Its brilliance is perhaps its downfall. CUTIE HONEY is a profound and thought-provoking vision disguised in a comic book plot. Unfortunately, those looking for a straight action flick will be put off by the philosophical themes; and those of you looking for an art film will be put off by the flashy theatrics. You'll notice many of the reviewers have panned it for its "sappy ending" (that's the philosophical part), while others have panned it for being too gaudy (as in Black Claw's song & dance fight routine--oh c'mon, who doesn't like a villain who kicks your ass while singing to a string quartet?!). Just keep your minds wide open on this one, folks. Enjoy the colourful action scenes and the quippy humour as well as the thought-provoking themes that run under the surface, and you'll have a great time.
I'm more of an "art film" fan myself, and I was drawn into Hideaki Anno's work by his masterpiece SHIKI-JITSU. Though this is certainly a crowd-pleaser, it's not lacking in Anno's signature poetics. In particular, pay close attention to the dichotomy of Sister Jill & Cutie Honey: two immortal beings who are essentially the same but separated by one key philosophy. If you are in tune with this theme, the ending will be a treat for you.
One other thing I must mention: the music is perfect. It illustrates exactly what I'm talking about; Honey's "themesong" is at first a goofy romp, sung in that high-soprano, staccato j-pop style. But when the scene calls for seriousness, we get the same melody presented on a somber piano. The effect, along with the dynamic cinematography and lighting, shows us the two extremes of Hideaki Anno, a man whose work I'm very much looking forward to exploring in the years to come.
I'm more of an "art film" fan myself, and I was drawn into Hideaki Anno's work by his masterpiece SHIKI-JITSU. Though this is certainly a crowd-pleaser, it's not lacking in Anno's signature poetics. In particular, pay close attention to the dichotomy of Sister Jill & Cutie Honey: two immortal beings who are essentially the same but separated by one key philosophy. If you are in tune with this theme, the ending will be a treat for you.
One other thing I must mention: the music is perfect. It illustrates exactly what I'm talking about; Honey's "themesong" is at first a goofy romp, sung in that high-soprano, staccato j-pop style. But when the scene calls for seriousness, we get the same melody presented on a somber piano. The effect, along with the dynamic cinematography and lighting, shows us the two extremes of Hideaki Anno, a man whose work I'm very much looking forward to exploring in the years to come.