This stylish but self-indulgent sequel to Mamoru Oshii’s 1995 anime hit is set 28 years from now, in a caliginous metropolis where lifelike machines outnumber humans. A protracted existentialist meditation disguised as a “Blade Runner”-esque sci-fi thriller, “Innocence” will be welcomed as a godsend by diehard fans of Japanese animation. The typical moviegoer, however, will likely find Oshii’s philosophizing to be far too esoteric. To convince us that we must move away from he believes is our limiting anthropocentric humanism, Oshii uses porcelain dolls and a cute dog as mirrors to our lost souls. Also investigating the meaning of existence — as well as a string of robot-on-human killings — is a burly cyborg cop named Batou. Half-human, half-machine, Batou is handy with high-powered weapons and is partial to quoting Descartes and the Bible. The film is a marvelous blend of traditional and computer animation, but despite its good looks, “Innocence” is done in by bloated outrecuidance.
Originally published in the Santa Monica Daily Press print edition on September 17, 2004. Read the original PDF.