Jin-Rou

This movie is artistic animation. It does not have caricatures of people, use stereotypes to aid character development nor is there enough dialogue for easy digestion of characters feelings. The picture is thick of emotionally charged imagery and reflection, more clear and direct than can be done in live action. For example the fire bombs at the beginning and the reaction of the officers, the tears on Kei's face and breath of Fuze after running all cause connections with the audience instead of the usual detraction anime has.

Things like what Fuze is brooding about constantly are shown as glances into the character, ... you really have to be following the story to understand anything about the characters. Motivations and subterfuge are the grips of the story after viewing.

The animation is dry, on a color scale you would say that there are no 'warm' colors. Much like done in The Matrix or Gladiator, the lack of color is definitely intentional but still loses marks for art rating (made up for in char/enj).

Then there's the story, its very simple yet extremely complicated to piece together as-you-watch-it. I had particular trouble with understanding the back story, its not necessary and only briefly covered by prose. As the watcher this creates alot of interest to me, I am not given the required information to understand the entire situation going on in the government but still take blind leaps of faith into the characters, trusting them as genuine. I do not know if the good guy won in the end or if the country is worse off. But this isn't to say I felt a lack of resolution, I am very content in the story.

The character development is extremely interesting in this story, the use of imagery to portray characters as heroic, frightened, or animalistic in nature is wonderful. To play into the red riding hood theme you can clearly see at times the animation giving birth to wolf like qualities, or with the girl showing true meakness, frailty and confusion. The short dream sequence is quite graphic and horrible to fathom in reality, but shows the truth behind the story setting and how things felt to Fuze.

Hot breath dissipates into the cold night air, with muffled grunts escaping the shape of shadowy figures. Under the moonlit sky, nothing is seen but the stark red glare of a misshapen beast. Nothing is heard but the synchronize march of a predatory unit on the prowl. Nothing is felt but the lifeless icy grip of steel, held firmly by the dispassionate monstrosity as its crimson gaze locks onto its target. And nothing is smelt but the cloud of gunpowder, the pungent sting of sulfur assaulting the tongue, as the mist hovers over dispensed chrome casings smeared in the blood-soaked remnants of The Wolf Brigade's ... prey.

And as the moon cascades into its slumber and the sun perches itself on the thinly veiled horizon, a new figure emerges. Under the pitch-black headgear and ghoulish red frames, the wolf reverts back to its original form. The predator is gone, leaving a man in its place. This is the tale of Jin-Roh. The tale of a lone wolf.

Like an urban mythos being brought to life, Jin-Roh wisps the viewer up and sends them jettisoning into the unknown. A place where alternative Japan find itself in a state of civil unrest. Tension builds, tempers flare and riots break out in the damp decrepit streets. In an endless pursuit of unattainable justice, the people has had enough and violence is the only ultimatum that would voice their grievances. But standing between them, the bureaucrats that dip their probing fingers into their pockets and the satisfaction of unadulterated vengeance, are the Kerberos Panzer Cops: an elite counter-terrorism group tasked with oppressing and carrying out capital punishment against any individual or organized body that threatens the stability of Japan's government.

With swift precision and unwavering conviction, they descend upon the detractors. Giving no time for pause and leaving no room for sympathy, once their fangs sink in, there's no letting go. No pleading for mercy. No hints of empathy. Just the transparent hand of the pack delivering the gavel with a devastating blow.

But despite the atrocities committed by this unit in the name of justice, when their impenetrable armor is removed, what's shown are people that turn out to be surprisingly human, sober in their awareness of their cutthroat methods and expected duties. And it's this unmasking that introduces us to Kazuki Fuse; a man who isn't completely unified under the pack's objective, and the one we follow after an incident brands him with a hellish memory that he cannot erase — witnessing a girl taking her life by self-detonation right in front of his eyes. He could wash away her blood stains but he can't rinse away the permanent scar left on his psyche. And so the wolf is ousted from the pack, shedding his animalistic tendencies in search for answers far greater than himself and for a truth far crueler than the actions his pack partakes in.

More often than not, the best stories of fiction tend to be the ones that tell universal truths. These are the stories embellished with themes and life lessons that beckon back to real world scenarios. They adhere to primal instinct and timeless constants, making them tales with longevity beyond the topical comings and goings of contemporary media. Fairy tales are by far the most elementary example of these kind of stories. Originally starting out as a form of storytelling intended for listeners of all ages (as its original German term of "Märchen" meant "little story"), it's only in recent centuries that they've been narrowed down to being featured primarily in children's literature. And while not very common anymore, we still get rare cases of fairy tales being aimed towards a much older, intellectual crowd. Jin-Roh is one of these rare occurrences. It took the basic structure of the folktale, Little Red Riding Hood, and retrofitted it into a gripping tale of betrayal, yearning desire and fulfilling one's purpose.

But the movie is about much more than that. It's about coming to terms with the choices you have to make. Forgiving yourself, even when doing so only serves as self-pity for the defendant. It's a story about humanity's sins and how we go about dealing with it. But perhaps more important, Kazuki Fuse's sins and his willingness to carry that cross, even if it means discarding what little humanity he has left in the process. And in an almost ironic twist of faith, Fuse find himself coming face to face with a woman bearing a striking resemblance to that of the suicide bomber that set him on his journey to begin with. And so begins the warped tale of their uncanny relationship and the dreaded path they're destined to follow.

Originally intended to be a live-action film from Mamoru Oshii's Kerberos Saga manga, it was later decided that it would undergo the animation route instead, with Oshii hiring, who was at the time, an up-and-coming key animator and future frequent collaborator, Hiroyuki Okiura, in what would become his directorial debut, to help see Oshii's vision through. This decision to switch from live-action to animation was perhaps the best move that he could have taken for the project, as it allowed the movie to flourish in ways that only the boundless freedom of anime could allow. But since the screenplay was intended for the live-action treatment, we're given techniques and refined storytelling that's often reserved for that medium in particular. Jin-Roh, as a result, was an animated film that took the best of both worlds.

This was immediately noticeable with the hyper-realistic anatomical structure of all the characters introduced, the dark hues and lush layered color of the matte paintings that loomed in the background, the meticulous attention to detail to even the most minuscule of objects that found itself littered throughout each scene, and in the movement of the shifting environment that our characters find themselves traversing across. All of these attributes placed Jin-Roh in a realm rarely achieved by other animated features. It's a lived-in universe independent of the viewer's gaze and awareness of it. An almost tangible form that's just out of reach.

Scattered with motifs that beckon back to the classical Red Riding Hood folktale and other parables that were gracefully interwoven between these time-stamps of unkempt tranquility, Jin-Roh rides the thin line of heady content, while still being an enthralling thriller planted firmly in the realm of theater. It walks this tightrope effortlessly, stringing us along with it. And with the violins slowly creeping into the mix and the unnerving thump of drums that echoes the heartbeat of the city, the time spent here becomes symbiotic with our living quarters. Immersion that blurs the line of augmented reality and the screen that keeps us staring through the looking glass.

