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Bebop Reviews

It may be a while before they compare an animation film to a sucessful live action film.... 'sigh'

Sci-fi cartoon shoots blanks

FILM REVIEW
Cowboy Bebop: the Movie

BY JEET HEER

Science fiction is not so much a coherent genre dealing wiht the future as a mix-and-match playing field where different elements from the past for no other reason than sheer childish delight. Think of a little boy with a collection of assorted action figures and dolls- GI Joe, monsters, cowboys and superheroes. If he comes up with a sci-fi scenario, that boy can imagine a world where all his toys interact.

The Star Wars series is perhaps the most successful example of how science fiction relies on the fusion of genres. It contained elements of Arthurian romance (the Jedi Knights and Princess Leia), Western stories about Pioneers on the frontier (Luke's adopted family in the desert planet Tatooine), the bickering buddy picture (Han Solo and Chewbacca), and First World War tales of daring airplane aces (the X-wing fighters that duel with the Imperial fleet), along with many other well-worn cultural tropes.

Based on a cult-favourite Japanese animation television series, Cowboy Bebop: the Movie follows the Star Wars tradition of promiscuously yoking together discordant elements. Set on a densely colonized Mars in the late in the late 21st century, the cartoon follows the adventures of a tema of bounty hunters tracking a bio-terrorist who threatens to release a killer virus. Given the war in Iraq (where biological weapons might be used) and the SARS epidemic, the film is certainly timely in its invocation of contemporary anxiety.

Although screenwriters Keiko Nobumoto and Marc Handler started with a promising premise, the story becomes quickly bogged down in their desire to throw every conceivable cultural trend into the pot. Thus the Mars of the story in a mix between the old West (filled with wannabe cowboys and bounty hunters), the corrupt corporate-dominated world of Philip K. Dick's novels, video games from the 1980s and a Middle Eastern bazaar. In constructing their future, the writers (and director Shinichiro Watanabe) take an everything-but-the-kitchen-sink appraoch. Among the elements that get thrown into the mix: a serial killer sub-plot, hints of the vampire myth and the Christian concept of purgatory, an ambition of corruption, a battle between space ships lifted from Star Wars and an inexplicable thread about war veterans flying old planes. Adding to the confusion is a soundtrack that jumps from slash-and-burn rock to ominous choral music of the sort found in horror movies.

The various members of the bounty-hunting team are also a hodgepodge: Spike Spiegel is a nonchalant mercenary teamed up with the bulky and paternal Jet Black, the sexy but mean-spirited Faye Valentine and wacky Ed Wong. None of these characters is very interesting, so collectively their interactions with each other never rise above the level of bitchy bantering. Moreover, as so often in movies aimed at teenage boys, the female characters exist largely to exhibit T&A fantasies.

As the Star Wars series proves, there is nothing wrong with bringing anachronistic plot elements together so long as you have an overarching narrative vision. Lacking such a connecting vision, Cowboy Bebop is a clangorous and annoying mess. * (one star)

Moreover, as so often in movies aimed at teenage boys, the female characters exist largely to exhibit T&A fantasies.

Oh, what the hell... since I can't find it anywhere on the web, I'll just type it up here myself... On the plus side, he (?) does review it as a film, rather than as a novelty.

Chicago Sun-Times
Jae-Ha Kim: "Cowboy Bebop: The Movie has nowhere near the level of sophistication exhibited in Hayao Miyazaki's Spirited Away...but...certainly has its appeal...If you suspend your belief in reality...you can put up with the implausible plot." (** of 4)

Toronto Star
Peter Howell: "From its Dirty Harry beginning to its Blade Runner-meets-12 Monkeys plot, this is refried beens...of interest only to the fanboys who thrill to the stylish nihilism of bounty hunter Spike...and spank monkeys to the slutty vision of his sidekick Faye...doesn't have one-tenth of the vision or visual appeal of Spirited Away, the recent Oscar winner for animated features." (** of 4)