fantastically strange and obscure French animated Sci-Fi movie which is brimming with mystery and intrigue. Immersed in a fictional futuristic world, this space opus is among the most unique and bizarre of its kind. With original designs by the acclaimed illustrator Jean Giraud, otherwise known as Moebius, and an ability to present a world void of restrictions on the imagination, Time Masters is without a doubt a science fiction feature that will take you to worlds unimaginable. Not only that, but it is wrapped tightly around a story that is anything but orthodox.

The film follows a lost boy named Piel, who has recently been orphaned on the savage planet of Perdide. Having survived an attack by the planet's carnivorous creatures, which brings about the death of his father, Piel makes contact via radio with a man named Jaffar, an adventurer who is traveling the cosmos with his motley crew. Separated by great distances, Jaffar and his crew must divert from their current mission in order to come to Piel's aid, but will they get there in enough time.

What a wild film Time Masters is! First of all, the cast of characters are extremely diverse and equally strange, ranging from space pirates, a conniving and feminine prince, a pair of telepathic little creatures, a jovial old space explorer, and a heroic space adventurer. There is nothing typical about any of these characters, and each one feels fresh and unique to this original science fiction landscape that collaborators Rene Laloux, Stefan Wul, and Jean Giraud have created. Based off of Wul's novel L'Orphelin de Perdide, the film delves deep into some of the most unusual aspects of the novel, but still manages to add a few daring alternatives to the already compelling points of the original story.

Immersed in a wild universe that is anything but typical, the film relies heavily on outlandish moments and otherworldly creatures to dazzle your mind. Throughout the feature, we are witness to giant vicious bugs, faceless angel-like beings, weird quadrupedal creatures, and just about every strange thing in the book. The world's that the filmmakers have brought to life are effective in their presentation and often unsettling in their unfamiliar nature. Danger looms around every corner, appearances deceive, and most of all there is a heavy dose of wonder etched in every frame of this film.

Visually the film is expertly crafted thanks to the original designs by the legendary Moebius. Everything in the world is just so peculiar in presentation that it does wonders for making you believe in the validity of the unnatural realms on display. In an imaginatively slow build up we are introduced to the characters, landscapes, and creatures of this cinemascape, and each of these instances is pure Moebius. Like something out of his Arzach or The Incal graphic novels, the vivid intricacies of his designs and the cohesive nature in which they all flow together in believable juncture, give a great lived in feel to the texture of the world.

As for the story, it is a simple yarn, yet one that gets extremely twisted and bold as the narrative weaves its way forward. Nothing is as it seems in this film, and by the end of this unusual journey you will be left with a strange sense of awe and respect for the genuinely unique vision that all of the artists involved have been able to accomplish. Astoundingly against the grain and rather bold and daring in its presentation, Time Masters is one animated feature that opens our eyes to a greater vision, one filled with wonderful sights and dangerous adventures.

Time Masters is a unique interpretation of French writer Stefan Wul's 'The Orphan Perdide'. Taking the same tone as the book and expanding upon it, the animated feature opens up the possibilities of this thriving world, allowing for us to explore its unusual offerings and diverse vistas. The characters within this story are surprisingly complex and are often faced with rather extraordinary situations, which tap on a handful of moral issues and philosophical quandaries.

In general the real asset of this production is the collaboration of all its aspects and the way they gel so nicely together. The creatures, the various planets, the overall atmosphere of the production, they all combine to make for a compelling watch. Added on top of that is a story that traverses on subjects and situations that most likely have never, or will never, be explored again within the medium. End it all with a twist that is both emotionally disheartening and wholly unexpected, and you've got yourself one hell of a good animated science fiction feature. If you're a fan of Moebius' distinct style or a sucker for animated science fiction, then you owe it to yourself to track this one down. It's a real winner! Time Masters is.....

Creepy Space Staring Contest..... GO!

Are you sure you forgot to pack all of your pants Jaffar?

That's one sassy little creature.

Suddenly I have the feeling..... Like we're being watched!

What's up guys.... ladies? What the hell are you?

Will you stop playing around on that thing and get me the hell out of here!

Jaffar's got some sweet dance moves!

You're not going anywhere until you get a hug from me buddy.

Never take candy from strangers kid.

Let's kick this dance off right!

How about a backrub? Why you little perverts!

Get this kid a fly swatter!

And you thought the mosquitoes in your town sucked.

Behold! The Master of the Greenscreen!

Red Rover... Red Rover... let Billy come over!

REVIEW: The Hobbit

The Hobbit

Director: Jules Bass & Arthur Rankin Jr.