But the truly memorable moments blossoms when everything else takes pause, leaving the audiovisual cues and actions on screen to do the legwork. It's the mechanical thud of the Brigades' footsteps ringing out in the distance. The heavy breathing and frantic staggering of the prey, feet sloshing through the echo chamber of the sewage canal. Wind interspersing between follicles of hair, faint glimmer of cold sweat hanging off the chin. Beady eyes jutting frantically at its final glimpses of color, right before the thunderous clap of gunshots ring out, metal slugs tearing into the soft tissue of an unwilling participant. These are the moments that Jin-Roh becomes more than just a movie; it becomes an experience. Moments that keeps us under its spell, only to find ourselves snapping out of it when the credits begin to roll and our reflection enters the frame.

In-between all of this, we're given several stories meshing together into one cohesive piece. One of which is a game of cat and mouse carried out by several law-enforcing agencies within the government. Fuse finds himself caught up in the power struggle due to his connection with the Wolf Brigade — a secret subsidiary of the Kerberos Panzer Cops. Each of these agencies partakes in this charade of comradeship with fingers crossed and daggers pointed at each others' backs. But the Public Security division gets more than what they bargained for when their prey bites back. Political subterfuge is met with bloodshed and Fuse find himself at a crossroad that will forever alter his course.

A decision rests in his hands. Forbidden love or the special armed garrison that makes up his pack? Would he challenge the narrative, that red thread of ill-fate that binds the wolf and red-hooded woman? Or will he succumb to the natural flow of the world and snuff out the warmth he's found? And here we're forced to stand, in the ironclad boots along with Fuse, as the weight of his decision presses down on his shoulders. Hard-body wrapped around the soft, warm embrace of fragility incarnate. Time is up. An answer must be given. And we're all held hostage to hear the final verdict.

Jin-Roh never lets up, it keeps the viewer entrenched in the underpinnings of its universe. No stone is left unturned. No emotion is left unaccountable. It presses forward, taking us down every avenue along the way. By the time we're met with our final destination, every nook and cranny make itself known unto us. The world of Jin-Roh shows its hand without so much as flinching in its decision. We're left mentally exhausted but amply rewarded. And while there's no comfort assured to us at the end of the journey, there's a feeling of finality that gives us a chance to exhale burden-free.

But that blessing isn't extended to our man-at-arms.

Despite his best efforts, Kazuki Fuse will always be an outcast. He could walk upright, intermingle with the faceless masses, carry on trivial conversation and be just another sheep guided by the invisible hand of bureaucratic meddling. But when all the masquerading is over and the sun retires for the moon's return, Fuse finds himself facing the truth once more. The sheep's clothing is tucked away, blood-lust coats his throat, and his true nature, the wolf, is revealed once more.

Jin-Roh stands as one of the most visceral and haunting viewing experiences I've had in all the years I've spent consuming titles in the anime medium. There are moments here that still leave me with goosebumps from just reminiscing about it. Oshii's prowess for strong, uncompromising storytelling and Okiura's dedication to seeing it brought to life, made this a pairing on par with the unified work of other established duos in the medium like Yoko Kanno and Shinichirō Watanabe. It was a cerebral experience that knew when to land the emotional punches and when to rein it back to let the impact settle in.
And as far as an anime goes, Jin-Roh's shadow dwarfs the efforts of most animated films I've seen up to this point. There are even moments that I believe outshines Oshii's magnum opus, Ghost in the Shell. It's truly impeccable craftsmanship. A title that won me over with its opening sequence alone.

"We are not men disguised as mere dogs. We are wolves disguised as men."

Haunting, relentless and often contemplative, Jin-Roh brands its viewers with an unflinching look into the hidden folds of humanity's perpetual sin. It's a powerful romanticizing of a classic tale but done so with a modern twist. With powerful imagery that becomes ingrained into your subconscious, and a potent message that opens up the channels for meaningful discussion, Jin-Roh will go down as an unsung classic that will be appreciated by those fortunate enough to experience what it has to offer.

Story:
An incredible wealth of potential wasted on hand-holding the audience into a waste of time. There's a constant motif of this narrative being symbiotic to Little Red Riding Hood, and while this is a cool thing at first, it's played to death over and over as the narrative continues. Virtually nothing new comes forth from this motif, and because it's crowding the run-time with over expository allusions, there's no room for characterization, world development, or memorable sequences. What crawls out from this hot mess is something that's more brawns than brains.

There's no real goal any of the characters are trying to achieve. It's not that ... I needed any aspirations clearly stated for me, but since this narrative forsakes visual allusion for blatant dialogue expository hand-holding, it was strange for the writer to conveniently forget to explain what it is the cast of characters each individually want. I'm not asking for a wealth of subplots, but by doing so, the writer could have created a world I could connect with.

For instance, the first 10 or so minutes of this film are fantastic. There's clear evidence as to what everyone is doing and why. Then, upon Fuze killing the girl, the film starts to go downhill. It becomes impossible to really understand what anyone wants, why, and how they're going to go about doing it. From then on out, it's a matter of guess-timating and accepting what takes place merely because the film says so, not because the characters or anything around them would naturally do so.

And, upon the film's final moments, nothing really comes to fruition. There's no message, theme, or value to be retrieved from the narrative. Because it fails to properly create anything other than visual pleasure, the project fails to do anything than that.


Art:
The animation here is incredibly solid. Many times it felt like watching a live-action. Not because the images were so realistic, but the motions themselves looked great. Characters do more than sit still. They look around, brush their hair to the side, turn their head to the side, tap their foot. It all feels very real and based on an immersive intention.

The backgrounds feel lively, but as the film progresses, things are re-used and less interesting. It's as though the film halfway decides to put anything new aside and return to the old stuff we'd seen before. It's not a super big deal, but considering how gorgeously dystopian everything looked I will admit that I was disappointed to not see anything new halfway in.

Characters look marginally different and realistic. Some anime like to hyperbolize features, but this film is definitely grounded in realism with its designs.


Sound:
An excellent, wonderful soundtrack. I only had issues with one song, and that's because it didn't sound as good as the others, but was still pretty great.

Sound effects were all very good and felt fitting. Unfortunately, they used a stock bullet effect that sounds unbelievably unrealistic. It's used in so much stuff and I still have no idea why. It sounds terrible.

Audio levels for the dialogue are all pretty great. Things sounded solid and I thought the VA work was quite exellent.


Character:
I don't care about anyone. Nobody has any character at all, and nobody has anything to care about anyway. The only reason this isn't a 1/10 is because the use of motifs for the 2 lead characters is still cool despite it being executed horribly.


Enjoyment:
I couldn't wait for it to end during the last 10 minutes. The whole project was downhill after the end of the complicating incident's scene. If I ever watch this again, it's just that beginning part. After that, I'll turn it off.

I will, however, definitely be listening to that soundtrack again. It's excellent, and I'll be damned if anyone ever thinks it's no good. It sounded absolutely beautiful, somber, and sobering. If anything, the music has the potential to recover such a boring work. However, this was still plagued with far too many errors in regards to its execution. Such a shame.


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What a unique and interesting movie...

