The greatest movie ever made..!

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Amazing worth wacthing. So good. Biased but well made with many good points.

Before I begin, I advise you don't show your kids this film. It's sort of violent in some areas.Ghost In The Shell 2:Innocence is the 2004 sequel to Mamoru Oshii's original 1995 anime classic. The film isn't as well known as it's predecessor, so I thought I'd review it.The film is mainly about Batou and Togusa trying to unravel a case surrounding murderous sex dolls. The dolls kill people before self destructing. The pair will have to solve the case before more are murdered. By the way, Motoko isn't even really in the film, only at the end.I really enjoy this film. It's astounding in almost every way. Also, if you're wondering about the dub, I personally really liked it. Go see Ghost In The Shell 2:Innocence and be amazed!

In the year 2032, Batô, a cyborg detective for the anti-terrorist unit Public Security Section 9, investigates the case of a female robot-- one created solely for sexual pleasure--who slaughtered her owner. Imagine Blade Runner, Robocop, Terminator and I Robot having a baby all 4 of them combined that would probably be called 'Ghost in the Shell 2: Innocence' now my problem with this film isn't the lack of action although there's 3 pretty good scenes with Bato destroying a bunch of female robots, Yakuza and a big male robot that looks like it came out of the 1995 Judge Dredd film. My main problem with this film it was the fact that it tried to be way too much serious and not have any fun with itself but also way too many quotes and philosophy that gets a bit old after a while. Now do i think that this is a great film? Yes it is it does have a pretty good looking animation, the soundtrack is very enjoyable and the overall characters are interesting but the whole quotes thing and the lack of any kind of action and villains might make some people get a bit bored with it. (7.9/10)

This is a difficult film, more than is necessary I think, with a thickly layered narrative, full of visuals allusions and quotes of everyone from Buddha to Plato. But let's cut through it and take a simple look.We have here a wholly artificial cinematic environment, an anime, about artificial individuals, androids, caught in dilemmas about the artifice and illusory nature of life. Powerful alignment, difficult to hash. The question that looms is the oldest one and most important: what does it mean to be me, a living being, among all this stuff?What separates one possible reality from all the others, real from not real? This is frequently brought up in films of this sort from Matrix to Waking Life, it seems to have public traction as a thought. It crops up in cyberpunk and New Age thought of all sorts. How can I be sure that this is all real and not dreamed by something? How can I know that I am awake, if I am never fully aware of dreaming?The film is designed so that we gradually loose the certainty. It is filled to that effect with androids, dolls, virtual realities and folded dreams, but we aren't always immediately aware. Part of the point is this surprise as awakening. There is a strange sequence that repeats three times only for us to find it was someone's AI being 'hacked' with us inside.Okay, but what does it mean to be real? The answer, well more of a suggestion, is inside the film but disguised from itself.We have all these constructed realities as expression of self, obvious enough. Anything we build expresses self, this includes language and cities. Films. And yes, as the film says, the sense of incompleteness in life is directly connected to its unomniscience, to the fact I am always tethered to a point of view. This same incompleteness urges me to dream, to construct the omniscience, so we have thought and mathematics among other things, stabs at eternal (objective) truth.(This undoes the philosopher who has to think about it, because he tries in thought, in virtual reality, to assume that omniscience. He's never going to be happy. I think the mathematician has by far the advantage, it seems to be less that he has to think and more that he has the sense of running his fingers over an original fabric. Certainly I don't have to think 1+1, the numbers urge me on.)Okay, here is plainly how it works in the film. We have a film about constructed realities, itself constructed as one. The main cinematic reference for most of these things is of course Bladerunner. We begin in a Bladerunner world, a more or less tangible future. There's a scene with our android at home feeding his dog and relaxing with a beer, so we can feel at 'home'. Jazz music and cars. But from about the halfway point on, the imagery becomes increasingly unreal, alien landscapes that repel the eye, and frequent quotations that call for us to reflect on what we see.And yet it's right there before us. The film appears difficult because we start in a certain reality which we can trust, and halfway through that is arbitrarily changed: the 'info city', the temples and parades, the strange Locus Sul palace and ship, it doesn't make apparent sense how these coexist in what realm. So we don't just lose the narrative ground beneath our feet, it's beneath that the perceptive ground that gives way.In other words, there is no assurance of reality that thinking can provide that can match experience. I don't need to think of what is real, the question answers itself just as 1+1 does. Schizophrenics are not faced with equally 'real' images or voices, but feeble imitations which they inhabit, just like this film disorients from a certain point if you try to inhabit it. Of course it does! It has no reality, stuff just happens.Among the quotes is one about how we shouldn't look into mirrors but down on them, with some amused detachment, which is the Buddhist undercurrent that runs beneath the film. All these exotic things are empty, in the Buddhist sense, apparitions in space, artificial flowers of mind.So this shows promise but it's ultimately laborious if you simply trust your eyes, a condemnation of inhabiting the artifice and letting ourselves stray in reflections, in other words this film.

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.