Year 1977

The Hobbit is a wonderfully magical animated feature in which brings J.R.R. Tolkien’s heralded children’s story to vivid life, introducing us to the world of Middle-Earth and the heroes and creatures that inhabit it. Imagined in the most whimsical of ways, this fun adventure film moves at a brisk pace as we follow Bilbo on his journey from the Shire all the way to the Lonely Mountain and back again. With an abundance of musical sequences, character interactions, and action set-pieces, this iteration of the classic novel is a must for any fan of the book and it’s a great set up for the live action feature directed by Peter Jackson. If you’re looking for a good old wholesome adventure tale, then The Hobbit is just up your alley.

The film follows the story of Bilbo Baggins, a Hobbit who has an unexpected series of visitors who sweep him up on a life-changing adventure that changes him from a homebody into a courageous adventurer. After being visited by Gandalf the wizard and a group of thirteen dwarves, Bilbo reluctantly takes a job to be the party’s burglar in which he is tasked to retrieve some treasure from a dragon’s lair. Setting out on their quest, the group encounters ravenous trolls, malevolent goblins, spiteful elves, devilish spiders, and a frighteningly cruel dragon named Smaug. As Bilbo rises to the occasion on all accounts, he learns that there is more to him then he first realized and that bravery and courage is something that can be found in the most smallest of creatures.

This Rankin/Bass production is a real treat, especially for those that encountered it while still at a young age. For me, it was this entry and The Return of the King produced Rankin/Bass collaboration that first sparked my imagination and put in motion my interest in reading Tolkien’s writings. What Bass and Rankin were able to do with this production, was perfectly capture the magic and wonder that is Tolkien’s Middle-Earth, while summarizing quite nicely the contents that can be found within The Hobbit’s novelization. Most everything from the book is intact, including the three troll sequence, the capture of the party by the Goblin King, Bilbo and Gollum’s riddles in the dark, and even the death of Smaug by the bowman Bard. The only glaring admission that was missing from this production was the inclusion of Beorn, a hulking man that can transform into a bear. Other than that, I would say that Rankin and Bass did quite well with jamming everything in to this film’s 90 minute runtime, without compromising the stories integrity or spirit.

As for the visual style of this feature, I’d say that it perfectly mirrors the quality that one would imagine if depicting the aged world of Middle-Earth. The designs for the creatures and characters, created by Lester Abrams, are magical, and the overall look of the world is quite captivating even in its child-centric presentation. The detail and tone of this version is also an inviting one as it features an aesthetic that seems pulled from legend. It’s easy to say that the source material is geared towards children and the overall scope of the narrative pales in comparison with the epic quest featured in The Lord of the Rings, but what The Hobbit establishes right from the get go is a definitive style that harkens back to a fictional world that feels lived in and genuine, be it a more whimsical and fantasy-driven one.

The music is also something of an underrated gem, giving both the foreboding doom of Smaug’s lair and the care-free nature of Bilbo’s Shire lifestyle, some much needed depth and validity. The original music, composed by Maury Laws, is extremely effective for this particular fantasy piece and he definitely is able to capture the wonder of Middle-Earth in even the most sparing of time. What might throw some people off of the film is that it is quite musical in the folk music sense of things, where characters will begin going off on song filled tangents. In actuality, there is an abundance of poetry like verses in the book so for me it only adds to the charm of the film. Not only that but the songs get stuck in your head, particularly the main title theme “The Greatest Adventure”, written and performed by Glenn Yarbrough, and the fan favorite, “That’s What Bilbo Baggins Hates”. To each there own, but for me the jovial way in which the film bursts into song every once in a while, makes this iteration of Tolkien’s classic that much more fun to watch.

It must be said that for all its content, the film moves at a surprisingly brisk pace as it sprints from one set-piece to the next. We never really dwell in one particular situation for more than a moment, making the film feel like more of a summary of the book rather than a fleshed out telling of the characters experiences. Be that as it may, I enjoyed the rampant pace of the production and even though things aren’t expanded upon, other than what is set on the written pages, I still get a ridiculous amount of enjoyment from this whimsical tale of a Hobbit and his unexpected journey.

The Hobbit is a wonderful Rankin/Bass collaboration that really nails the spirit and passion of Tolkien’s book. With its expressive style and unique character design, the film paints a beautiful picture, one in which never wanes after multiple viewings. Childish in its very nature, but respectfully depicted, The Hobbit is a justifiably fast paced adventure film which takes the iconic set-pieces of the novel and just runs with it. With its stupendously vivid original music, composed by Maury Laws, to its original character designs, created by Lester Abrams, this animated adaption is a treasured piece of Tolkien history.

