Reviews

9 years and a great deal of fan anticipation later we are presented with the sequel to the Mamoru Oshii masterpiece Ghost in the Shell. And well, was the wait worth it? Technically, things have improved greatly and the visuals in Innocence are quite simply mind-blowing, particularly the parade sequence with it's various layers of detail (the five minutes of footage took a year to animate) and 2D and 3D have been incorporated in a sympathetic manner, styled very much like the Korean animated feature 'Wonderful Days'. The character designs are more in line with those featured in the Ghost in the Shell: Stand Alone Complex series and are all superbly animated. The scenery is also stunning, with many of the environments being beautifully rendered in 3D, along with a host of retro 1950s cars that fit in to the quasi-Blade Runner look of the film. But what of the most important element; the plot? Well, in truth, this is a fairly different kind of film when compared to the original. Far less emphasis has been placed upon action sequences and far more of the focus has been shifted to certain intellectual and philosophical issues, particularly surrounding the purpose of human propagation and it's true agenda. These musings seem far more relevant to the average person than those raised in the original, and though I could not deride it's predecessor of which I am a great fan, Innocence feels like a far more personal, intimate and thoughtful film. And where as Ghost in the Shell was unquestionably the tale of Major Kusanagi, Innocence is very much Batou's story. As he searches for the truth behind a series of gynoid (sex droid) perpetrated murders, we not only learn more about the world in which he lives, but far more about the man himself. Perhaps seen as a hardened soldier, we learn there is far more to him than this, that he is thoughtful, determined but also very lonely and is starting to have issues with his own existence. Issues that are akin to those of the Major's in Ghost in the Shell. Complex and deep, he provides a perfect vehicle for the film's storyline. Personally, I believe that the wait was truly worth it and that Oshii, his team and Shirow (for conceiving the characters we know and love) should be congratulated on their hard work which has brought about a modern anime masterpiece.

Failan is the tale of a Chinese woman who comes to Korea seeking relatives after the death of her parents. Unfortunately, they have moved on to Canada and now she must try and make a new life for herself in a foreign country. Firstly, I must admit, what drew me to Failan was the presence of Choi Min-Shik in the cast. After seeing him in both Shiri and Oldboy I wanted to explore more of the career of this extraordinarily talented actor. I expected a lot from him, and I was not disappointed. Nor was I disappointed with the extremely talented supporting cast. Cecilia Cheung is both charming and eminently watchable as Failan. And the rather colourful mobsters are appalling and humorous in equal amounts. The story is a slow paced one and is built heavily around character and emotion and is not made in the style of Hollywood offerings. Following Failan's experiences and the way in which others react to her story is a captivating experience which quickly pulls you in. It is a keenly observed and intimate tale that will pull at the heart-strings of anyone, even the most cynical. Make sure you have a handkerchief to hand when watching this, there really is a good chance you'll cry.

In Oldboy Choi Min-Shik (of Shiri fame) plays Dae-su, a man kidnapped and imprisoned for 15 years in a single room apartment, before being released and given 5 days to discover the reason for his imprisonment. Okay, so you know the basic premise of this film. What is hard to convey is the sheer excellence of the performances in this film, or the artistically intriguing camera shots or even the absorbing nature of this intriguing thriller. Every scene looks stunning, the lighting and sets seem perfect from the drab prison walls that actually make you feel ill, to the cold steel of the office building with its clean lines and vapid design. Great care and attention has been taken when planning this film, and it shows. Park Chan-Wook deserves much acclaim for his direction and sheer effort in bringing this film to screen. The plot is also intriguing yet not overly complex and the pace of the film is punctuated by scenes of extreme violence which are somewhat disturbing, but never gratuitous when balanced against the nature of the world Dae-su has descended into. But all of the sets and direction only gain cachet when placed next to the performances of the two main players; Choi Min-Shik (who is simply astounding in probably his best role to date) and Yu Ji-Tae (from the enjoyable Korean horror/thriller Into the Mirror). Both men put in staggering performances of particularly extreme characters without seeming too grandiose. This baroque thriller is simply not to be missed by any fan of thrillers or Asian cinema. Yet I would warn those who have issues with screen violence and somewhat disturbing subject matter to look elsewhere. But all in all, I hold this film up as a true masterpiece, and unquestionably one of the best thrillers to be made yet.