Tag: SF

Alien Resurrection

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★★★½
“Alien vs. Firefly”

It’s not often that a film series manages to recover from – or even, survive – such a disastrous mis-step. But the Alien franchise managed it, though it took five years to come to fruition, and a Really Big Cheque to Sigourney Weaver [reportedly, $11 million, as well as a producer’s credit. The results, while short of the original two movies, are an awful lot better than its predecessor, managing to progress the story, re-invent Ripley and be generally entertaining. However, from a 2012 perspective, it’s painfully obvious that writer Joss Whedon recycled large chunks of the supporting characters, and turned them into Firefly. We’ll get to that a bit later.

It is set 200 years into the future, and begins with scientists on a space-station creating a clone of Ripley, using DNA from blood samples. They also remove the alien queen embryo which she was carrying, growing that, but keep her around for further study, intrigued by her apparent mix of human and alien DNA that’s giving her unusual powers [not unlike the way Alice fuses with the T-virus in the middle Resident Evil movies]. Docking with them is the Betty, a ahip operating on the fringes, which is bringing the scientists some meat popsicles in which they can incubate more aliens. Annalee Call (Ryder) appears to recognize the threat Ripley poses, and tries to kill her – but it’s too late, as the aliens have escaped their containment facility. Ripley and the crew have to team up, to try and fight their way back through the station to the Betty, which is the only means of escape left.

That’s an improvement in terms of a storyline over 3, simply because it is one, and provides a skeleton upon which a good amount of interesting ideas and fun sequences can be built. Jeunet came to the movie from some visually-striking French films, such as The City of Lost Children, and there’s a much better sense of cinematography apparent here – it’s a striking contrast to Fincher’s approach, where it appears his main direction to the DP was “Darker. Make it darker.” Here, you can see what’s happening: particular standouts include the first confrontation between Ripley and the Betty crew, in the basketball court, where Ripley sinks a long-range shot behind her back [legitimately done by Weaver], and a lengthy underwater sequence, where you’ll probably find yourself trying – and likely, failing – to hold your breath.

But the central idea is the one of Ripley now being something more than human, and Weaver has a great deal of fun with that, playing as if she’s half a beat ahead of everyone else, and completes her transition by no longer being scared of the aliens. It’s them who need to be scared of her, and again, I’m reminded of Milla Jovovich in the RE series: more than human, and yet, less than human at the same time. There’s even a creature with the proportions the other way round – monster with a touch of human – like Nemesis from RE: Apocalypse, and it was no surprise to read that Paul W.S. Anderson was one of the many directors considered for this (Danny Boyle, Peter Jackson, Bryan Singer and David Croneberg beinh among the others). I briefly drifted off to speculate on the possibility of an Alien vs. Resident Evil cross-over; would probably have been a lot more fun than anything involving Predators.

As noted, what’s startling are the parallels between the Betty and the Serenity, from Whedon’s show Firefly, which came out in 2002. Both operate on the edge of legality, with a small crew of oddballs: Capt. Frank Elgyn (Michael Wincott) is somwhat less sympathetic than Mal Reynolds, but in both you have a captain/first-mate/pilot trio of two men and a woman, two of whom are in a relationship, plus a mechanic from an unexpected minority (there, a woman; here, disabled). If Perlman’s lumbering mercenary Johner isn’t a blatant dry run for Jayne Cobb, I don’t know what is, and there’s more than a touch of mechanic Kaylee Frye to be seen in Annalee. Writing as someone who found Firefly no more than a passable timewaster, it’s amusing to see Whedon was stealing from himself. Still, if you’re going to plagiarize, best use your own work, I suppose.

Oddly, Whedon hated this finished product almost as much as Fincher did the third, saying, “It was mostly a matter of doing everything wrong. They said the lines…mostly…but they said them all wrong. And they cast it wrong. And they designed it wrong. And they scored it wrong. They did everything wrong that they could possibly do. There’s actually a fascinating lesson in filmmaking, because everything that they did reflects back to the script or looks like something from the script, and people assume that, if I hated it, then they’d changed the script…but it wasn’t so much that they’d changed the script; it’s that they just executed it in such a ghastly fashion as to render it almost unwatchable.” It seems likely that’s why he recycled so many of his characters for Firefly.