Jin Roh tells two stories. One is the one where the main character becomes the center key to a dispute between the police forces. The second one puts the protagonists in the shoes of the characters of an older and darker version of a famous story. While we are watching the first and main story, we are slowly taken through the second one. The stories to not clash, they combine and depend on each other to exist. The second one is easy and provides most of the character development, while the first one provides the setting and the introduction ... and development of secondary characters. Although not bad at its roots, the movie makes the story over complicated and doesn't manage to fully fledge it out. The amount of information we receive during 100 minutes is too unequally places and vast. It doesn't help that the major opposing factions have similar names. This does not help the characters either. The ending is very good and deep, yet unable to fully give us a conclusion. We finally see the truth about the main character and the second story comes to a conclusion, while the first one is somewhat left hanging.

The style of the animation makes the characters look very realistic and less anime like. It's a win or lose situation as the style may not appeal to every viewer, but it was an excellent thing to do. It also looks old, but once again it does not stand out as a bad thing. Both of these things add to the visual experience, and truthfully it is hard for me to imagine this movie using a different animation style.
I found it interesting to note that there are almost no bright colors. The movie shifts back and forth from washed out exteriors, to the dark sewers under the city. The only brighter color is the one from the 'eyes' of the Panzer Cops.

The sound was very good. Most of the background music was well places and did its job perfectly. The voice actors were nothing spectacular, though well chosen.

There is something else about Jin Roh, that doesn't feel right though, something that keeps it from being an excellent movie, yet rising it up to being an above than average movie. I cannot explain what it is... This is one of those movies that I need see only once and be able to forget it by the time I start watching something new, yet still remember it and its most shocking moments when the right time arises.

Is it worth watching? This depends. It requires quite a bit of patience, understanding, curiosity and a liking of the genre, but watching it will definitely not be a waste of time.

Well animated and there is a good story (albeit a complex one) at the heart of it but it's so slow and the characters seem so unemotional it's hard to care about what's happening on the screen by the time it reaches its fascinating if rather depressing climax. There is a good film in here somewhere but it's just presented in such a dull and uninvolving way that it seems like a wasted opportunity.

Jin-Roh, I've had this on my to-watch list for sooo long. Finally sitting down to enjoy this anime, my interest was initially piqued by the distinctive animation, and mixed with the intense realism of this sci-fi film, I instantly thought Jin-Roh would be great.

The story has direct parallels with that of the Grimm fairytale little red riding hood (not the watered down disney version), however there is no woodsman that arrives to slay this wolf. What I found most compelling about this theme in Jin-Roh is the idea that someone that you thought you could trust with your life could turn out to be a ... wolf in disguise; I've toyed with the idea that this is also referencing the Japanese government (then and now), or simply lovers and friends.

The animation is what first captured my attention, they actually look like real people! No gravity-defying hairstyles, eyes that would cause serious problems in a sandstorm, or bodies that could in no way hold 7m of small intestines. The use of Volkswagens, German style guns and the Panzer Cops wearing Stahlhelm helmets could simply be put off as the usual Japanese obsession with everything German. However in this context it reflects the political fears of the time, a fascist German takeover being all too real in 1960's Japan. The CAPO troops appear to be a reflection of the special police force formed after WWII, mainly because they were forbidden to raise a standing military force and simultaneously pressured by the US to prepare for communism.

The music is dark and molds itself well to the intense story and characters, however I don't think I'll remember it like I do other soundtracks.

Kazuki Fuse, the main protagonist is the tall, dark and brooding type who struggles with his loyalty to the wolf brigade and the last vestiges of his humanity. With the encouragement of Kei Amemiya his humanity is slowly revealed but is continuously beaten back by the interference of Atsuhi Henmi and his associates. It is an interesting note that Fuse's character can in the end be compared to the overwhelming conformity of the Japanese people, even when the political and social norms are due for revision.

All in all, Jin-Roh is one of the most compelling anime I have seen to date. It is further evidence that a truly great fiction must be in some way the truth, it must convince us that this could be applied to our reality, that its laws can be applied to us. I guess that's what you'd call a paradox. Jin-Roh has been one of the few anime that has actually compelled me to get up and find out what the hell is going on! (alongside FLCL)

Fairy tales have always been an interesting subject of discussion. Is there some sort of premise or bits of realistic semblance behind these mysterious tales or were they simply crafted as a thrilling form of entertainment for our wandering imaginations? Little Red Riding Hood is a classic tale that most have been exposed to, most likely in their adolescence. Whether it be the actual source material or some other variation the story stays relatively linear. Jin-Roh: The Wolf Brigade takes Little Red Riding Hood and spins it into a heavy, serious, and gritty story about deception and politics. In this particular case I don't believe ... Little Red Riding Hood, though without a doubt symbolic, would be the right title. This particular story reflects more of the title: 'A Wolf At the Door.'

Watching the story of Jin-Roh progress felt both nostalgic and relieving. Why do I say that? Amongst the waves and waves of moe anime released with every new season, there is a perpetual need of more mature themes to be thrown into the mix from time to time. Because of dwindling amounts of serious, mature anime, it's become exponentially more difficult to find many anime which are intelligent and thought provoking; this is why I look to older animations.

Jin-Roh: The Wolf Brigade breathes life into its mature themes by loosely using Little Red Riding Hood as a template. There are also loose adaptations from history as well, such as references to World War II, political figures, and Nazi influence(s). By taking issues such as the psychological toll of taking a life, betrayal, terrorism, and political coups, it's undeniable that Jin-Roh is a very serious animation. Unfortunately, it's also not a perfect film. While the movie is good at capturing a heavy, serious mood, it also suffers from a lack of definitive pacing. The pacing varies throughout and takes its sweet time in reaching its conclusion and climax. I believe that Jin-Roh also drowns a bit in somewhat seemingly forced references to Little Red Riding Hood; it's almost too much. The ending of this fairy tale isn't a blissful one, but it certainly is satisfying in its own ambiguous sense. Patience truly is a virtue.

If mature, political themes don't quite appeal to you, then at least the animation that this film offers will. Production I.G. is well known for their quality of work and it's very apparent in Jin-Roh that no punches were withheld. The animation and art is both stunning and detailed for its time. If you're into animation then look no further; Jin-Roh provides an hour and a half of visual eye candy. Sound quality is also quite good. It does its job at adding suspense and a supporting thrilling element into the fray.

As far as characters go, I was hoping for a little more development and depth to characters besides Fuse. Fuse is extremely detailed as a character and you're able to see his inner turmoils expressed vividly. While characters genuinely feel realistic, it's also hard to empathize with anyone other than Fuse simply because they're used to further along the plot rather than given time for development. It's not necessarily bad with all things considered, but it definitely left a little more to be desired besides that of which is implied through symbolism.

Overall, Jin-Roh: The Wolf Brigade is well worth the watch for anyone who is looking for a more mature animated film. It's a brilliant story depicting that the hunters kill the wolf in the end only in fairy tales.

I had great expectations for Jin Roh. However, after watching it I felt like a restaurant customer who was served a great appetizer and dessert with a merely decent main course.

STORY:
The general idea reflected in the story is an intriguing dillema. Unfortunately, at some point in the middle of the movie I had the feeling that its true potential was not realised to the end. Betreyal, loyalty, love and necessity are the key words for a great plot, yet in case of Jin Roh not all of them were the work of a true genius.

Some of the scenes (opening and ending acts in particular) are ... carved into memory the same way an sculpturer carves his work in stone, whereas others are better left forgotten.

