Story: 8/10
Once you've reached the, in my opinion mistaken, conclusion that absolute comprehension is unnecessary it might be a good choice to value the experience a complex movie provides rather than its explanations. In this sense Paprika is an undeniable success as it makes use of a concept we've encountered before, where the once unexplored landscapes of our dreams can be invaded after recent technological advances, to manufacture a story of originality and brilliance. Throughout the movie we get to follow the team of scientists who developed this technology as they are attacked by a dream terrorist who seems to have stolen a copy of their equipment. This results in outbreak after outbreak of severe psychological terror causing suicide attempts and downright disturbing behavior. Sounds interesting? That's because it most certainly is.
There can be no denial that Satoshi Kon has mastered the art of carefully structuring a narrative as he blessed his final work with enough psychedelic nightmare sequences combined with clever dialogue and a refreshing sense of humour to make it an incredibly memorable ride. Paprika breaks several clichés in its profound determination to entertain whilst telling an increasingly interesting and complex story in a creative and semi-experimental approach. Viewers are offered a gloriously surreal spectacle where dreams merge not only with other dreams but also with reality, resulting in an intellectual, if a tad incomprehensive acid trip of amazing proportions. Disappointed over not understanding the movie after the first watch? Don't worry, that is definitely to be expected. After several viewings though I'd like to add that Paprika despite popular belief does bother to explain its oddities in a relatively comprehensive language and the notion that it's too complex for its own good is one that I simply don't support. The fact that you'll need to re-watch it an unspecific number of times to get the gist of it might be considered a flaw in and of itself though. You make the call.
Animation: 9/10
In the world of Japanese animation you'll find several collaborations that are as frequent as they are benevolent. The one between Studio Ghibli and composer Joe Hisaishi is one example but seems to fade in comparison to the splendid co-operation between Satoshi Kon and animation studio Madhouse. When Paprika was first released in 2006 it looked absolutely stunning and six years later it has maintained its ability to mesmerize in its visual appeal. As the key point of the entire movie itself the visual section seems determined to observe a landscape of dreams that constantly changes based on interior and exterior events which result in a disturbing and beautiful turmoil of bizarre proportions. Just like a character mentions in the later part of the movie, there are no boundaries in dreams, a statement that the entire movie exploits in frame after frame of surreal brilliance.
Sound: 7/10
I really wish somebody had bothered to give Paprika a less introverted soundtrack. Admittedly, the common lack of attention-demanding music does work in favor of the atmosphere on a few occasions but some moments seem to demand a heavier instrumental focus to more properly enhance the suspense. Don't get me wrong, some scenes are complimented by interesting and memorable electronic compositions that fit in perfectly with the overall surreal approach, but judging the soundtrack in itself is a tedious chore because there isn't that much to speak of. Worth to mention though is that the voice actors maintain a relatively high quality that suits a movie of such top notch production values.
Characters: 6/10
So far we've been talking about all the magnificent things Paprika features but now it’s time to actually mention some of its flaws. Most experimental features are so pre-occupied when it comes to featuring cryptic commentaries on the aspects of humanity and enhance their visual exhibitions further that they forget to place a heavier focus on characterization. Thanks to the terrific script, Paprika is almost able to escape from this curse as numerous dialogues explain characteristics in ways that almost replace direct development. One example includes one of the wheelchair-bound chairmen for the company that produced the above mentioned technology used to invade dreams.
As contrary to how a regular movie would make use of somebody in a powerful position this man seems to reject further technological advances that defile what he describes as the sanctuary of dreams. In other words he provides the moral value usually uttered by a main character only to metamorphose into a menacing antagonist who seems to have discovered the value of freedom he can only achieve in his dreams. Other examples include a surprising side story of a romantic nature and a dream world alter ego whose identity and relation to her realistic equivalent are shrouded in mystery. What needs to be said though is that all of this is based on minor implications gradually revealed throughout the story and while this in itself is an indication of skillful writing it doesn't entirely hide the fact that Paprika lacks the time to do things directly.
Overall: 8/10
Despite a few flaws, Paprika is intelligent enough to rely more on its visual superiority to transcend what some might call the boundaries of storytelling, making it the perfect gateway drug for those who haven't realized what the medium has to offer. In its ability to fascinate and encourage additional viewings it stands out as a remarkable feature that more than anything else is a title well worthy of being the last creation of Satoshi Kon*. If you're looking for an intellectual but comprehensive, occasionally slow-paced but intense tribute to moviemaking and the abilities of humanity, look no further.
* Unless Madhouse actually manages to finish the movie he was currently working on before he died.