It’s far from perfect, however. The biggest flaw is Ryder, who is completely unconvincing, and not a patch on her predecessors [if you’re thinking, “What predecessors?”, there’s a clue in the initial letter of her character’s surname…]. I wasn’t too fond of the way the film went in the final act, and the human-alien hybrid is neither convincing nor scary. It’s damn hard to believe that Whedon came up with five endings, and this was the one Jeunet picked as the best. But, really: after the dismal failure which was part three, it was a major relief to see something even semi-competent, which managed to sustain my interest (okay: consciousness) much better, and be generally entertaining.

Dir: Jean-Pierre Jeunet
Star: Sigourney Weaver, Winona Ryder, Ron Perlman, Dominique Pinon

Alien 3

  By

★½
“Lost in space.”

“No one hated it more than me. To this day, no one hates it more than me.”
— David Fincher

Few films have had such a troubled path to the screen. The story of those struggles, and the various versions of the story generated by William Gibson, Eric Red, David Twohy, Vincent Ward and others, is probably worthy of an entire separate article. For now, we concentrate on what finally came out, but let’s quote writer Rex Pickett:

“I was hired by 20th Century Fox four weeks prior to the start of principal photography… First on my agenda was a complete rewrite of the second half of the Walter Hill/David Giler screenplay due to certain major character and narrative changes mandated by Walter Hill. Once that was accomplished I was to attend to the first half and write an amalgamated version which was to include scenes from their draft and new scenes that I wrote. Thus, the resultant screenplay – particularly the first half – contains scenes that I was instructed to include whether I wanted to or not.”

The end result is every bit as awful and borderline incoherent as you’d expect, given the circumstances. At the time, Fincher had no feature-film experience. He was known almost entirely for music videos, particularly for Madonna – when it was announced he would be helming the third part, I recall idly wondering if we were going to see the aliens in pointy bras. That isn’t quite the case, and it does make more sense in the light of Fincher’s subsequent work, from Seven through to the The Girl With The Dragon Tattoo remake. But it’s worth considering that neither Ridley Scott nor James Cameron had worked on a large-budget sci-fi flick before their entries – Cameron had made The Terminator, but it was low-budget, at barely one-third the cost of Aliens. Both seemed to deliver a more consistent vision, though I suspect neither suffered from the copious degree of studio interference apparently seen here.

Right from the get-go, the script basically junks its predecessor. An emergency on the spacecraft bringing Ripley, Newt, Hicks and Bishop home causes it crash-land, with Ripley apparently the only survivor. It’s a near-derelict former prison planet, which was about to be decommissioned, but the inhabitants, under spiritual leader Dillon (Dutton), opted to stick around, under minimal supervision. They’re none too happy to have a woman dropped into the middle of their society, and a message is sent to request Ripley be removed as soon as possible. Needless to say the Weyland-Yutari Corporation are more than happy to oblige. However, it soon becomes clear that Ripley was not the only living thing to escape the crash, as local residents start turning up “diced.” When it’s confirmed, through Ripley re-activating Bishop, that there was indeed an alien present: destroying it is necessary, not only to survive, but also to stop it from falling into the hands of Weyland-Yutari.

You can almost take Aliens and this, using them as point-counterpoint examples, of how you should and should not handle almost every aspect of genre film-making. Aliens built logically upon what had gone before, but this throws it all out the window, apparently making the rules of engagement up as it goes along. Aliens was a near-textbook example of how to create supporting characters with a few simply brush-strokes, giving them character and motivation: this has very little beyond a bunch of unlikeable bald-headed monk/prisoner types, with absolutely no reason provided for the audience to care about anyone beyond Ripley, as they get picked off. The pacing is terrible too, with little or no sense of progression or any significant twists, beyond the one that Ripley finds out about herself. And that makes no logical sense, given what we learned about the alien’s life-cycle in the first two movie. Everyone – Ripley, the prisoners and even the marauding alien – seems to be in a holding pattern, waiting for the corporate ship to show up so something (pleasegodanythingatall) can happen.

Without wishing to give away too much about the finale, it bears more than a slight resemblance to the one used by Aliens director Cameron in Terminator 2, which came out the previous year. He later told the BBC, “I couldn’t stand Alien 3 – how they could just go in there and kill off all these great characters we introduced in Aliens, and the correlation between mother and daughter. It stunk.” So was the similarity coincidence? Or did Cameron see a script during the long, pre-production process and opt to swipe it, to thumb his nose at the makers for basically jettisoning his entire contribution to the series? I’d like to think it was the latter, but suspect it was indeed one of those Hollywood flukes.