The references to the popular story of the Little Red Ridding Hood add depth to the story, and that is one of the strongest points of this production.

The internal game between the central and local police is also interesting, though it lacks those great twists and turns, which one can expect from such a game of chess.

What brings the story down a notch is the relationship between the two main characters, which from time to time seem to be speaking different languages, because of what the emotional connection between them is lost.

Cocluding, the great potential held is not fully realised and what we get in return is a very good story, but without the element, which makes the viewer want to become a part of it.

ART:
Personally I found most of the art perfect. Especially the dark backgrounds are worth noticing, the desing of the special soldiers is remarkable and gives the image of a hell-born warrior.

The characters are design in fashion which makes them resemble natural human beings. Unfortunately sometimes, in emotional moments their faces don't give the impression one might expect.

Since emotions are crucial as well as voice acting, for they build the image of the particular character, despite the great background art I, with great regret, feel bound not to give more than a very good mark for the art.

SOUND:
The music is amazing, in pair with the background art it makes the impression as if we watched a couple dancing.

The voice play is very good, though the protagonist sometimes seems to be off his game. Besides him, all the other voice actors are doing a good job, though it does not get close to what one could describe as greateness.

CHARACTERS:
This the worst element of the picture. Supporting roles are more memorable than the main pair. While watching the two main characters in action I had serious problems establishing a lasting emotional connection with them. Simply speaking sometimes they get to you perfectly, but that connection is severed just a few minutes later.

Because of this, in the character department Jin-Roh performs fair. If it wasn't for the supporting roles I would have no regret to rating it even lower.

ENJOYMENT:
The story and art are very good, some might say great. The sound is trully creme de la creme. But the characters are more than one level below what you would expect from such an intriguing storyline. Therefore, they have negative impact on the enjoyment of the whole picture.

At one point you are completely involved in what you're watching, yet at the other you're just hoping that this boring scene will end as soon as possible.

OVERALL:
If you're not into all those police drama, betrayel, deadly game stories Jin-Roh is a great movie to watch. But if you hold some expectations before watching related to the particular genre of the production, you'll get a good show, though without any fireworks.

jin roh is the specific type of garbage anime movie that anime fans will point at to say that anime can be serious, and this movie is seriously boring. a masterpiece of animation that could only be created by someone with a lot of script that they had no idea how to make interesting other than animating it.

the main character's name is fuse and he's a rogue cop with a short fuse in my ideal world. however in the movie he's a standard muscle protagonist type 2 with some ptsd, this does not characterise him in a way that is remotely interesting and i'm also ... quite sure it's an inaccurate portrayal of said ptsd. also movie twist but giving a reason for being a boring piece of shit does not excuse a character being a boring piece of shit. the other character is girl i dont care about + some politic guys.

animation wise i'd say this genuinely suffers from being animated too much in some places, you get the cool shots with lots of movement and then you get the terrible awful shots where nobody moves at all for twelve seconds. sound was unremarkable at best.

maybe i just didn't understand this movie, that's quite likely, honestly this isn't my kind of movie but we did decide to watch it even though i PERSONALLY voted for pokemon movie number destiny deoxys. jin roh is a stupid poopy movie for stupid poopy babies who like drinking poop sewer water from a sewer with poop in it, i'd recommend genocidal organ which was this movie but with infinitely funnier grammar.

they stole the armour from fallout new vegas 3/10 plagiarism is bad.

Jin Roh.. how can I explain it? as expected from this superb director you get a masterpiece movie, why?
Everything fits together to create this unique experience, you start by watching the background story, the development of the events, and when you reach the end everything is unveiled. The story seems good, nothing exceptional, but this is just part of the experience. Expertly guiding the viewer through the events leads to the extraordinary climax at the end, releasing all the bottled up emotions carefully placed in your mind through the characters. Only at the end you will understand what is all about and understand how amazing ... the movie is.
The soundtrack isn't much noticeable except the ending theme that accompanies the realization after the shock you just witnessed, it just feels right to let it play while rewinding and going thru everything that happened.
Everything else is just superb and this is one of those pieces of art that no one should miss, anime fan or not be sure to watch it.

Using animation as a medium often excels when the story calls for extravagance or impossibly fantastical setting and characters to literally jump out at it's' viewers.
Trying to paint drab, depressing pictures with such a palette would seem to be a confusing choice or worse, an exercise in futility.

Jin-Rou makes a profound statement with a quietly unsettling score, visceral images and clipped dialogue.

The ambiance that passes between scenes and the characters wandering a lonely landscape does an excellent job of complementing the film. The art works in much the same way, with people framed realistically and expressing themselves with very believable energy and poise.

The ... characters themselves are withdrawn and unhappy people; sympathetic and pitiable, mis-guided and naive, all kinds of very believable qualities that are superbly acted as well.

This movie makes up a quintessential part of the "Adult" section of animation. It sports no lewd jokes or exploitation of sex in extreme, but deals with the quiet, forlorn sadness of a doomed relationship and individuals destroyed by their respective groups.

I WILL NOT ABRIDGE THE STORY IN ANY WAY, BEING THIS A (SHORT) REVIEW FOR THE ONES WHO HAVE ALSO SEEN THE MOVIE.

"Jin-Roh, The Wolf Brigade" is an old movie, and its characters' drawing style and primitive animation won't surprise anyone, but neither is that, nor the competent soundtrack, the reason why I'm truly unsatisfied.

Then, why did I score it with a 5?

Well, the movie starts with a brief explanation of the stories' context that does not impress, and I felt bored since the beggining, but then became progressivly attached to my computer screen as the first 45 minutes roled... The recorrent memories ... of the terorist girl, Fuse's relation with a woman that says she's the suicide-bomber's sister, the military dialogues and street riots: everything pointed Jin-Roh as a movie that should enter to the Hall Of Fame of japanese animation.

However, Jin-Roh lost itself and became one of the biggest cinematographic mistakes ever made in Japan, and that happen no more, no less, than in the sudden moment where a prostituted version of Little Red Cape started to enrole the part of mantra in almost everything Fuse did in the second half of the movie.

And like if that wasn't already enough, the pseudo dramatic ending (an absolute failure of a tearjerker) only confirmed the self-destructive tendence that Jin-Roh had been pointing out since Little Red grabbed the horsereins of the movie: Fuse's "friend" dies, the picture book she had given him drowns in mud... Well SO WHAT?

These are the reasons why I scored "Jin-Roh, The Wolf Brigade" with a 5.
Now that I've unleashed the angst from 1 hour and 40 minutes of Jin-Roh, I'll see if I can get some food. I just hope my meal doesn't start tasting like garbage when my dish is still half-full.

If I hear one more Little Red Riding Hood allusion, I am going to lose my mind. You know a movie's commitment to a metaphor is in trouble when you're yelling, "Okay, okay, we get it already!" at the screen - and you're only thirty minutes in.

