KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Stephen Abell This sequel doesn't come anywhere near the original in either story, atmosphere, artwork, or provocativeness. From the onset, the viewer is slammed with a philosophical quandary, this is given by the cyber- coroner and feels so out of context that it appears forced. Whereas, in the original, it was subtly woven throughout the film and its context. You just don't get that here.I don't know if this is Disney's influence at work... The first film was a little convoluted, though, with a little brain power you could figure it out. For "Innocence" they give it to the audience in black and white.Then you have the appearance of digital artwork, fused and mixed with the more original. For most of the time, this works, though it does have less effect on building atmosphere, as does the setting and direction of the scene. The worst scenes containing digital art are the cars driving down the street. The street backgrounds are dark with a mat lustre, howbeit, the cars are ultra shiny bright metallic. The reflections flowing over the surface of the car doesn't tally with their surroundings. This draws the viewer out of the story to register the imperfection of the scene, this hurts the movie as you want your viewer to feel as though they are apart of the story and not a third party just watching.The story was a nice follow-up, even though I don't think is was told all that well. Something is happening to the sex-bots! For some reason, they are malfunctioning and killing their owners and whoever's in the vicinity before committing suicide. Section Nine is called in as this could be an act of terrorism since robots cannot kill humans or themselves.Under better hands, this could have been as great as the original film had they decided to entwine the philosophy, the mystery and thriller elements, and mood and ambiance into the story and artwork instead of segregating them and lessening the power of the piece.Worth watching if you've seen the original but be warned it's not as good.

DICK STEEL It's been an extremely long time since I last laid my eyes on the awesome Ghost in the Shell, and while a sequel and an animated series have spawned a much wider universe, it is up until now that I've finally picked something up to continue where I left off. Written and directed by Mamoru Oshii, Ghost in the Shell 2: Innocence just about shows why Japanese Anime remains a cultural force to be reckoned with, boasting fantastic looking visuals, and a deeply engaging storyline that just begs to be watched multiple times in order to appreciate it.There's something keenly missing from this film though, and that's the presence of Major Kusanagi, who had disappeared at the end of the first film. I suppose it's a tremendous void to fill and thought she was primarily what was interesting as a character, and not to forget her prowess during action sequences, and this sense of loss gets translated wonderfully by Oshii into the character of Batou her cyborg sidekick, who becomes the protagonist we follow in Innocence. Being very much his story and his piece of investigations, together with new partner Togusa, we journey once again into the fictional Japanese city of New Port, which is modelled more after Hong Kong, and what more, Cantonese seems to be the order of the day as well in the finale action sequence.The main plot here involves the investigations into a series of gruesome murders by what would be illegally made sexbots known as gynoids, which have gone berserk, killing their principals before committing suicide. Made by the company Locus Solus, it brings Batou and Togusa up against the Yakusa as well, which provides for some crazy gun battle sequences, as they get close to the truth behind what these gynoid dolls seem to possess - a ghost - that demands attention to what goes on behind the scenes.And what is a Ghost in the Shell movie, or a Mamoru Oshii film, without a dabbling in philosophy that almost always boggles the mind and in some ways, bogged down the film unnecessarily. Some dialogue felt forced, especially when the two investigating partners address their testy relationship, with Togusa constantly doubting his own abilities, and trying hard to measure up against Kusanagi in being the perfect partner for Batou. They exchange sayings and philosophies as quoted in famous books, sayings and philosophers, and will probably pique your interest enough to find out more on your own, and their relevance to the context of the film.In addition, there's the usual talk about hacking, and an incredible sequence involving Batou's routine in an old supermarket involving revenge hacking and some good ol' slow-motion shoot-em-up, while giving us a first glimpse into Batou's oft-touted guardian angel which suggested the return of an iconic GITS character. And any GITS film will not be complete without the mind-numbing portions of the narrative, which involves repeated sequences with a dash of subtle changes that will keep your mind on its toes in deciphering the many layers or reality and fantasy that Inception did best in.A challenging film brought to another realm by music from Kenji Kawai, the visuals here are a mix of the traditional hand drawn, as well as computer generated CG and 3D, which I think will be gorgeous if transferred into the 3D picture format of today, a technology that has been used by lesser films to milk more money at the box office. They are extremely detailed, especially a phenomenal sequence involving an extended showpiece of a Taiwanese-inspired festival somewhere in the middle of the film that razzled and dazzled, presented together with a haunting piece of music that will make your hair stand on its end.

G K Innocence, the sequel to Ghost In The Shell (though director Mamoru Oshii stated that the film is a stand alone), is very similar to its predecessor. While it's not as innovative, it's still an often breathtaking film worthy of seeing especially for fans of cyberpunk. The big draw here is definitely the animation. Oshii's blend of traditional and computer animation is stunning and has a fresh look. There are abundant details. The designs are also impressive, combining Asian and Western influences. The story and characters often take a backseat to Oshii's brand of philosophy, however. The film remains poignant throughout, but there's nothing here that we haven't seen before. The absence of Major Kusanagi doesn't hurt because Batou turns out to be a worthy protagonist. Kenji Kawai's score is just an update of the original film's score. The choral songs are more upbeat this time. He also included two vocal jazz tracks that are present in the film. On the whole Innocence is another success for Oshii. It's mostly about the nature of reality. The film definitely strikes a chord with its Asian mysticism. It's a highlight in recent anime.

patrick-flavin It's an odd film this, it gives you something to think about; a bit of existentialism, deus ex machina, source of life, purpose, etc.the only problem is that the film is a bit wanky and up itself. Long pauses on frames and drag pulls of still images means that in reality this has a lot less animation in it than a lot of mangas i have seen, which i just found annoying rather than thoughtful or artistic which is what i think the director was after (either him or the accountant!).I'm not exactly disappointed with this film, just non-plussed really.As a stepping stone on the influences of modern anime and manga as well as iconic sci-fi such as the matrix, it is worth watching, almost just to play "spot what the watchowskis' nicked" (answer = a lot)