However, it’d be no better than this massively disappointing movie deserved, with Fincher and co. literally making it up as they went along. The first time I saw it, was on Hollywood Boulevard in Los Angeles, its original theatrical release coinciding with a trip to California. I fell asleep. 20 years later, I saw it for the second time, in the comfort of my own home… I fell asleep again. As Oscar Wilde might have said, “To lose consciousness once, Mr Worthing, may be regarded as a misfortune; to lose it twice looks like carelessness.”

Dir: David Fincher
Star: Sigourney Weaver, Charles S. Dutton, Charles Dance, Brian Glover

Running Delilah

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★★
“Cast better than the material, in female version of Robocop.”

Agent Delilah (Cattrall) is undercover investigating arms dealer Alec Kasharian (Voyagis), and his connection to Palestinian terrorists [this was 1993, when people were concerned about such things]. At the behest of her handler Paul (Zane), she copies a floppy-disk containing vital information [I repeat, this was 1993, when an entire arms dealer’s business would apparently fit on a floppy!], but she’s discovered, shot multiple times, and left for dead. Paul drags her Swiss cheese-like body back to a secret government lab, where she is repaired, upgraded and generally enhanced in terms of speed, power and other abilities.

Initially, this is the subject of some emotional trauma, as she is understandably shocked to discover a Terminator arm where her own used to be. So she breaks out, roaming the streets, and proving to be a nasty surprise for sleazy low-lives. Though her creators probably need to work on the insulation thing, since her arm seems to short-circuit in the rain. That’s government work for you. Naturally, she eventually gets her act together, and the agency boss (Rigg) sends her and Paul out, to bring Kasharian to the justice he so richly deserves. This being a TV movie – or perhaps a pilot, it’s not clear – there are no prizes for guessing how this pans out.

And that’s the problem. No prizes, no surprises either, and precious little in the way of invention or inspired execution that could lift this up above the humdrum, with director Franklin (best known for Psycho II) unable to add enough impetus to proceedings. The only thing that redeems this are the decent performances from the leads, who manage to give this more impact than the material deserves – it was particularly cool to see Rigg, who played one of the prototypical action heroines. Emma Peel, in the mid-60’s. Any scenes that are memorable, such as Delilah shattering all the windows in a hotel, make absolutely no sense, and the parts that make sense, aren’t exactly memorable.

Dir: Richard Franklin
Star: Kim Cattrall, Billy Zane, Yorgo Voyagis, Diana Rigg

Helldriver

  By

★★
“Conclusive proof that more is not necessarily more…”

I think I am officially over the whole Japanese uber-splatter thing. Either that, or I just don’t like Nishimura’s approach. He has been behind the last couple of examples I’ve seen (this and Tokyo Gore Police) and neither have reached the heights of te better genre entries. At 117 minutes, this is even more overlong than TGP and, to be blunt, I fell asleep before the end. Oh, there’s no lack of stuff going on, as we’ll shortly see, and certainly no shortage of arterial spray. However, neither of them make any significant impression, on either the emotional or visceral levels.

Kika (Hara) comes home to find her father being eaten by her cannibalistic mother (Shiina) and uncle; Mom has designs of dining on daughter too. However, this is interrupted by a meteor which blows right through her chest. No problem: she’ll just rip out Kika’s and stuff it into the hole. Dust, apparently related to the meteor, spawns a zombie epidemic which forces the government to wall off the top half of Japan, though the zombies grow antler-like tumours, which are much in demand for the psychedelic high they induce when ground up and ingested. Meanwhile, Kika is rescued and given an artificial heart which also powers her chainsaw-sword. She is sent into the infected zone, along with her associates, to take out her mother, who has now become the queen of the zombies.

Yeah. Like I said, it’s not short on “stuff.” However, none of this is explored in any meaningful way, and the uber-low budget ($600K) is stretched thin, with most of it going on gallons of corn syrup and obvious latex prosthetics. There’s certainly no shortage of imagination on view – witness the vehicle made entirely out of zombies – but it’s operating in a vacuum, and it may be significant that the opening credits don’t appear until 40 minutes in. The fight scenes, while plentiful, are badly assembled and rarely memorable. The length here is less necessary, and more an exercise in desensitization, and long before the final mother-daughter confrontation, the arterial spray will have lost its impact.

