Visually stunning in my opinion, if Blade Runner was an Anime, this would be it. You can actually find a lot of similarity between this and the cult classic Blade Runner. GiTS as it's more widely known has a massive following throughout the world, based on a Manga by Masamune Shirow (Appleseed, Dominion Tank Police) and directed by the superb Mamoru Oshii (Patlabor, The Sky Crawlers) he and Production I.G (Animation Studio who have worked on The Matrix and Kill Bill Vol 1) brings use a visually stunning and beautifully animated future noir thriller. Do not let this poor quality dubbed version, stop you from seeing it, you can pick it up for couple pound in your local video store or online. But please watch the original cantonese language w/ subtitles. Better yet get the 25th Anniversay Blu-ray edition, then watch / buy Ghost in the Shell 2 Innocence, then if you can watch the GiTS Stand Alone Complex 1st & 2nd Gig TV series', then watch Ghost in the Shell 2.0 the newly revised 2008 edition. A film everyone should take the time to watch, but sadly not this ruined piece of dribble. Oh and while your there grab yourself a copy of the acclaimed cult classic Akira.

In the 1990s, Ray Kurzweil wrote about his "Singularity" theory - the future when man and computer are wholly merged. His predictions of AI are perhaps only now coming to fruit. This 1995 movie is the original Ghost In The Shell, which I finally watched. Mamoru Oshii's masterpiece, based on a manga by Shirow Masamune, is not only consistent with Singularity theory, but also remarkably prescient. This is the first film to broach the tough question of "what does it mean to be conscious?" in the context of AI (Artificial Intelligence).

Deep dives into the nature of consciousness with a side platter of police action, gunplay and high-speed pursuit. At first glance this may come off as stiff and impenetrable, but like the thematically-similar Blade Runner, Ghost in the Shell offers untold rewards to repeat viewers. The nature of our memories, how they define us, and the dangers of nefarious interference upon them; these are some pretty heavy topics, and it should come as no surprise that it takes some time to really let it all sink in.

Reflective and immersive, the film spends a lot of time ruminating on the meaning of life - both in conversation and in the long, lingering glances of city still-life it indulges upon between bursts of action. In these scenes, Kenji Kawai's magnificent score really gets a chance to shine; haunting and alien, it's a strange beauty and a perfect pairing for the uneasy-in-your-own-skin themes explored by the film. The art direction is a similar brow-raiser, effectively bringing the residents and landscape of New Port City to life in a style that remains loyal to Masamune Shirow's original work while also carving out a bold, fresh identity of its own.

It's rare for a twenty-year-old film about technology to still remain relevant in a modern light, but this one somehow seems even more appropriate today. The advent of smartphones and tablets alone has brought the essence of human interaction up for debate, and this lonesome vision of a near-future Japan now seems hauntingly prescient.

A conceptual powerhouse, it does have faults - far too many stationary talking heads, breathlessly spouting plot points - but inarguably deserves its status as one of eastern animation's cornerstones. I fear its subtlety and nuance will be lost upon Hollywood's forthcoming live-action adaptation.