Evangelion 2.0 You Can (Not) Advance

Evangelion 2.0 You Can (Not) Advance (2009) is the second part of a movie series that attemps to retell the story of Hideaki Anno's Neon Genesis Evangelion - a TV show that I utterly love and praise way more than anything else. Even though the first film was a rather uninventive remake of the first 6 episodes of the original show with brand new animation, the second film takes a significantly different direction to make the new films quite different from the original show.

Essentially Evangelion is about a group of teenagers saving the world in their giant robots from creatures called the "Angels" while mysterious old men smugly conspire for something much bigger. As interesting and mysterious as the plot sounds, it's only the framework for the grand psychological and philosophical issues which are also filtered through religious imagery.

Where this film seriously differs from the original show is its inclusion of a totally new character who - despite appearing as far less complex than the original cast - twists the storyline a lot via her chaotic (and badass) involvement. The already-familiar characters seem to evolve in slightly different paths this time, but I'm not sure if it is going to have an impact in the end since there are still 2 movies to be released. All in all, the writing is nearly as complex as in the original series (which is the ultimate masterpiece of cinema and TV in my opinion) and the film brings new interesting aspects to the characters and the world around them.

Anno's form is still top notch after 15 years. The editing is phenomenal throughout the film and the compositions are breathtaking. The vast budget is well used for gorgeous animation that only enhances the already rich cinematic experience. Shiro Sagisu's soundtrack might be a bit weird in comparison to the TV show because it includes some of his music from other shows and it is a bit more guitar-driven on a few occasions. Despite its different nature it is still quite awesome.

Hideaki Anno proves he is still at the top of his own game despite not doing anything for years prior to the earlier film. No matter how you look at the film, you can't find any flaws at all. It's a clear-cut diamond.

Score: 10 out of 10

Love & Pop

Hideaki Anno is best known for his work as an anime director. Gunbuster, Nadia: The Secret of Blue Water, Neon Genesis Evangelion and His and Her Circumstances are brilliant and popular TV shows. However, after finishing those TV shows he decided to direct a few live-action films with a tiny budget. His experimental form and interest in touchy subjects were taken even further in these small releases. Love & Pop (1998) was the first one of these live-action films. It is a story of four Japanese schoolgirls who engage in enjo kosai to earn money.

Anno observes the phenomenon in a negative but honest way. There are a few cases where nothing harmful happens and everyone involved gains profit. But in most cases there are problems. Thieves, rapists, perverts and other freaks abuse the the service. And what does it tell that the girls succumb to enjo kosai only to get money? The society has become awfully materialistic. Anno also addresses a few other social problems: the effects of competitive education, the social pressure on adolescents and what has become of (too) many adults in Japan. However, the truly relevant thematic aspect is more universal. The main character, Hiromi, begins to questions her own identity when she compares herself to her friends.

Anno's highly experimental form is initially baffling, but once you get used to it, it's intriguing and magnificent. The entire film was shot with miniature digital cameras so the film automatically has a distinctive look. His offbeat camera positions are even more extreme this time - sometimes the camera is even attached to different body aparts (the most absurd one is inside a girl's skirt). The pacing is marvellous because he can so effortlessly move between places and switch from ridiculously fast cuts to long takes. This time he even plays with the aspect ratios of different shots. The most notable example of this trick is pictured below. Anno's strong hand and leg motifs appear in Love & Pop as well. Not a single scene passes by without a shot of shoes or feet. The hand motif serves as a brilliantly creepy way to describe Hiromi's "downfall". Anno's usage of the fish eye lens is more than obvious in Love & Pop and it is only one of the dozens of devices he uses to create more anxiety.

In overall, Love & Pop is a challenging and rewarding film. I have to admit that I did not appreciate a lot until the third time I watched it. First of all, its content seemed lesser when put next to Anno's other films, but even that is not entirely true. Secondly, once you get over the confusion created by the form and controversial content, it is easier to find the film's true brilliance.

Score: 10 out of 10

Cutie Honey

Hideaki Anno's Cutie Honey (2004) is a live-action adaptation of a popular anime series. Anno's extremely campy take on the silly show goes even beyond the boundaries of a parody. It is outright silly, as it should be, and provides more laugh-out-loud moments than you could probably even imagine. Instead of a proper plot introduction (which would only be in vain), I'll just introduce you to the main characters. Cutie Honey is a superhero (well, sort of) who has a double identity as a lousy office worker. She seems to live alone in a huge mansion - and dont ask me why, but she spends her time there only in her underwear. Detective Natsuko is an uptight and lonely detective who runs into Cutie Honey on many occassions. The Panther Claw is a group of four freakin' weirdos who fight against Cutie Honey. Then there's also a mysterious journalist who has his own agenda.

It is easy to point out that Cutie Honey is a parody with limitless camp value, but the film wanders into a different direction in the end. I dont know if this is only because the viewer gets so used to the film's quirky mood or it might actually be an intended choice by Anno. Who knows, he might have actually made Cutie Honey seriously - simply to make his fan flip out yet again.

The film stinks of camp value. As a campy parody/tribute, the form is fine as it is: an absurd adaptation of anime editing and character design into a live-action film. The music flows from a silly theme tune to "serious and dramatic" string-dominated compositions that can either be interpret as an attempt to be serious or as a different way to get more laughs out of the audience. The problem is that I felt so nonplussed by the end of the film that I dont have my own opinion which one it is in the end. Even though it's my second time watching the film, this unevenness bugs me still.

In overall, it's a nice film for anyone who wants to have a good laugh - whether you want to direct your laughs at anime or not. 100% camp entertainment guaranteed. The film gets a few extra points for the sheer amount of honest camp value that even made me happy.

Score: 7 out of 10