KIDOU KEISATSU PATLABOR 2: THE MOVIE

DESCRIPTION

CAST

MOVIE MechaWXIII Kidou Keisatsu Patlabor
OVA ComedyMiniPato

REVIEWS

• 

  Ari

  90/100
  A cinematic masterpiece of unjust peace

  What elevates a sequel over its original?

  With only a few exceptions, it typically never happens. From the blinding of nostalgia glasses, lack of care and production that made the original great, changing the initial formula ever so slightly to differentiate itself, and the most sinister, but common one of all; a formulaic cash grab with no substance banking off recognition from its predecessor. Sequels can aspire debates from opposing sides of people’s enjoyment and criticism whether or not they are a cinematic success. For a sequel to be considered better, or on par with the original, it has to evolve. While subjective, evolving can mean a number of factors (but not all): A deeper look into the new or continuing narrative that opens up more possibilities, extensive care on improving character development and dialogue, having a more compelling or motivating reoccurring or new antagonist/opposing force, making sure it doesn’t break the established, core formula the original set-up, and presenting new ideas that won’t leave the audience bored or confused.

  Mobile Police Patlabor, the long forgotten 80s – 90s franchise’s second movie, Patlabor 2, is the exception to the mostly true stereotype of a sequel not living up to the original’s heights, and goes above and beyond on how to do one correctly, even being more enjoyable and overall superior to its prequel in the most awe-inspiring and breathtaking way possible. Directed by Mamoru Oshii, with screenplay by Kazunori Ito, Patlabor 2 is an ode to excellence that one may not fully grasp on a first watch. It incorporates and takes inspiration from the many seemingly domestic and international issues Japan was facing at the time of the film's creation, including; the end of the Cold War and the aftermath events, the Japanese 1990 market crash, Japan Self-Defense Forces’ participation in the United Nations peacekeeping operations in Cambodia, and ideas of a military coup 'état due to terrorism, and transform these set ideas into something truly astonishing to witness and soak in while watching, and how basing events in real life to fit into an already set universe is one of the greatest and most riveting, authentic directing approach to make a movie excel in the highest quality possible.

  Taking place 3 years after the events of the first movie, the audience learns first-hand how the military takeover of Tokyo by JGSDF (Japan Ground Self-Defense Force) commences and how martial law taken into effect, implanted with the belief of the JASDF (Japan Air Self-Defense Force) being the prime suspect of the terrorism done with the Yokohama Bay Bridge being destroyed, and the fake video tape used to cover the evidence. With Kiichi Goto, captain of Section 2’s SV 2nd Division, Shinobu Nagumo, captain of Division 1, and Shingeki Arakawa, they’ll seek to find and learn the culprit’s motivations, and put rest to the terror threat. With its stunning and atmospheric visuals, powerful music, and a heavily focused political narrative that moves away from Patlabor 1’s character driven, mostly mecha-action film formula, Patlabor 2 proves that a sequel with such drastic changes into a more mature, dark, philosophical setting and narrative can shine a new light on the creativity and depth of Patlabor’s already established premise, and succeeding into cinematic success with a compelling and engaging story, while also keeping in-mind older fans of the series not left out from these drastic changes the movie goes through.

  Re-occurring characters and majority of the members of Section 2's SV 2nd Division besides Goto and Nagumo have very little screen-time and development than the prequel film, in favor towards establishing a very coherent, yet cryptic narrative with heavy subject matters of war, terrorism, and military takeover. While we get to witness characters maturing and moving on from 2nd Division in a realistic approach, some fans of the first movie may not appreciate this change, considering how fun and diverse the original cast was. With as much character interactions and character-driven narrative aspects the first film used, comprising those into Patlabor 2, in my opinion, wouldn’t have the same overall outcome that made the sequel a much more enjoyable experience, as the change to a dialogue and cinematic-driven narrative is a welcome change to mix up the initial formula of the first Patlabor film and the OVA that came before that. The main antagonist of Patlabor 2 is also a hit or miss for some who grew to really appreciate the depth and ideology of the opposing force in the first film, or have an appreciation for a well-crafted antagonist with clear motivations that drive him/her to proceed with their actions and oppose the protagonist. Patlabor 2 never really has that common occurrence with antagonist, instead rather surrounding their character with mystery and unclear motivations until the very end that are not directly addressed, but scattered throughout the movie their true motivations and purpose. This change, like the lack of character development, was an improvement from Patlabor 1, as being in constant mystery and suspense was more preferable than knowing right away why the main villain is doing what they are doing.