Dir: Yoshihiro Nishimura
Star: Yumiko Hara, Eihi Shiina, Yurei Yanagi, Kazuki Namioka

The Hunger Games (film)

  By

★★★
“Not as good as the book. There. I said it.”

Ok, it has become the biggest-grossing action heroine film ever at the US box-office. So there’s that. But truth be told, it’s not actually all that good. Sure, it’s impressively-staged, and Lawrence does very well with a role. But there are a number of problems, even as it follows the great majority of the novel. If you’re not aware of the plot (and didn’t read our book review!), I’ll summarize. In a future dystopia, every year the 12 districts in the US submit a teenage girl and boy to the capital, where they battle to the death in a televised spectacle. This time, the resourceful hunter Katniss (Lawrence) volunteers, after her younger sister is selected; she and her male counterpart, baker’s son Peeta (Hutcherson), have to go into battle with the other 22 contestants knowing only one can survive.

At 142 minutes, it’s likely too long, especially as almost the first half is taken up with the pre-game activity, which is distinctly low in thrills. Even once the games start, the action quotient is fairly low, with Katniss seeming do a lot more creeping around on her own. That’s fine in a book, which can fill things up with internal monologue, but it’s not the case in a movie. And what action there is, is badly-shot to the point of utter confusion. There were also a couple of changes from the book that weakened it: the rule change in the middle seemed more of a convenient deus ex machine than in the novel, where it flowed naturally from the Katniss/Peeta alliance, and the genetically-engineered creatures which appear at the end originally were described as being created to look like the fallen competitors, a marvellously horrific touch. In contrast, the movie doesn’t add all that much, in style or content.

On the plus side, I did enjoy Lawrence, who creates exactly the sort of strong, resourceful heroine we need more of, in all media. Unlike certain young adult book series I could mention, she doesn’t seek or need male approval or assistance. In fact, Peeta is basically a wuss, who would be dead without someone stronger to whom he can attach himself – it’s a beautiful bit of role-reversal. I also enjoyed a lot of the supporting characters, particularly Harrelson as the former winner turned alcoholic mentor, and Stanley Tucci as the TV interviewer who, I suspect, is much smarter than he seems. We should also remember that this is the first part of a trilogy, so probably needs to engage in more scene-setting. We’ll see whether the rest of the series can deliver a better handle on the action, while sustaining strong elements, such as the excellent lead.

Dir: Garry Ross
Star: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

Tokyo Gore Police

  By

★★½
“The middle word in the title is easily the most applicable. Far and away.”

In the near-future, Japan is plagued by “engineers” – criminals who have voluntarily undergone genetic modifications, which not only mutate their bodies in bizarre ways, but give them near superpowers and the ability to sprout weapons from their wounds. To combat this, the privatized Japanese police force under their chief (Benny) has an absolutely no-holds barred policy of shoot first, ask questions… Well, don’t bother asking questions. Their top “engineer hunter” is Ruka (Shiina, whom you may recognize from Audition), the daughter of a police officer who was killed in the line of duty while she was just a young girl. She is tracking down the scientist behind the engineers, known as “Key Man” (Itao) because of the key-shaped tumours which trigger the mutations. But when they meet, he infects her – and also reveals the truth behind the deaths of both their fathers.

The most obvious parallel would by Robocop, not only in the cautionary tale of law-enforcement run for profit, but also the sardonic commercials which pepper proceeding, showing how brutal society has become [here’s an example, for a wrist-cutting knife]. It’s against this backdrop that the cold, to the point of being emotionally-dead, heroine plies her trade, troubled by a past that she can’t forget. Shiina is certainly good at that kind of role, but it’s more or less a one-note performance, that doesn’t provide much reason for the audience to empathize with her. However, I get the sense that, as far as director Nishimura is concerned, characterization is probably not quite the main thing he’s concerned with here.

