Shinichiro Watanabe brings us a 'Blade Runner' short; the, er, brilliant 'Land Of The Lustrous' hits the small screen; and Kar-Wai Wong has an Amazon series in the works
'Tatami Galaxy' comes to Crunchyroll; 'Funeral Parade of Roses' lands on Blu-ray after a 4K restoration; and a live-action 'Hyouka' is set to drop
Hideaki Anno's 'reboot' of the Godzilla franchise focuses on teamwork, bureaucracy, and dogged persistence rather than individual heroics
Masaaki Yuasa's psychedelic exploration of the mutability of bodies and memories, in the form of a child's tale, is a one-of-a-kind masterwork
The creator of 'ACCA: 13' and 'House Of Five Leaves' also gave us this haunting story of a young man thrown onto life's scrap heap
The key to Violent Cop is not in the violent moments, but the moments where Detective Azuma (Takeshi Kitano, a/k/a Beat Takeshi) just stands there. Late in the movie, after he has been thrown off the police force and his only friend has been killed, he stands in the office of his commander, unflinching, unblinking, unmoving. This is a man whose reaction to all of life has been distilled down to exactly two stances: indifference or violence. There is nothing else there.
It's easy to say Neo Yokio is a bad show, and not just because plenty of others have taken a number and gotten in line to proclaim so. It's shabby-looking, goofy, with a thoroughly dumb storyline and characters with all the depth of pie plates. The key is in seeing how all this is entirely deliberate — how the show is a sly, tongue-in-cheek love letter to all the ways anime could be "cheap and weird", to use a coinage from my associate Lauren Orsini. To that end, anime fans will clue in fastest to how the show is a knowing wink to all the ways the things they love can be both great and idiotic at the same time. That said, there's no obligation for anyone else to get on board. Not unless they really want to, anyway.
The simple algebra for Blade Runner Black Out 2022 is that it's to Blade Runner and Blade Runner 2049 as an episode of The Animatrix was to The Matrix generally — a short film that provides background detail about a pivotal event in the Runner-verse, one presumably to be expanded on when 2049 fills theaters in a couple of weeks. It's beautifully animated, although it is designed less to tell a story than illustrate a vignette. But it's most significant as an example of how tentpole entertainments, especially SF/fantasy creations set in extended universes, are more than ever multimedia. That term that seemed already hoary and shopworn by the year 2000, but it's the best word to describe what's going on here.