  Thematic, visually impressive sequences and cinematography are scattered and in many numbers all over Patlabor 2. Each shot was delicately and aesthetically crafted into setting up the appropriate mood to drive the narrative forward, while also engaging the audience with very impressive shots. An example out of the many was after the tape of the bridge bombing is found to be faked, the next scene, ‘Wyvern’, establishes a suspenseful, seemingly confusing shot of the culprit attempting to cause panic to the JASDF with a fake attack of the Wyvern planes never being airborne, setting up tension and further explaining the motivations of the culprit behind the terrorist attack incidents. The way the planes moved, the dialogue, and control center all felt authentically real and intimidating. There were many instances when the more suspenseful and action sequences never once made me have to suspend my disbelief like most mecha shows/films do. I consider authenticity to be a very important aspect in these types of works, and Patlabor 2 nailed it with flying colors.

  The next sequence, ‘Just War and Unjust Peace’ is a dialogue exchange between Goto and Arakawa about the contradictions of the supposed peace Japan has been fortunate with ever since the end of the Second World War; with Japan supplying different countries with weapons and military equipment to further the economic growth of their country with the cost of blood. Utilizing very well-done cinematography, and a fantastic track ‘Unnatural City I’ to incorporate the mood, and philosophical dialogue of opposing ideas of what war and peace truly mean, this is one of my favorite sequences in Patlabor 2. It demonstrates the core elements of what the movie is trying to portray to the audience with the duality between what’s right and wrong while also shining a light on characters’ motivations and their philosophy. More sensational scenes that will always be forever imbedded in my mind are the amount of times Patlabor 2 makes use of no-dialogue establishment shots of the setting, establishing the mood and atmosphere to build-up the narrative and tension. Some, but not all, include ‘Unnatural City’, ‘Gunship Attack’, and the final scene of the film. Patlabor 2 made use of constantly keeping me engaged throughout the entire film, having scenes that remain my all-time favorites in anime, achieving so much in such little time.

  While not only leaving a huge impressions with its visuals and cinematography; the music, voice acting, and dialogue all blend in together very nicely to what’s happening on screen. Soundtracks will almost always leave a lasting effect and almost completely outshine the scenes in which they’re in. From the opening cinematic (which also was impressive on its own), to each individual scene going into heavy subject matters along with striking atmospheric ones, the music never once faltered. The voice acting, while some may find it dull, actually works in favor of this movie. The expressionless tone of some of the characters, like Arakawa, establish a mysterious and seemingly ominous aura around his character near the beginning of the film. It would make since too, that, the head police officers of their respected divisions wouldn’t be hysterical and frantic, rather calm and composed of what they’re doing, especially given the philosophical, almost seemingly cryptic narrative each will go into at certain times throughout the film.

  From all the great characters, amazing soundtrack, and fantastic visuals/cinematography, Patlabor 2 truly is Mamoru Oshii’s magnum opus and quite possibly the best Japanese film I’ve seen in my entire life. Do yourself a favor and get invested in this world, you won’t be disappointed.

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• 

  christ4robin

  70/100
  An Effective Allegory—But a Disappointing Patlabor Movie

  Let me preface this review by saying __this movie is worth seeing__. There's a lot to appreciate about it, so I'll start with that.

  ---

  __The Good__

  Directed by Mamoru Oshii, Patlabor 2 confidently exhibits many attributes that would come to be seen as defining characteristics of his work with the release of Ghost in the Shell:

  • Beautiful, highly-detailed, and technically-impressive animation...
    Reflections, shadows, particles, and machinery are paid especially close attention to here. In these areas, it's probably still some of the best work the industry's ever seen.
  • A realistic (and slightly somber) artstyle...
    Character design, coloring, shading, and scene construction all draw you into a world that feels entirely believable yet slightly surreal, the mundanity of a character's surroundings undercut by a muted, warped color scheme that suggests some grimy sublayer just out of sight, a half-illusory feeling of nausea which trails you doggedly. It goes a long way towards communicating and enhancing the movie's message, something the artists deserve a lot of credit for.
  • Thoughtful, mature directing...
    Mamoru Oshii's hand is very easy to observe here, to both positive and negative effect (I'll get into that later). Though it's not altogether different from his earlier style, at this point in his career Oshii's techniques have evolved to become not just effective but distinctive. Every shot carries a clear idea, and they play out in a rhythm that carries those ideas and connects them perfectly. He still has his quirks (fisheye whenever he can get away with it), but they feel like a coherent vision in this movie more than perhaps any other.
  • Goto...
    Isn't this one obvious?
  • Contemplative and creative worldbuilding...
    With the exception of developments in the lives of some characters, the changes that have occurred in the world of Patlabor since the events of the last movie represent a satisfying evolution of its timeline. The implications and specific workings of technology, as well as both domestic and foreign politics, are taken more seriously and represented in greater detail (literally in the case of Labors) than ever before.
  • This scene:
    I mean, look at it...