I think a large part of my gripes with Jin-Roh is that it's a tale of inter-and-intra departmental conspiracies and coups, but it's hard to care when said governmental agencies (and, really, the setting at large) are so hazily sketched out. This is the kind of storyline right at home in the world of Ghost in the Shell, but ... there Public Security Section 9's place is clearly defined (and, unlike here, filled with a memorable cast of characters). Fuse, our main character, suffers from PTSD over the course of the film, but it feels like the impact of his inability to shoot a young terrorist, and the soul-searching the incident sparks in him, is minimized because we have no idea what he was like beforehand; we just have to take his and others increasingly ridiculous claims that he's a "beast" or a "wolf" at face value even though all evidence points to the contrary. It doesn't help that the central metaphor is so belabored that it becomes grating and hard to take seriously the more the film drags on.

There's some beautiful animation on display, with sequences reminiscent of The Third Man's delirious final chase in the sewers being a particular highlight, but they can't carry the stilted script. Perhaps this would have benefited from a longer adaptation that could have better fleshed out the world and its inhabitants instead of cramming everything into a tight 100 minutes. A bad movie is one thing; a bad movie with so much care and craftsmanship on display is damn near heartbreaking.

Jin-Roh, The Wolf Brigade is a excellent political, romance, drama that is guaranteed to not disappoint. It comes very close to being masterpiece, but it is held back by poor character development.

What version of the film did I watch:

I just re-watched Jin-Roh on Blu-Ray the 2012 released limited press edition that includes both the Japanese, and English audio. Just a quick note about the blu-ray the quality difference is not very noticeable between the dvd, and blu-ray it is not a huge improvement in any way. The limited press version does come in a very nice white blu-ray case, and the menu's are great.

The Review:

... Jin-Roh is a fantastic movie set in post-war Japan that is a political thriller, as much as it is a tale of forbidden love. The story of the film is good it keeps you wanting to watch, and is very original in it its own ways. On the other hand though it is not like tales of forbidden love, and terrifying police forces are anything new. I would say it is a unique original take on something we have seen in many other films, and series. The story is also quite depressing there is little in the film that is gonna give you a good feeling the story is very dark through to the end.

The art in the film is very good it presents a Japan that is moving into the modern age with the scars of the past still very present. From the slums, to the downtown, as well as the countryside are all very well done. Even in the dark sewers where some of the best actions scenes take place the dark overlay of the film is well balanced with good lighting to make what needs to stand out stand out. Overall the film artwork is very dark, but the lighting of the scenery, the bright flashes of the firearms, and the brilliant explosions offset this dark tone. The only issue I had was with the explosive residue in some scenes which has a tendency to make things a little unclear.

The soundtrack of the film is filled with pieces that match well with the artwork, and overall story of the film. The action sequences, story sequences, and dream sequences all have their own specific pieces which help to bring them to life. The soundeffects in the film are some of the absolute best, the splashing of feet as the police run through the sewers, the sound of the special units armor as they run, and the heavy breath of combat come to life. One of my favorite sounds in the film is the MG42 'the Special Units main machine gun' which high fire rate makes for a chilling noise of bullets raining down on their targets. The sound the bullets make on contact with their targets is also top notch.

The character development in the film is good until the story pans out you start to really feel for the main character in the story for the first 3 quarters of the film. However as the whole plot comes into play most of the romantic development, and character development is kinda thrown out the window to some extent. Don't get me wrong the ending is in no means a bad ending, but you can't help but feel like you never really knew the characters like their true development was all off screen.

Overall Jin-Roh is a very enjoyable film that will leave you feeling sad, but with a great feeling of satisfaction. The great artwork, sound track/effects, and story make for a great unique film that is hard to find anywhere else. I only wish the characters had been developed a little better, as that is the only thing holding this back from being a true epic.

Jin Roh is an anime adaptation of a part of the long-running multimedia series called Kerberos Saga, whose author, Mamoru Oshii ( director of Patlabor 2 and Ghost in the Shell ), was the main driving force behind the production of the movie, having previously directed two live-action adaptations of the same saga. Oshii was responsible for writing the script, but the direction was handed to Hiroyuki Okura, the animation director of “the big two” – Akira and Ghost in the Shell. The sountrack for the movie was composed by Hajime Mizoguchi ( who also wrote the soundtrack for the widely popular Escaflowne series ), ... with a guest star appearance from Gabriela Robin: aka Yoko Kanno ( whose name should more than ring a bell- her works include the soundtracks for Cowboy Bebop, Escaflowne: the girl in Gaia, Wolf’s Rain and GITS Stand Alone Complex series ). So, it’s got a big budget, lots of big-shots are involved with the production, and it’s an adaptation of a large and successful multimedia franchise –a formula for a Holywood-style cash-cow blockbuster. But Jin-Roh is not that. It’s a carefully constructed and complex story of love, political rivalries and social upheaval. In every scene it is clear that the movie was made with a lot of love and care for every detail, from the story and characters to the setting and visuals.

Produced by Studio I.G., who also worked with Oshii on his previous films Patlabor 2 and Ghost in the Shell, Jin Roh is nothing short of spectacular when it comes to the quality of its visuals. Interesting fact here – Jin Roh was the last major anime feature film made using traditional hand-drawn cel animation only, with no CGI whatsoever, causing the production to drag on for three whole years. Thankfully, the end product was worth the time. Due to the subtle use of brown in almost every scene, the movie leaves an impression of being shot through a sepia filter ( giving it an “aged” look to complement the historical setting ) while not actually sacrificing any of the colours as would be the case if it were really made with a sepia effect. Use of colours and shading is superb, and together with the highly detailed and realistic artwork that brilliantly depicts the turbulent streets of the late 50s/ early 60s Japan, the art direction manages to immerse the viewer in the movie to such an extent you’ll forget you’re watching an animated, and not a live-action movie.
The setting of the story is an alternate reality in which Germany, instead of America, occupied Japan after the end of WW2. Because of this the country is filled with Germanic influences, fashion and technology ( for example MG-42 machine guns and Volkswagen Beetles ). All of the weapons, vehicles and uniforms are very faithful to their historical real-life models, and the street scenes are meticulously drawn and incredibly well animated, making the setting one of the most atmospheric yet at the same time vibrant and realistic, in any animated movie I’ve ever seen.
But if I had to pick a single highlight of the visuals, it wouldn’t be realistic backdrops or the fluid animation; it would be the character designs.
Anime is notorious for its unrealistic, albeit distinctive, character designs ( not that the majority of Western animation is much better, often opting for a “cartoonish” look, i.e. caricatures ). While there are many exceptions to this rule, even the shows that have very realistic art ( e.g. basically anything from Studio Madhouse ) tend to feature at least some stereotypical anime elements in the designs of their characters, like the eyes half the size of the face, crazy hair colours, spiky hair, disproportionate limbs etc. Feature films are on the more realistic side when it comes to character designs, especially those made by Studio Madhouse ( e.g. Millennium Actress ) and studio I.G., but Jin Roh: the Wolf Brigade wins hands down when it comes to realistically portraying people in anime, especially the native Japanese. Every character, from the main cast to the regular mooks, are given a detailed life-like look, with a lot of attention payed to conveying their emotional reactions in a natural and realistic manner, which is of great importance given the emotional nature of the story. Combination of realistic character designs and highly detailed and well animated set pieces and backgrounds creates a unique and truly mesmerizing viewing experience and the film’s level of immersion in its world can only be matched by a handful of other anime movies, like Ghost in the Shell and Princess Mononoke. All in all, the visuals get a perfect score, which is to be expected seeing as they were made under the supervision of the man who brought us the visual orgasm that is the Ghost in the Shell movie.