That would, instead, be the splatter, which goes to a whole new level, even by the outrageous standards of the genre. The arterial spray is so copious and powerful that, at one point, an engineer uses it to propel himself about, like a haemoglobin propelled jet-pack. That pretty much sums up the tone to be found here, with body parts also flying when not attached to their owners. It’s arguably the goriest movie ever made, though I’d have to re-watch Peter Jackson’s Brain Dead before I can be certain on this front. However, there isn’t quite enough to sustain it, especially at a fairly extended running-time of 110 minutes. While there no shortage of surreal imagination on view (like the creature which has had all four limbs replaced with samurai swords), and it’s undeniably the most OTT of its siblings, this probably works better as a party tape, playing in the background for your next Halloween bash, given its apparent apathy towards more conventional cinematic attributes.

Dir: Yoshihiro Nishimura
Star: Eihi Shiina, Itsuji Itao, Yukihide Benny, Shoko Nakahara

The Gene Generation

  By

★★★
“Well, I guess it’ll do until Neuromancer shows up.”

In a dark, grim future, Michelle (Ling) is an assassin, taking out DNA hackers for pay. However, her income is drained as fast as she earns it by her Jackie (Shen), her brother, who has a gambling addiction. To try and pay off his mob debts, he breaks into the apartment of their next-door neighbour, Christian (Newman), a renegade DNA hacker himself, and steals a device on which he was working. The “transcoder” can take a subject’s DNA and, more or less, rewrite it, thereby having the potential to end disease – yet it could also be turned into an enormously destructive weapon. Needless to say, when word gets out that Jackie has this device, everyone wants to get their hands on it.

I liked the visual style, even if it’s so Blade Runner, that Ridley Scott should be cut a fat cheque for its use. And Bai Ling may be in her forties, but is still capable of kicking ass in an impressively competent (and occasionally hyper-bloody) manner: witness the way she disposes of a bunch of evil minions, surrounding her, guns pointed, in about two seconds flat. Let’s just say, Cleric Preston would be impressed. Throw in some impressive industrial beats – VNV Nation leader Ronan Harris provided additional music – and you’ve got something that, at its best, is a very nice slab of cyberpunk.

However, the weaknesses are both severe and obvious. The plotting is clunky and muddied: it’s based on a comic-book (The DNA Hacker Chronicles), but some apparently important points are not explained, while others that appear important are never mentioned again. Jackie is also incredibly annoying; it wasn’t long before Chris and I were wishing a rapid death on this entirely unlikeable jackass. If the film-makers had been wise enough to find another, entirely separate way of bringing Michelle and the transcoder together, we’d have been a great deal happier.

The negatives and positives operate in sharp contrast to each other: the good stuff is really very good, but the bad moments are on the “root canal” level. The unevenness left us with a sense of wasted opportunity; the elements were there for something with definite cult-classic potential. However, they simply succeed in making the failings all the more obvious.

Dir: Pearry Teo
Star: Bai Ling, Parry Shen, Alec Newman, Michael Shamus Wiles

Assault Girls

  By

★★
“20 minutes of acceptable entertainment gets stretched very thinly.”

A loosely-related sequel to Oshii’s last live-action film, Avalon, this is similarly set in a VR world, and muses on the relationship between real life and game life. This one is a lot less populated; there are only four people in it, roaming a desert landscape, with the targets being giant sandworms (think Dune) and the “boss” Madara, the mother of all sandworms, whom the game helpfully informs contestants, cannot be killed single-handed. The four get together to launch an attack on it, having agreed to split the game reward equally. Is that quite how things are going to turn out?

That’s it, plotwise: describing the story as “slight” would be an insult to slight things. Opening with a burst of the most pretentiously incomprehensible voice-over in cinema history, this is only 70 minutes long, but still manages to outstay its welcome. This is mostly due to horrendous pacing; we watch one character do nothing but sit and fry breakfast for several minutes, while there’s an interminable sequence in the middle, where the characters trudge around the game landscape and stare at a snail. I get the point: these are archetypes depicting different styles of game player. No, really: I get the point. Move on. Please. I was ready to gnaw off a limb to escape, by the time that ended. Matters are not helped by the characters largely speaking English, apparently phonetically, and without much grasp of meaning. I’m pretty sure I’d not win any Oscars performing in Japanese, and while one admires the effort, couldn’t Oshii have found actors with some ability in English as a second language?

Things do perk up in the final act, when Jager (Fujiki, the only male) and Gray (Kuroki), have a battle over how the spoils will be divided. She kicks his ass, to his increasing annoyance. And I certainly appreciated the visual style here, which is easily the best component on view. This, along with the potential in the idea, saves it from being a total waste of your time, and I would not be completely averse to a further installment. Just as long as someone else writes the script.