As I write this on the cusp of Peter Jackson’s version, I can’t help but to look back on Rankin/Bass’ production and remember a time when this musical iteration of the famous story was the only offering we had in diving into a feature film version of The Hobbit. Of course Jackson will bring the same painstaking care and overall epic quality to his creation as he did with the Lord of the Rings trilogy, but when it comes to the simplicities and intimate story of The Hobbit, Arthur Rankin and Jules Bass will always be the top contenders. They may not have the most fleshed out and immersive experience when it comes to telling this tremendous tale, but I feel that their version will be the most succinct with the intimate quality of J.R.R. Tolkien’s original children’s story. If you’ve ever wondered what a fast paced animated version of Bilbo’s unexpected journey would look like, then give this one a go. It’s a ridiculous amount of fun and the care-free nature of it is just a blast. It also doesn’t hurt if you have a little nostalgia to back it up. The Rankin/Bass adaption of The Hobbit is a…..

I think Bilbo's gonna hurl!

Sting!

Could someone get these damn stars off my head?!

That Goblin King is a P...I....G..... PIG!

Gollum is a real creep.

Sweet rides fellas!

So run it by me again.... Why can't you just drop us off at the Lonely Mountain?

Watch out Bilbo! It's the army of the evil butterflies!

Will you shitheads stop getting into trouble?!

Looks like someone pissed off the Keebler Elves.

Here comes Bilbo.... Barrel Rider!

Smaug is one fat lazy piece of shit.

Looks like someone has been a naughty Hobbit.

It's time for you to cool off Smaug.

So Bard.... What's with the no pants wearing thing?

To War! Huzzah!!!

Who's gonna clean up all of this shit?

Bilbo is just snug as a bug in a rug.

REVIEW: Ghost in the Shell

Ghost in the Shell
Director: Mamoru Oshii
Year 1995
 
Ghost in the Shell is a fantastic science fiction animated film that delves into the true essence and meaning of life by commenting on the possibility of machines becoming something more than just soulless creations. This evolutionary step in both animated features and thought-provoking storytelling is a shining example of how filmmakers can use the medium to create some rather inspiring narrations on the human condition, both in its significance and unprecedented ramifications. Filled with action, beautiful artistry, and an intriguing plot, Ghost in the Shell is not only a masterpiece, but it’s a classic example of how truly complex an anime can be.
 
Set in the year 2029, the film follows a team of high-level government operatives lead by a tough as nails female cyborg cop named Motoko Kusanagi, as they police a cyber-punk metropolis for malicious anarchistic hackers aiming to disrupt society. Their recent case has them hot on the trail of an illusive and notorious cyber hacker named ‘The Puppet Master’, who is wreaking havoc across the interactive network which is connected to all of the people of Earth. What makes this miscreant’s actions that much more alarming, is that they seem to have an unhealthy fixation on Major Motoko Kusanagi and her relevance to being a cyber-genetic creation. As they narrow in on their suspect, they come to a shocking realization that ‘The Puppet Master’ may be far more complex and unsettlingly then they ever bargained for. One thing’s for sure, the world won’t be the same once this mysterious hacker’s true intentions come to light.

The world of Ghost in the Shell is a fantastically technologically driven one, in which everything across this cyberpunk landscape is connected within a network that is like a beefed up version of our own internet. What’s rather special about director Mamoru Oshii’s vision for this future tech-centric society, is that the function of the network is not only embedded within the character’s everyday life, but it is also visually replicated in the look and presentation of the metropolis where the story is set. The thriving neon metropolis is like vibrant eye candy and it’s especially interesting to compare the correlation between the resemblance of the city landscape at night to that of a computer chip, with its intricate grids and sleek design. The fusing of both the visuals to the thematic arc of the story is something of a perfect union, because it allows the viewer to dive right in to the metaphorical narrative that focuses on the meaning of life and the concept of machines becoming something much more than just man’s creation, which is the core backbone of this deliciously twisted science fiction tale.
 
