aci_J Director Mamoru Oshii is best known for his 1995 sci-fi landmark piece Ghost in the Shell, and less so for his meditative 1985 arthouse piece Angel's Egg, but Mobile Police Patlabor: The Movie remains as an interesting touchstone for the development of the genius director. Based on the manga and OVA series of the same name, the film takes place in Japan in the near future, where giant robots or 'Patlabors' have revolutionised industry. In the wake of global warming and overpopulation, the Japanese government begins the 'Babylon Project,' which will reclaim thousands of acres of land from the Tokyo seafront by utilising the power of the Patlabors, which are hundreds of times more efficient than human workers. Yet, a series of worrying incidents where Patlabors go berserk and cause great destruction sets Asuma of the 'Mobile Police' - a section of the metropolitan police that utilises the Patlabors to fight crime - on the case, and the mystery he plunges into has far more dangerous consequences than he ever imagined.The rich world building and level of detail in the film that would later play a major part in the appeal of Ghost in the Shell is evident here, even in this early part of Oshii's career. Each line of dialogue is utilised efficiently to discuss geo-politics, bureaucracy and engineering in this fictional future. The level of detail put into the design of the Patlabor's themselves by Yutaka Izubuchi also helps further reinforce this realistic yet relatable tone.Although the film doesn't do a great job getting new viewers of the series up to speed, leaving several blind spots such as the sudden appearance of Kanuka Clancy in the third act, it does a good job of introducing us to the characters of Asuma and Nao, who's chemistry in turns drives the soul of the film, alongside the richly detailed fictional landscape. Asuma's work on solving the mystery is also far from perfect, sometimes overloading viewers with exposition instead of explanation, but for the most part he's an engaging point of focus for the viewer, mainly thanks to Toshio Furukawa's excellent voice work.In terms of Oshii's later career, a lot of his tendencies can be traced back to this formative work. Namely, his eye for detail and preference for dialogue instead of action. Plus, his visual direction is as excellent as you'd expect, giving us striking compositions and engaging framing. Yet, this is at the same time the least Oshii-esque film in his career, since it comes across as less of an Oshii film, like with Ghost in the Shell and Angel's Egg, and more of a Oshii-directed Patlabor film. Even so, whether you're an Oshii newbie or an Oshii expert, a Patlabor newbie or a Patlabor expert, there's definitely something for you here. And who doesn't want to see giant robots duking it out, anyway?

heath-jeffrey A simple plot that even then wasn't fully developed. The main antagonist is nothing but a name - neither physically present nor any hint of any motive or rationale. There's one minor twist in the plot but it's revealed too early on to register as anything particularly special; and isn't really believable in the context either.The characters are similarly simple and undeveloped. All you really get is a bit of goofiness and an overdone grump. There were family elements, differences in opinion, unique relationships, etc, that could've been exploited to good effect but were left empty.So what drives the movie? An odd mix of: a) Typical anime action. Nothing new - just robots and robot suits bashing on each other. b) Art-house style trying-to-be-philosophical long pauses and random quotes.Might be intriguing if you like both of the latter. But don't watch it for either the story or the human element.

kendotec-1 I started watching this not expecting too much. I was very pleased when the story turned out to be very tense and the characters quite believable. It was at all time a very entertaining movie, the score consisting of various types of acoustical underlay blended in harmonically with the visual art. Even though the animations look a little aged, they still did not disappoint me. I liked the high degree of details that was put into almost everything. I was surprised several times of the awesomeness, for instance when the rescue-team reaches the arc that lays in the dark. The atmosphere of that particular scene reminded me strongly of "Alien" which is also a very good movie I might add). There were some humorous parts as well that nicely rounded the mood of an otherwise sinister animemovie which I have to consider one of the best ones I've seen. I recommend it to everyone who in the slightest likes anime 9/10

Mark Treuthardt Isaac Asimov meets Akira in this detective-oriented science-fiction Japanese Manga film. Set in the near-future, Tokyo is undergoing a huge re-development program: old suburbs are being demolished and man-made islands are being constructed in Tokyo Bay. Most of the work is being done by giant man-operated robots called Labors. Labors are prone to go out of control and cause chaos, so units of the Police force have been set up to deal with them. These units, divided into squadrons, also use giant robots to tackle the out-of-control Labors. Asuma Shinohara is a sergeant in Second Squadron, who discovers that the crazy behaviour of the Labors is due to a bug in their operating system which was deliberately put in by Eiichi Hoba, the OS programmer. Hoba has since committed suicide confidant that his plan to destroy Tokyo will take effect...Patlabor is typical Manga with plenty of action and violence, but also a good deal of appeal and characters. These range from Asuma, quick-tempered and insubordinate, but a good detective; Captain Goto, the quietly manipulative commanding officer; and Officer Noa Izumi, Asuma's long-suffering, child-like colleague-cum-girlfriend, who ultimately saves the day.