However, to set the atmosphere and enhance the impact of the emotional moments, the movie needs a good score, and it has to be used it properly. As a yet another testament to the love and care that was put into this film, the soundtrack more than achieves this, setting the tone for every scene brilliantly. From the violent clashes between the protesters and the police to the intimate moments between the two main characters, the music is always spot on, and the opus ranges from minimalistic pieces that only play a supporting role in setting the tone and atmosphere for the particular scene, to large, dominant and memorable orchestral pieces for the few grander events.
Of particular note is the song played over the ending credits, performed by Gabriela Robin ( which is 99,9% confirmed to be just an artistic alias of Yoko Kanno ), and one of my personal favourite pieces in all anime soundtracks. The vocals are both haunting and very melancholic at the same time, sung in a language Kanno made up herself ( several pieces in the GITS SAC series also feature this “language” ), and the song fits the mood of the movie perfectly. Recommended for repeated listening.

As for the voice acting, you can really go either way, as both the sub and the dub are equally good. Ocean Studios have to be commended for the quality of their English dub, especially since most of the dubs at that time were not that good to say the least. The adapted script is extremely faithful to the original, especially since a significant portion of it consists of third-person narration. The casting is spot on and the voice actors manage to keep the essence of their characters as they were portrayed by the Japanese seyuu, while still bringing something distinctly “English” in their performance. Another reasons why you can try either the sub or the dub ( or both ) is that both have a distinct advantage and at the same time a shortcoming compared to the other. Both the themes and the setting are essentially Japanese, so listening to the characters in English takes a little bit away from the atmosphere. On the other hand, reading the subtitles moves your attention a little from the gorgeous art and animation, so opting for the dub will allow you to better immerse yourselves in the movie’s visuals.

As opposed to the universally acclaimed animation, art and music, the story and writing have been splitting the opinions of both critics and fans alike ever since the movie’s been released. And, to an extent, I can understand those who criticise Jin Roh, as it’s a film that makes itself a bit hard to like. The pacing is very slow and deliberate for the most part of the movie, the plot can occasionally be hard to follow and some of the plot twist can feel a bit forced. But are these few flaws in story-telling detrimental to the overall quality of the story itself? No.

Jin Roh combines the narrative of the traditional works of literature and a plot of a political thriller to discuss the themes of democracy, power struggle, social upheavals and is ultimately a harsh and cynical critique of Japan’s modern history and problems plaguing its people to this day. The entire movie is basically just one big allegory for the real-life Japan of that time, and the film’s nature as a fictional allegorical critique of the present day’s issues and problems is strikingly similar to the Wachowski brothers’ film adaptation of “V for Vendetta”.
In the movie’s timeline, after the end of WW2 Japan wasn’t occupied by the Americans, but by Germans, and their influence on the country is strongly felt even years after their withdrawal. While it is highly unrealistic to say the least, replacement of the US with Germany as the country who occupied Japan serves two important purposes. By taking the Americans out of the picture, the movie makes its setting more alien and enhances the feeling of this being an “alternative” reality in order to make the allegory at least a little more subtle ( similar to V for Vendetta which is a criticism of Bush’s America despite being set in the UK ). But more importantly, aside from its role to obfuscate the fact that the movie criticises the US involvement in Japan’s domestic politics during the post-war period, replacement of America with Nazi Germany of all countries ( instead of more realistic candidates like China or the USSR ), is an allegory in itself. The references in Jin-Roh to Germany taking over Japan parallel the political fears of the time, where many left-wing political factions thought that the ultra nationalists and militarists were returning to power. These fears were exacerbated by the assassination of the head of the Socialist Party of Japan, Inejiro Asanuma while he was addressing the Japanese Diet on live television. Fears were further exacerbated by the current head of the Japanese conservative Liberal Democratic Party Nobusuke Kishi who was a convicted war criminal.
The turbulence and uncertainties of the real-life Japan in the late 50s and early 60s are mirrored in the movie but are exaggerated and exacerbated to bring the point across more easily. This Japan is a land of great economic disarray and violent social unrest, brought on by the fragility of its political system and very aggressive economic policies of liberal capitalism that aim to achieve rapid growth and allow Japan to rejoin the developed world, regardless of the human and social costs. This results in frequent and violent clashes between the various militant groups ( who latter rally to form a single group called “The Sect” ) and the authorities, who set up a paramilitary force of their own, the “Capitol Police”, whose Special Unit becomes notorious for its ruthlessness and violence in dealing with the insurgents. The Capitol Police are an analog to the special police forces that were set up in response to the Article 9 of the 1947 Constitution of Japan, which prohibited Japan to deploy any offensive military force, as well as the political pressure from the US to be prepared to fight the threat of Communism. By the 1960s Japan had set up a virtual military under the title of a police force to circumvent this law. This form of military is exaggerated through the Capitol Police and its Special Unit in Jin-Roh. The protesters are all in reference to the anti-ANPO student groups of the 1960s, who primarily protested against the 1962 “Treaty of Mutual Cooperation and Security between the United States and Japan” that allowed for tens of thousands of American soldiers to be stationed in Japan even after the end of US occupation, but also fought for improved labor conditions and changes in economic and social policy.

The final piece of allegory is in the form of the main character, Kazuki Fuse, a member of the Special Unit who finds himself in the middle of a conflict between various government organizations in their struggle for power ( namely between the Special Unit on one side, and the leadership of the Capitol Police as well as other security and police forces on the other side ) after he fails to prevent a terrorist girl from blowing herself up, which thwarts the Special Unit’s security assignment during a large clash with protesters. Fuse is sent back to training after a disciplinary procedure, but the thoughts of a young girl killing herself in front of him continue to haunt him, so in order to find a peace of mind he decides to visit her grave. There he meets a girl who introduces herself as the deceased girl’s older sister and the two gradually form a romantic relationship. Their relationship is central to the plot of the movie, but also, and even more importantly, to its main underlying message.
I’m going to spoil things just a bit here and say that their relationship ends tragically. As previously stated, Jin Roh employs the traditional tales to better frame and narrate its own story. While the nature of the relationship between the two has parallels with the classical tragedy of Romeo and Juliet, more important to the film’s allegory is the old fairy tale Rotkappschen ( Red Riding Hood ), a traditional oral tale which was written down by Jean Baptiste Victor Smith in 1870. This interpretation predates the popular version by the Grimm brothers, and is the only one in which the protagonist visits her mother instead of her grandmother, and features the "clothing made completely out of metal" as found in the Jin-Roh version.

The movie keeps bashing the viewer with this tale to the point where Kei Amemiya, the terrorist girl’s sister, literally takes the book out of her bag and gives it to Fuse. The film’s lack of subtlety in drawing the parallels between itself and the fairy tale is jarring in comparison to its other allegories and messages, and there’s a reason for it – obfuscation. The lengths to which the story goes to make sure you get that Kei is the Little Red Riding Hood and Fuse, or rather the Special Unit, are the Big Bad Wolf, are taken to cloud the main point of these parallels; that the main focus of this story isn’t Red Riding Hood, but the wolf, or more precisely, the pack of wolfs ( Special Unit ).
The entire story of Jin Roh, and primarily its parallels with the political situation in Japan in the late 50s and early 60s is an allegory to the current state of Japan which was ruled by the LDP continuously from 1955 to 2009 with very little political opposition. This lack of opposition is shown by Fuse's inability to break from the "pack" in which he belongs, thus criticizing Japan as an overly conformist society unwilling to accept change even when times warrant it.

