5 stars - extraordinary
4 stars - exceptionally good
3 stars - good
2 stars - not good
1 star - why
This review may contain spoilers. I can handle the truth.
Some cool visuals and grotesquerie, but really incoherent as a movie. I think it's interesting that the film attributes to modern dance itself the alienation effect some modern dances can/try to induce, so that a movement/period associated with avant-garde, often leftist praxis becomes politically and artistically inverted in this film into the sign for far-right, Nazi-holdout violence. Literally, the dance here is presented to us as the mutilator, when really it's the film that rapid-cuts and narrativizes its paltry dances into a mutilated body-object for its fire and brimstone ritual finale. Weird flex.
Let's be clear: the unconscionable carpet bombings by the US of the Japanese mainland and the use of the atom bomb on Hiroshima and Nagasaki were unimaginable crimes against humanity. At the same time, however, that Japan was the victim of an uncontrovertibly racism-inflected, imperialistic approach from the US, it was conducting its own deeply racist project of imperialism in the South Pacific.
You would not know that from this film.
This film works very hard instead to present us…
oh sure, when hideaki anno runs out of money three times in a row it's "art," but when this prescient work anticipates every multimedia franchise approach of the next 30 years it's "bewildering" and "not a movie" and "an inexplicable series of decontextualized images and scenes within scenes quoted by scenes set to music for no discernable reason", I see!!! Creamy Mami WHOMST? Everyone who wrote their thesis about Vocaloid or otome game CDs or 2.5d fandom can go HOME and hang their heads in SHAME!
(not gonna lie I legit loved this. i NEVER want the full backstory.)