What can I write about Shinichiro Watanabe’s seminal, acclaimed, hugely influential anime Cowboy Bebop that has not already been discussed, in greater detail and with more eloquence, by people before me? I came very late to Cowboy Bebop; I’ve mentioned before when reviewing anime that aside from a handful of exceptions, like Ghost in the Shell, I hadn’t watched much until a few years ago. Cowboy Bebop was one of the landmark series that I’d somehow missed out on, and it took me seventeen years – the series aired in Japan in 1998, but not until 2001 in the west – to correct that grave mistake. Fortunately, Cowboy Bebop: The Movie (2001) gives me an opportunity to discuss the series as a whole and the film in particular. Set between episodes 23 and 24 of the original 26 episode run, the film works as more of a “lost episode” than as a either a capstone to the series or a truly standalone adventure. I imagine a casual viewer could approach it without having watched the series, but that would leave them missing out on much of the world- and character-building that went into the show – and as the film is set largely on Mars, it misses out on much of the swashbuckling, spacefaring charm of the series.
I’ve been so busy exploring Japanese cinema that I’d never seen before that I’ve only rarely dabbled in reviewing films that I had already watched. Last year a Ghost in the Shell retrospective at my local cinema gave me the opportunity to talk about one of my favourite films of all time. This year, I caught a screening of Spirited Away (2001) that allowed me to reassess a film that I never fell in love with the first time around. For whatever reason, when I first watched it back in the early 2000s – probably not long after it was released, perhaps with an English dub – it never stuck. Seeing it again on the big screen, with the original Japanese audio, and with nearly two decades of investment in Japanese culture was an entirely different experience.
Veteran director Kiyoshi Kurosawa (Sweet Home, Creepy) has built a career dipping in and out of the crime and horror genres. It would be easy to dismiss Pulse (2001) as another relic from the age of late-90s J-horror that coasted in on the success of Ring, replacing that film’s cursed VHS premise with a fear of the early internet age. Instead, Pulse is a different beast altogether, with a wildly different tone of creeping, quiet apocalypse and a totally different approach to its scares.