This brings us to the end of the review, which means it’s time for the final verdict. A superb achievement of Japanese animation, Jin Roh is a work of art in every way. Crafted with love and dedication, it excels in visual, musical, narrative and thematic departments. Slow pacing turns out to be a positive element in hindsight, and the occasional forced plot twist is easily forgiven once you watch the movie and realise that the political games only play the secondary role to the well written and even moving relationship between the main characters and the allegorical meaning behind it all. A sadly under-appreciated movie considering its quality and importance, largely due to the fact that it requires a substantial knowledge of the Japanese history to fully appreciate it. Nevertheless, watching Jin-Roh is a very rewarding experience and I highly recommend it to anyone and give it an 8,8/10.

Well that is some misleading cover picture. I myself at least expected a well done action Anime seeing the kind of death-troop like figure on the cover picture. But it turns out this is more then a well done movie, but I would not go as far as to say they are many action sequences in this.
Movie starts of with a brief introduction about the kind of world the story taking place in, turns out this is a rather realistic version of our own world, all this drawn in incredible detail. Some splendid work done here. The characters themselves also have ... a realistic look, not the anime type look you would expect. So art wise it’s the bomb, how about the story?

A bit more complicated. You are not given so much information about the different groups (government, anti-government), and more then once I was waiting for answers that were not really given. The movie kind of wants you to figure out a lot of things for yourself.
Bottom line is that anti-government groups fight the government. The government that created some sort of “elite” force to get rid of the networks of underground movements trying to overtrow them.
The movie breaths a sense of “realism” you hardly see in Anime. The violence that does show sometimes is also shown without compromise. Not really a problem cause violence or not, this is no movie for a child, it would be fair to say they would label it as “boring”.
So if you are into movies that can have that artsy-feeling, show a alternate version of our world that actually could be. Then dig in, you will not regret. This is almost a true masterpiece, almost..

"Jin-Roh: The Wolf Brigade" is a work that is characterized by its unique atmosphere and deep meaning. The events unfolding in National Socialist Japan in the 1960s, creating a backdrop that immediately captures the viewer's attention.

It is obvious that the movie is carefully crafted to convey not only the complex political and social aspects of the time, but also the inner world of the characters. The setting, being a vassal of the Third Reich, adds elements of tension and drama, creating a thought-provoking atmosphere.

But what makes this movie truly great is not only the context of the time and events, but also the deep characters. ... The relationships set amidst political intrige and a totalitarian regime allow the viewer to delve into the subtle nuances of moral dilemmas and internal conflicts.

Clearly, the filmmakers set out to not only tell a story, but to evoke a multitude of emotions and reflections in the viewer. "Jin-Roh: The Wolf Brigade" is a work that can make you think about the human life value , about how far we are willing to go in the face of social change.

In the end, this movie is not just good; it inspires respect with its deep plot, carefully crafted characters, and undeniable directorial skill. "Jin-Roh: The Wolf Brigade" is a work that leaves an indelible mark on the viewer's heart.

Jin-Roh is a strange beast (no pun intended). It's like seeing an amnesiac searching for his identity being strangled and suffocating by Mamoru Oshii's ridiculously overbearing and silly script. Each of the creative minds behind the film are trying to deliver something potent and beautiful, but are constantly thrown under the bus by Oshii to the point where it seeps into each other aspect of the film and makes them decay; the creative dissonance is really felt here.

Let's start with the story and direction. The film begins with an introductory narration over screenshots of fictional news articles in the film's universe talking about some ... of the politics and chaos surrounding it before we jump into the current turbulence, but it brings up several factions that sound very similar and generic and it keeps jumping between war and economics and their respective rises and plummets, becoming kind of unfocused; by the time we get to the action, the ideologies feel kind of lost and the first skirmish feels rather weightless. As things escalate, we start to hone in on some of the key players and ideas of the film: lead Fuse and his actions in the civil war and the existential conflicts he faces. Fuse is probably the standout component of this film, but I'll divulge on him later.

Fuse meets a girl named Kei visiting the ashes of the young suicide bomber girl he encountered prior, and Kei informs him she's her older sister. Fuse, haunted by the image of the younger sister dying, wants to talk to Kei and make amends, and she holds no grudge for him since he didn't pull the trigger on her. Following this, the story just kind of goes between segments of the Special Unit's training and their dynamics along with some more affairs with Public Security and such and scenes of Fuse hanging out with Kei.

Both portions are largely uninteresting however, as the military relations provide run of the mill procedural events and very basic discussion that hardly amounts to much while Kei is largely an uninteresting enigma, cheerfully and nonchalantly talking about some of the horrific events of the riots without much significance or constantly quoting from Little Red Riding Hood while Fuse just analyzes her and occasionally offers the odd bit of input.

Things just take a rather dull, mechanical progression until some of the twists start to sprout up, but the content prior has been so emotionally muddled and barren that the twists get engulfed by all of the boredom and confusion behind the scenes that any dramatic heft they may possess is nowhere to be found. There's a big sting operation transpiring, but it's played out like any other innocuous scene like everyone was half-asleep while they were making this.

By this time we're also supposed to believe Fuse genuinely cares about Kei and is nearly showing signs of a love interest, but they have next to no chemistry and have hardly expressed more than a few emotions to each other, let alone the whole film. Nonetheless they escape and another table-turner happens, but again plays out soullessly as a big coup d'etat just kind of happens and the film heads to its conclusion which has one final, pivotal dramatic moment to close things off, but sans the actual drama and pathos, being largely alienated by its own creative composition - pining for an emotionally staggering final act, a grand ultimatum to a big existential battle and a thought-provoking open ended political upheaval but instead being a dull nip in the bud with more ham-fisted Red Riding Hood reference exposition the movie was already wrought with.

With all this said, I think Okiura had the intention of making some powerful little piece of cinema with some of its visual guidance, understated emotions and socio-economic glances, but it's more regurgitated than fresh, more inundated than nuanced and more barren and half-formed than accessible and relatable. Being based on a small metaseries by the same man in charge of the script, it felt so restrained by his presence like he was just trying to meet Oshii's demands the whole time that it feels like a manifestation of the complications behind the screen unfolding and some enslaved product as opposed to something free and organic. It seemed like Okiura just made the pacing so slow so Oshii could counter-balance everything and take the reins as director while doing the script, becoming an awkward fusion of an empty, glacial direction and an obnoxiously overstuffed allegorical script.

Honestly, while Ridley Scott and Cormack McCarthy's The Counselor was similarly messy, it had far more hidden strength to it than this. With Scott's slow, but smooth direction, steady composure, great cinematography guidance and rich production values and coordination coupled with McCarthy's layered and poetic prose made things hella awkward with its contrast, it was a spring of potential.