    ---

    __The Not So Good...__

  I considered putting down something about the strengths of the film's politically-oriented narrative up above—something about how it's "tightly written," or provocative, or thought-provoking, or thoughtful...

  It's hard to decide which of these things it is and isn't. It's clear that Patlabor 2's themes and morals come from a place of sincerity and vulnerability for Oshii, and I'd like to judge the film solely based on their merit, but a number of things make this difficult. First among them is my opinion on the film as a Patlabor movie.

  I'll keep it short because this part is my most biased, but I can't help but be disappointed in how this movie handles the rest of the franchise. The main cast is almost entirely absent, meaning the colorful character interactions which had previously been one of the main features of every past installment are also gone. The series' trademark tonal balancing act between moments of absurd humor and quiet, poignant periods of reflection is abandoned in favor of a more "focused," more "grounded," more "serious" approach.

  Which, even as the "prejudiced fan" that I am, I wouldn't have a real problem with if it didn't feel like it was constantly taking itself too seriously. I wouldn't take issue with either of these changes if I felt they benefitted the movie, but they don't. Patlabor 2 shunts crucial and beloved characters out of the picture to make room for long-winded monologues that hurt both its pacing and storytelling. In a case like this, you would assume the intent is to cut out bloat, but so much feels like it's being told rather than shown that it makes me wonder if, maybe, the movie simply didn't have the right characters to act it all out.

  Bringing me to reason #2: I don't think Patlabor 2 is a great movie.

  This movie falls into the same vein as Evangelion. I appreciate both for how sincerely and effectively they relate the views and feelings of their respective directors, but they do so at the expense of the narrative. Personally, I can't maintain interest in a film that insists on peddling philosophical rants at me without providing a compelling story to back them up. I'll give this movie credit in that it provides context for Oshii's "illusory peace" rhetoric, but it doesn't feel like the proper vehicle; a documentary would've been more appropriate, and much straighter to the point.

  Obviously, I know this wasn't an option for Oshii and his team, and I know the goal was to frame troubling events and ideas within a fictional world that would make them easier to grasp and dissect, but I say this because it feels like it's trying to be one. It brings these topics up without taking advantage of the medium's potential to explore their effect on real people's lives, or at least not to a meaningful degree. Patlabor 2's characterization is shallow, and its plot is far less concerned with propelling the audience's interest forward than it is with being recognizably and painstakingly allegorical.

  Patlabor 2 might be hailed by some as a cinematic masterpiece—I'm not sure I'd even call it “cinematic.” It’s primary achievement is not in communicating a particularly profound political viewpoint through an engaging story that contextualizes it well, but the fact that it made a political statement in a medium where, at the time, doing so to such an obvious degree was unheard of. It's an audacious move, but one that, even then, was better executed by the likes of Miyazaki with movies like Nausicaä.

  What I'm missing: cultural perspective.

  Maybe I can't relate to the characters or atmosphere of this movie because I'm not Japanese, and I haven't lived through whatever experiences would make this movie feel more familiar or impactful. Maybe my definition of what makes a movie interesting is too narrow. Maybe this movie isn't for Patlabor fans. I don't know. Ironically, I think the movie's ending puts it the best:

  

  ---

  __Summary__ I recommend this movie for its technical achievements, but more so for those looking for a spiritual predecessor to _[Ghost in the Shell](https://anilist.co/anime/43/Ghost-in-the-Shell/)_ than for fans expecting a sequel to the first _Patlabor_ movie. I arrived here on the heels of watching _[Patlabor 1](https://anilist.co/anime/1095/Patlabor-The-Movie/)_ and the [Patlabor OVA](https://anilist.co/anime/1288/Mobile-Police-Patlabor-Early-Days/), which are drastically different in tone and objective. A lot of my complaints are influenced by my opinion that this movie doesn't fit properly within the _Patlabor_ franchise, and certainly doesn't feel like a satisfying conclusion to it. I don't hate seeing Mamoru Oshii adapting to a new set of themes and techniques—I think it set him up really well to explore similar ideas in a universe that was much more suited to it, _Ghost in the Shell._ I’m glad it exists. However, as unfair as it might be of me to say, in a series that up until this point so heavily relied on and continually built upon a larger story revolving around key characters and a developing timeline, I can’t help but feel that something was lost by moving in such a different direction. If you like _Patlabor 2,_ I’m glad—I just wish I'd enjoyed it more.
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• 

  Lyadh

  100/100
  The Obsession with Peace

  When I first watched Patlabor 2, I didn't really say much about it, I was actually kind of overwhelmed by the whole deal upon first watch. As my 2nd Mamoru Oshii movie after Patlabor 1, I wasn't really used to the Oshii’s style either but if there was 1 thing I can say is that I loved it, the overtly political nature of it stuck with me. I even looked into post WW2 US-Japan Relations the movie mentioned, and before my rewatch of the movie I went into more media that had this as a topic.