With the metaphorical connections in place and the stage set, Oshii pushes the visual look of the film into uncharted territories as he allows the grungy nature of this world to spring to life in the most expressive of ways. From the darkened back alleys to the neon caked and congested streets of the city, the lived in nature of this fictional world is exceptionally crafted. Through this meticulous recreation, born from Oshii’s mind, we really get a chance to feel the age of the expansive metropolis and it’s the detailed way in which he introduces us to each various location that really builds up the history of this technologically driven world. Not only do we get to visit the thriving portions of the city, like the looming skyscrapers and corporate headquarters, but we also get to see the more traditional and weathered side of this aged society. The best example that showcases the visual scope of the landscape is the precious moments in which we get to traverse through the film’s less refined locations. For instance, the chase scene that occurs in the marketplace, where the crew is chasing down a suspect, is one of the most visually impressive moments of the film, allowing us to revel in the sheer wonder and scale of the world at hand. I absolutely loved the look of the packed shopping district, filled with its diverse characters and kaleidoscopic colors, and the closing moments of the scene really gives the viewer a feast for the eyes, not to mention a miraculous fight sequence.

As for the rest of the action of the film, it is top notch and extremely inventive. In this movie we get a hefty helping of frantic gunplay, brutal beat downs, and pulse pounding car chases, that mix perfectly with its intricate and contemplative narrative. The violence on display is raw to the core, making for a nasty atmosphere that relishes in snapped bones, eviscerated flesh, and grotesque mutilation. Even though most of the carnage centers around synthetic beings being ripped apart and mangled, the end result in witnessing all of this nasty dismemberment is quite potent to the validity and harshness of the world. One of the most memorable moments of the movie, that truly showcases the cruelness of the film’s environment, takes place in the forgotten and distraught portion of the city which has decayed over time by neglect. The scene starts off with Major Motoko Kusanagi taking on a large insect-like tank. As the battle rages on, Motoko gets a few pot shots in against the seemingly unbeatable metallic behemoth, only to later be decimated by the heavy artillery that the powerful machine is equipped with. The mangling of Motoko’s body and the way that her synthetic flesh just hangs from her broken frame, is twisted in its presentation and quite morbidly impressive.
 
It is in this shocking and visceral moment, filled with painfully perverse gore, that we are presented with one of the film’s most poignant images. We watch the mangled Motoko as she lay disjointed on the ground and we are taken aback by the realness of the moment. Though she is just a machine and conceivably without a soul, we still relate that humanistic trait to her and we sympathize with the predicament that she is in. It’s this strange conundrum that drives the entire series up to this point. Are machines more than machines? Can they evolve into something else entirely, even without the aid of the ones which created it? As her human cover is stripped from her body, we still come to compare her to human because of the actions that follow this pinnacle moment. This instance is a great bridge to the overall arc of the story, and what continues is a revelation that truly feels inspired while still managing to maintain a certain esteem of mystery and wonder. With its unapologetic approach and masterful storytelling, Ghost in the Shell is a science fiction animation that really raises the bar on animated features.

Ghost in the Shell is a tremendous and thought-provoking anime entry that brings about a tale which is so interwoven within its fictional world that the allegory comes off as visual poetry. Often violent and exceptionally disturbing, the film goes to the extremes in order to absorb the audience into its imaginative construct, leaving the end result to be nothing less than breathtaking. Mamoru Oshii has crafted a film that goes above and beyond the requirements for good storytelling and has established a fictional universe that is as important to the structure of the narrative as it is relevant to the proceedings on display.
 
With its heavy dose of cyber punk style and its tendency to get a little gritty and disturbing, Ghost in the Shell tells an intriguing story about the evolution of man and the inherent plausibility that the things that we create could somehow become equal to us. In this nightmare scenario, the filmmakers decide to bridge the gap between man and machine by establishing a world where technology and humanity are at a merging point. The union of these two entities, though bloody and foreboding, is exceptionally crafted and even though there is a great deal of violent, bombastic flair, the story is surprisingly spiritual as it goes about spinning a yarn about the soul of a machine and the evolution of life as we know it. Simply put, Ghost in the Shell is one…..

Ewww! Gross!

She's just not feeling the horseshoe dude.

There's a lot of gun fire in this flick.

Seriously! Tons of gun fire!

Hey shithead... start shooting that gun!

Bato is like the Arnold Schwarzenegger of Anime characters.

Am I digging the stache, goatee, glasses trifecta? Shit yeah!

Bato is a little shy around naked butts.

Talk to the robot hand.

I don't know what the hell is going on here, but damn is it heavenly.

Nothing like getting kicked in the face by a hot, naked, and invisible chick.

Well at least we were able to salvage the best parts.

I bet that dude is about to shoot that gun off.

This guy is having a bloody good time.

The itsy bitsy spider tank shot up the place to shit.

The horror! The HORROR!

Could you not do that? You're really creeping me out.

What a horrible time to lose one's head.