Here, Okiura is trying to create something akin to Patlabor 2, but it just amounts to a really strained replication with Oshii's iron grip. Occasionally nice visuals of dream-like indulgence and emotional turmoil are softened by redundancy, some indifference and a forced sensation behind them all. Constant imagery of wolves and the main two women as Red Riding Hood being eaten by them just jam into the film and is all just eye-roll-inducing.

The world-building is so far removed that the only social commentary that can be pulled from it are incredibly small and underplayed visual cues and contrasts and just comparing the look of the Japan in Jin-Roh to the Japan in real life rather than actually dissecting it. Lastly, any potential the characters (Fuse) have for depth is truncated by general malaise, half-baked focus (no double-entendre intended) and an impersonal, nearing-indifferent care to these characters which only kind of roundaboutly achieves some depth.

On that matter, let's finally dig into Fuse and maybe even the rest of these "characters". Kazuki Fuse is a rather interesting character burdened with a really tumultuous movie on and off the screen - he's a man who has found his place in life and embraces where he is, his life choices and his role in the world and nothing more. He loves his job in the Special Unit as it gives him purpose and direction, and he gets satisfaction from the clarity and straightforwardness his job provides.

He is an aggressor, he has killed people and does his job successfully, so that gives him satisfaction in being a key cog in the machine and fulfilling expectations. Otherwise, he doesn't know how to live beyond that, he doesn't really find leisure in things outside of his job, and there's nothing inherently wrong with that, he's just a satisfied man with a controversial vocation.

However, while he is totally fine with his role in life and is there of his own volition, he questions how others are brought to where they are, particularly when it seems they were forced to become a part of something dangerous against their will as we see when he encounters the suicide bomber in the form of a highschool girl. Why is this young girl, seeking to get an education and make something of her life, on the frontlines with adult revolutionaries risking their lives?

By not pulling the trigger on her and asking "Why?", he essentially allowed that girl to follow through with her plan, the one she was roped into doing and destroy any chance she had to live a more meaningful life, whereas if he had killed her himself, while she would still be caught under a banner of terrorism, she would simply be a casualty of Fuse's job caught at the wrong time which initially meant less harm to Fuse, but both results had their ups and downs even if the outcome was the same.

And so he has his doubts; the man comes out with very insignificant wounds as this girl gave her life for some ideal she wasn't a large part of and it starts to linger in his mind, so he seeks to make amends somehow. Fuse is an interesting character because of his early self-satisfaction and steadfastness, and his existential dilemma is an interesting one as the nature of his ideas of what shape an opposition can take has now changed into something more disagreeable and frightening and as a result, his job has harsher moral implications.

As he meets Kei, he feels a sense of relief knowing he is still forgiven to a degree with his inaction in response to the suicide girl. However, this is also when things start to diminish a bit; rather than a probing analysis of Fuse's ideological changes and self-doubt, the direction just has Kei cloud his mind with all these premonitions of forming a friendly relationship with someone outside the military and Special Unit.

The constant Red Riding Hood and Wolf dynamics and metaphors keep getting pushed again and again and again and just buys time repeating the same ideas instead of adding more dimension to the characters. It's a decent cautionary thing to be sure, but it replaces any other pressing, complex developments with simple messages screamed in your face trying to form this hour and 40 minute movie as one inflated Aesop fable and moral anecdote and it's quite irksome. His relationship to Kei is more a matter of circumstance and necessity for story rather than something genuine, and Kei is far more of a caricature as well, so when half of the core dynamic of the film is a floundering RRH lover and distant person, it really suffers.

The other characters have even less focus really, following the basic Oshii dogma of ideas > story > characters, here they just kind of play their part in the story while providing MORE Red Riding Hood references while the story still has a few small hints of theming unfold. Henmi stages the sting while kind of looking out for Fuse a bit, there's the Special Unit leader who runs the Wolf Brigade and is Fuse's mentor and then a few other officers and politicians who weasel in and make a few moves.

So, as previously stated, things really rest on Fuse's shoulders, and his decisions hold a little weight even while battling and holding up everything else, so there's some intent there at least, but make no mistake, this is no RuroKen: Trust and Betrayal either.

As far as the audiovisual end goes, Oshii's authority permeates into those departments as well as really high end and gritty animation, dense settings with lots of accentuation and minor little ideas to share and a superb soundtrack are diminished by the uninteresting content.

Breathtaking scenes become uninspired and heavy-handed while characters' faces feel a little spare with their rendering and come off as basic, the intricacies of the setting are brushed aside to simply be a place for the story, and the wonderfully composed music pieces are rendered obsolete, typical and there for necessity when placed against uninteresting content trying to elevate it. Truly it's a shame that these people were trying to bring their all and deliver something grand but were left hung out to dry.

As much as I tear into this film, it's still above average; while there may be general ineptitude in its delivery all around, this film still has some modicums of depth to it, heck, pulling off a sting plot is in itself better than a lot of other mediocre anime can accomplish, and the production values--even if mismatched--are exceptional and some of the scenes still look marvelous and lastly the film can probably be watched if even just for those things and an interesting semi-character study in Fuse alone. If those are enough to satisfy you, then you can give the film a shot, otherwise I could say you can skip it.

If you want a more robust political thriller that digs into its ideas more, go with Patlabor 2. Even if Oshii's practice in storytelling mostly just centers around one random philosophical idea expounded by a character in the middle of the film, it's far less grating and more thought-provoking and satisfying than this. If you want to see an avant-garde departure from his normal style and what I'd argue to be his best film, watch Angel's Egg.

If you want to see Okiura stretch his directorial limbs, A Letter to Momo is currently his only other work, and while it isn't for everyone and has its stretches of boredom, it feels far more natural and is a sweet little film.

If you want to see another more visually resplendent and powerful fusion of history, politics, romance and thrills, do watch Rurouni Kenshin: Trust and Betrayal instead. It's received overwhelming praise and attention for a reason.

Jin-Roh is a stunningly produced but forgettable and strange political thriller that is completely outmatched by various others.

Jin-Roh for me was all about transformation: from a man to a beast - the wolf.
Fuse, a human in Special Forces and a member of a secret Wolf Brigade, is somewhat not fit in yet. He still has humanity within him when he hesitates to kill a terrorist girl. Is he the only human in the pack of wolves?
His dreams and thoughts throughout the movie suggests so. It’s an inner battle that goes inside him while the twisted plot of the movie unfolds and gives us reasons for his actions and dreams.

It is really slow paced and heavily emotional movie, but at the same time ... somehow it manages to be very intense and keep you at the edge of your seat.
Especially towards the end, when truth and lies become clear and you’re left racing with your mind wondering how it will end for the main characters.

Well written dialogs and realistic personalities makes you really care what happens to them.

Music is simply fascinating. From the opening scene I already knew I’m in for the something that will leave me thinking about. For me, sound is one of the most important aspects of any movie, especially if it is as emotional as this one.

Great and realistic characters, well written dialog, not straight forward story line and dark atmosphere makes Jin-Roh a remarkable experience.

10/10

originally written for www.mykkanime.tumblr.com

A twisted little red riding hood story, even though the action is quite good, it's not enough to entertain you further that's why it Bored me because of the Drama that comes along with it wich is Are very Looooong Boring Dialogues.