Ghost in the Shell 2: Innocence is a direct sequel to 's. Like the original, it is a screen adaptation of the manga. It was released in the U.S. By on Friday, in 'select cities' - and since was one of those, off I went with cash in my hot li'l hands. The film clocks in at 99 minutes, which feels just about right.

I'll offer some general impressions first, followed by some more detailed observations - so if at any point you think I'm telling you things you'd rather not know yet, stop reading and go see it. I'll try not to offer true, but one man's spoiler is another man's context, so.

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I do assume you've seen the first film, though. As I mentioned, the film is a true sequel. The action takes place some time after the original film leaves off, and is mostly concerned with Agents and of. Their enigmatic Chief makes appearances, as does their colleague. As we are told early on in the film through dialogue, is listed as 'missing' on official records. Bateau is still apparently the only one who knows the whole story on her disappearance.

This movie follows the same sort of pattern as the first - there is a general plot, concerning a crime or series of crimes committed by a shadowy adversary. On top of that, there is a fairly deep philosophical question that is explored somewhat obsessively. The dialogue is rife with quotations from various writers and philosophers, ranging from to to and the, with all manner of uncredited s and others thrown in. The characters spend entire conversations just tossing quotes at each other. Hp Tape Diagnostic Tools here. This makes the actual progress of the movie somewhat difficult to follow on the first sitting, especially if you are viewing the dialogue as (as I was). I still prefer subtitling to dubbing, however; the native (original) voice talent is noticeably superior to the English voice talent used for the versions of the first film.

The animation is fascinating. There is an enormous quantity of used in the film, but very little of it is whole-scene; in most cases, the hand-drawn characters move through obsessively CGI-rendered scenery, looking eerily out of place, almost like the Ghosts the title invokes. Their muted tones and simple shading differentiates them from their surroundings, which are sometimes so sharp-edged as to be almost painful (to wit: the ). Vehicles are a mix; there are anonymous non-central cars which dart in and out of darkness and rain, but there are also the main characters' vehicles, which inexplicably have become almost fetishistic. Drives what appears to be a replica of a 1950s, as near as I can tell. Puppet Pin Tool After Effects Cs6 Update.

Ishikawa drives a replica. Even 's drab sedan is a classic car rather than the blandly ultramodern conveyances preferred by Section 9 in the original film and in the.

Besides being sometimes CGI and sometimes obviously hand-drawn, some of the cars sport mirrored surfaces, further confusing the world they zip through. Around two-thirds of the way through the film, just as in the first, there is an 'intermission' of sorts which is devoted to pure eye-candy - an aerial and street-level tour of the 'northern frontier' region, a lawless extra- which happens to be sporting a mammoth festival as our s pass through. Gigantic puppets and false ships pass through classically anime streets lined with impossibly tall and somehow gothic skyscrapers, people observing from balconies and skyways along the route as -esque displays on every flat surface trumpet not only the action on the floats but the latest pills and gadgets. The sensory overload is palpable, driving even the characters on screen underground to escape the clamor. After this point, the philosophical angle of the plot picks up. Deliberate blurring of reality and hacked memories implanted directly into the 'e-brain' of various characters, confusion between people and s ('gynoids') - all fairly familiar to any of the, but handled with care and reverence by Oshii and company. The film raises some questions that will stay with you after you leave - not about what happened, which is fairly well wrapped up, but about what didn't happen.