Dir: Mamoru Oshii
Star: Meisa Kuroki, Yoshikatsu Fujiki, Rinko Kikuchi, Hinako Saeki

Samurai Princess

  By

★★½
“Whoever knew arterial spray could be so…dull?”

Ok, “dull” is perhaps not quite the word, but Chris voted on this one with her closed eyelids and heavy breathing, and I was struggling to avoid joining her, despite some impressive ideas. It’s set in the Forest of Infinity, a strange locale where past, present and future all seem to merge. Hence, you’ve got renegades with samurai swords and Buddhist nuns and a party of a dozen young women whose paths cross with the former, resulting in the rape and death of 11. The un-named survivor (Kishi) is rescued by a scientist who creates mecha – cyborgs – and he uses the organs of her friends as a core to rebuild her, with the nun adding their 11 souls. The new super-powered samurai princess goes after the killers, and then Red Dragon and Butterfly, who instigated the murders in the name of what they call “art.”

It’s not as good as it sounds. I think it’s a lesson that gore, no matter how impressive, does not make a “good” film, because plot and characters still matter. That’s where this falls down, with too many scenes between the blood-letting that fail to go anywhere. It’s a huge letdown, especially after a undeniably spectacular opening ten minutes, highlighted by the heroine turning her breasts into a sort of ‘flying guillotine’ device that she shoots out on a chain and… Well, you gotta see it. [And, since the whole thing is now legally available through Youtube, feel free to do so. We’ll wait here.] But beyond that, the script wanders off on tangents, like the two female detectives apparently hunting mecha builders, with muddied motivation for a lot of the characters and performances which, too often, rely on pulling faces in place of acting.

It’s a shame, as I liked the concepts, underexplained as they were – is the Forest of Infinity anywhere near Versus‘s Forest of Resurrection? – and the fusion of elements from different periods. However, it felt as if the makers concentrated all their efforts on the gore effects, and that will only work if your entire running-time is composed of these. Though at times it felt like this was the case here, it wasn’t so, and the makers could learn from other, better entries on matters like pacing and characterization.

Dir: Kengo Kaji
Star: Aino Kishi, Dai Mizuno, Asuka Kataoka, Mitsuru Karahashi

Black Magic M-66

  By

★★★½
“Aliens meets The Terminator in a brisk, head-on collision.”

Shirow has certainly done his fair share of anime works that are regarded as classics – his best-known creation is probably Appleseed. This is from relatively early in his career; indeed, coming out in 1991 made it one of the first anime to be ‘properly’ distributed in the West [and, by that, I mean subtitled and not cut down for a child audience]. It centers on the titular pair of military androids, who are released after their transport craft goes down in the middle of a forest. The army cordon off the area, which draws the attention of Sybel (Sakakibara), a reporter, unwilling to let anything stand in the way of her story. She witnesses a hellacious fire-fight in which one ‘droid is destroyed, while the other escapes, and discovers the goal for the android is to kill the inventor’s young grand-daughter, Ferris. As the only person who knows the current location of the daughter, it’s up to her to save the child.

Barely half the length of an average movie, this fairly gallops along, towards an extended climax in a high-rise block, where Sybel is the only thing left standing between the relentless robot and its target. This is when the film is at is best, with action sequences that wouldn’t shame most Hollywood action movies. Less successful – in fact, basically absent (admittedly, no real surprise given the running time) – is any real effort at developing the characters. We know Sybel is focused, because she leaves her apartment with her camera, yet forgets to put on clothes. That’s about the extent of it, and she is the best-served of anyone in the film; Ferris, for instance, does little but squeal in an irritating manner. It’s also a product of its time: originally made in 1987, animation has changed radically in the more than two decades since, and the style now looks somewhat clunky, especially when it tries to simulate camera movement.

Still, the storyline holds up nicely, and given America’s fondness for remaking Japanese genre films, one wonders why they haven’t bothered to mine the animation vaults further [though Speed Racer probably acts as a good counter-argument!]. It’d certainly be very easy to see this as a James Cameron movie.

Dir: Masamune Shirow
Star (voice): Yoshiko Sakakibara, Shinji Ogawa, Yû Mizushima, Chisa Yokoyama