In the history of anime, there are certain films that have set standards or redefined the genre. In 1990, AKIRA burst forth as the prototype for the new age of animation, but in 1995 its standard of excellence was matched (and some say eclipsed) by a new anime utilizing the latest in digital animation technology - Mamoru Oshii's GHOST IN THE SHELL.

2029 A.D. Technology has made leaps and bounds, enabling humans to advance out to the stars and beyond. Most humans have cybernetic augmentations; computer networks interconnect the whole world. Yet the same prejudices and cultural trappings still exist to undermine the advancement of the human race. In this particular government, the endless rivalry between Section 6 - the diplomatic arm - and Section 9 - the security force - has escalated to a new level. When Section 6 becomes embroiled in an especially sticky situation with a neighboring country, Section 9 solves the problem with a bullet to the head.

Their operative is the beautiful cyborg Major Kusanagi. She has been fitted with so many cybernetics there is little human left, but her ghost - her soul if you will - she holds onto with ferocity. At Section 9 HQ, the latest issue between Sections involves the mysterious hacker known as "The Puppet Master", who has a tendency to stir up trouble by hacking into enhanced humans ghosts and controlling them for his nefarious ends. The tech boys track down evidence of his latest escapade, so Section 9 boss Aramaki sends his squad into action to hunt the hacker down. The trail leads to, of all things, a garbage truck. Seems one worker is at odds with his wife, and a mysterious benefactor gave him the resources to hack into her. So he's using computer terminals along his route to send out hacks. When the trashmen realize the force is onto them, the worker attempts to warn his "Good Samaritan" - the Puppet Master. This leads to a great chase, and lots of carnage. The Puppet Master utilizes a cloaking device and attempts to escape through the market place, but Section 9's burly cyborg Batou tracks him down and disables the cloaking device. This allows Kusanagi to use her own stealth system to get the drop on Puppet Master and brings him down. But the Puppet Master manages to extract his consciousness, leaving a confused and bloody shell of a pawn behind.

Later, Kusanagi 'relaxes' by floating in the ocean. Batou questions her activities; as a cyborg, her body would plummet to the depths if the floats ever malfunctioned. Kusanagi explains it's her way to experience life - to remind her she is still human. Only the unique ability of memory -of the ghost- is what separates human from machine. Back at Section 9, events start to spiral out of control. A mysterious cyborg body has been brought in - a body Section 6 wants back desperately. Does this unknown entity lay a part in the Puppet Master's machinations? How can Kusanagi and her crew stop this master hacker? Hold on tight, because the line between human and machine is about to get so blurred that the idea of what defines identity itself comes into question. The answers Kusanagi finds will rock not only the foundations of government, but also her very soul...

And that's just scratching the surface - this is one complex film. While there is a sufficient amount of action to propel the viewer along, the main theme of GHOST IN THE SHELL is the question of what defines us as uniquely human. The human body has often been compared to a machine, so what if a machine becomes self-aware? Would it then be implausible that the machine would be, in respect, human? What is it that defines us as 'real'? Pretty heavy stuff for an anime film. However, while this philosophical debate is central to GHOST IN THE SHELL, the film never gets bogged down under it's own pretense. The characters are very engaging and deal with these issues as you or I would - it's just another part of life. They still have to chase down hackers, blow up stuff and keep Section 6 in check. GHOST IN THE SHELL is a film that moves right along to the climax, but you'll be thinking about the questions it raises days later. The animation is absolutely stunning. One of the first feature anime films to embrace digital technology, the combination of cel and computer animation brings forth a realism previously unseen. Oshii and his crew make GHOST IN THE SHELL a true landmark film which others aspire to become.

The picture quality of GHOST IN THE SHELL is superb; the wide screen version allows one to embrace a totally new viewing experience. The vivid colors draw the eyes into the film; every cel is saturated with detail and complexity. So much happens it's worth a second look just to catch details missed the initial time. Audio is treated on the same high level, with attention to sound placement (see it in surround to get the full effect) and an effective musical score. The English dub job is handled very well. The actors obviously have a deep respect for anime and insure their performances fit the film appropriately. In this special edition of GHOST IN THE SHELL, there are many extras included. Two features examine the production work; one is an American featurette, the other a Japanese short. Both are worth viewing, as is a series of character profiles. Included as well are a bio on the original manga creator, a director bio, and trailers for the second GHOST IN THE SHELL movie and TV series. Manga Video has also thrown in a host of trailers, web links and catalogs for their other anime titles - no surprise there.

Every few years a film comes along that redefines its genre - in 1995 that film was GHOST IN THE SHELL. Ten years later, its impact hasn't diminished, either as the standard for Japanese animation, or as a complex, engaging movie that questions our very indentity. If you want to understand what your anime friends are going on about, GHOST IN THE SHELL will show you the power of anime. And if you consider yourself an anime fan already and haven't seen GHOST IN THE SHELL, well, you're a poser. Animated films come and go, but GHOST IN THE SHELL is a true landmark that will inspire generations.

Ya get the idea I kinda liked this one?