  Patlabor 2 is an audio visual treat, from the animation to the sound design to the pacing of the story itself its extremely engaging from start to finish. It's well executed on every single front even the typical Oshii movie thing of having long sequences of philosophy being spewed out of all the Oshii. It's the most eloquent and there’s a layer of subtlety to it all. The best part is that the movie never seems to forget the characters behind the dialogue. And while not a comedy like the other Patlabor media I have watched namely the first movie and the OVA, its has its comedic moments as well, which feel very natural and sometimes its just frames of Goto, Arakawa and Shinobu staring at a screen while melodramatic travel video music plays. The overall movie is tonally serious but the small humorous aspects like these just sell the whole thing really well.

  

  The animations are also excellent, a clear step up from Patlabor 1, there’s a reason why the section near the start of the movie with Noa operating the Labor is iconic.

  

  From the Jet’s, the labors, to even the blimps are very well animated and designed, the character animation is also excellent, together with the shot selection, I was consistently engrossed in it visually. The way lights and harsh shadows are used during dialogue scenes and often the fisheye effect on the characters keep the dialogue which is also accompanied by wider shots interesting. And All of this is brought together by the excellent soundtrack by Kenji Kawai. The soundtrack matches the pace of the movie perfectly, as the dense and packed plot plays out in the background.

  The movie is also overtly political.

  
  The obsession with Peace

  In Patlabor 2 we see the main antagonist Tsuge at the start, injured after having his whole squad killed in a guerilla attack, he was ordered not to engage the enemy but to flee, the orders clearly given by someone who had no idea of the ground level situation, and someone who just wanted to keep the ideal of not engaging on their own.

  We see this time and time again in the movie, the ground level people are consistently kept in the black and given orders that just don't suit the reality because of the obsession with maintaining public peace. When a phantom plane was used to stage an illusory attack on Tokyo, the government didn't want to say that their system was compromised that led them to be vulnerable for a situation like this. Instead they made sure to ground all the Squadrons at Misawa control who were managing the airspace and arrested their base commander. What could have easily been handled with open communication snowballed into the possibility of a civil war. The Misawa air force base organised a sit in protest followed by numerous SDF forces joining them. And when they used the police to control the situation they even blamed the police for exacerbating the situation. In all of this the Government refused to take responsibility.

  

  Turning a situation from bad to worse as they refuse to listen to the ground level due to their optimism in the peace. The movie even criticises this peace as fake, the whole of the peace is built upon reaping the benefits from foreign wars and as we see by Tsuge’s actions this peace is also a very fragile one. They rolled out parts of the army along with the police to quell the protests and keep the peace as Arakawa said in the movie itself “A State of War in all but Name”.

  

  What's funny in all of this is that the war staged by Tsuge is also not really one, it's meant to shake the complacency everyone is used to,to show them the reality of how it works but it's hardly real itself. He uses confusion to promote his goals.

  And in the midst of this, The Japanese Air Defence Force Marked Helicopters attack communication centres and bridges, and in this mess the US decides that it's time they should intervene in the situation.

  The SDF aren't supposed to be used for anything other than the name suggests Self Defence and in the end Japan is left in a vulnerable position due to infighting which the US is ready to exploit.

  We see just how connected Japan's military is to the US as well. Japan does not intervene in foreign conflicts themselves as we see in the start of the movie with Tsuges squad ordered not to engage, but it does seem to help by deployment.

  Tsuge probably won already when martial law started, but maybe there's more to it,when in the end Tsuge replies that he wanted to see the future of the city, what did he mean, his impact on the city, or just how people return to their normal lives?

  As I understand the movie really supports clear communication both internationally, and nationally between the people on the ground and at the top. It really wants to bring people out of the facade that is the current peace. But I don't believe it supports the creation of a war like state, cause it's the confusion that created the state in the first place. If anything it's pushing people to be more informed. It could be seen as nationalistic somewhat, but I feel that with its major critics of the prosperity brought along by war, it's anything but.

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