Technically the animation is impressive and detailed with camera shots highlighting day to day life that's mixed with ambient music, those parts are mesmerising. But the overthinking philosophical discussions and the lack of any actual 'Patlabors' doing anything aside from lying down (yes, the film points that out) and you've got something that sends you to sleep with dialogue and keeps you docile with it's scenery.
This might be the best giant robot movie yet made, period. It doesn't have the flash-bang spectacle you'd expect from a movie about large mecha - and that is precisely why it's so great. The robots here are mostly a background element used to bolster the film's latent technophobic themes. The simultaneously gritty and dreamlike visual style and nuanced, subtle characterizations give the film an absorbing tactility.
Non mi spingerei la` dove si spingono molti per cui un anime sui mecha senza praticamente i mecha e` un capolavoro a priori. E` un esperimento per quello che verra`, denso e astratto allo stesso tempo, che fugge via in mille direzioni per poi raccontare poco. E dire tanto, ma raccontare poco e` roba che riesce solo ai grandi.
One of the great 'near-future' science fiction films and definitely one of the better political thrillers of the '90s, this vision of a terrorist attack via hijacked planes pushing a gentrified city towards marshal law is alarmingly prescient, to say the least. The long lyrical montage of military force watching over tokyo, mostly reflected in monitors and windows, is enough to argue for early Oshii's lasting power.