Kidou Keisatsu Patlabor the Movie

When people think of mechas in anime, they automatically think of shows like Gundam, Macross, Code Geass, Neon Genesis Evangelion, and even Tengen Toppa Gurren Lagann. They think of flashy combat (sometimes with lots of missiles), lots of action, explosions, more fights, lots of gutsy shouting, etc, etc. Of all the shows on offer though, very few actually portray mechs as something..... utilitarian. Released in 1989, Patlabor: The Movie (the name is taken from the Patrol Labors used in the show), followed the story set by the original 7 episode OVA from 1988/9, and featured a completely original story written by Headgear (a group of 5 writers and artists who work in anime and manga). Produced by Studio Deen, Production I.G. and Bandai, and directed by Headgear's own Oshii Mamoru, the movie received critical acclaim from a broader public spectrum than any other at the time, in particular because of it's "novel" use of all things mecha. The movie, set in Tokyo in 1999, begins with a man throwing himself off a giant steel structure in Tokyo Bay. The structure is called The Ark, a man made island where the Babylon project is coordinated, and the man who commits suicide is Hoba Eiichi, a programmer who worked on the project. Shortly after his death, Labors (the mechs in the show), around the city begin to malfunction and go out of control, and it's up to the members of the Section 2's Special Vehicles 2nd Division to sort things out. However, Captain Gotoh of the 2nd Division supects that everything is not as it seems. One the the truly great things about Patlabor: The Movie is that it actually has a very good story to back it up. Granted that this is in some measure due to there being an OVA already available before the film was released, but be that as it may, the fact remains that Patlabor is one of the most well scripted anime titles around - even now. That said, anyone who's familiar with the work of Oshii Mamoru, or of Headgear, will know that their pieces are generally extremely well written and directed. One of the gripes that people have with this movie is that they consider it too wordy and tedious. The plot may appear slow to some, but don't be fooled into thinking that this is a boring movie. The story progresses like a slow burning fuse, with numerous twists and turns throwing events in a new direction. The show begins with a mystery - why did Hoba Eiichi kill himself - but investigating this event only brings up more mysteries, more conundrums, and as the movie progresses the tension continues to rise ever so slowly and gently. One of the most impressive aspects of the plot is that the viewer may not even realise that they're inching further to the edge of their seat, such is the subtlety of the build up. In truth, this movie isn't meant for kids or people who expect mech shows to be all about guts and flashy combat. This, like Oshii Mamoru's later work, Ghost in the Shell, is a show aimed very much at a more mature, more rational audience (i.e. those able to breath and talk at the same time). The main reason people complain about this film is because they think it doesn't contain enough mech on mech combat, shouting or gutsy pilots, and while one can accept that the movie doesn't show much in the way of mech action, it was never meant to from the start. The mechas in the Patlabor franchise are far more useful and utilitarian than in almost any other show, with Labors being used in many aspects of society - law enforcement, construction, emergency services, heavy industry, military, etc, etc. It's a surprisingly normal, and very "novel" (in terms of anime), usage of mechas that isn't really reflected anywhere else, and more closely follows the doctrine of the "real robot" than just about any other mech show. Which neatly leads me on to design and animation. One of the key aspects of any mecha show is the design of the robots themselves. Many purists consider this element to be one of the prime factors in whether one likes the show or not, and while I can agree with that sentiment to a degree, for me it's not the be all and end all. It's nice to know then, that the design of the mechs in Patlabor: The Movie was left to another member of Headgear - Izubuchi Yutaka. Fans of RahXephon will recognise the name as both the creator and director of that series, and his credits also include work on Gundam, Jin-Roh (Kerberos Saga), Gasaraki, and several other shows. Izubuchi's designs in Patlabor are a far cry from almost every other mech show though, and reflect their utilitarian purposes in a way that no other show has managed. For example, construction Labors actually look like they belong on a construction site, and are coloured yellow like most heavy equipment used in that industry. Police Labors are sleeker, are coloured black and white, and have flashing lights (and sirens in some cases). Each mech in the movie is designed for a specific purpose, and it's because of this diversity of design that Patlabor is lauded as the epitome of "real world" robot design by many mecha fans - something which no other anime franchise has portrayed before or since. Unfortunately for some (not for me though), the mechs play second fiddle in Patlabor, and much of the action takes place with the characters themselves. It's nice therefore, to see that character designer Takada Akemi (another member of Headgear), was on the same page as Izubuchi when it came to realism. From Captain Goto Kiichi's world weary, droopy eyed face, to Izumi Noa's perky, bubbly, and happy go lucky expressions, the characters designs are as indiviual as they come, and fit each characters personalities almost perfectly. This realistic approach doesn't stop with the mecha or character design though. The scenery is detailed and descriptive, something which can't normally be said, and the reason for this is because the prodcution staff based much of the scenery on photos taken from around Tokyo - something which is a rarity in anime (although the game Shenmue used the same method years later). As for the animation itself, it is nothing short of impressive, even now. Given that the movie is now 20 years old, the lack of CG doesn't hold it back in any way. This movie is easily one of the most well animated pre-90s productions available, and even manages to hold it's own when compared to many modern day mech offerings. The production quality is so good in fact, that it even holds up in terms of how it sounds. As a card carrying fan of subtitles, there are very few shows that I will even consider watching with an English dub. Patlabor: The Movie is one of them. In all honesty, both the Japanese and original English dubs (not the re-issued version by Bandai), are equally excellent, especially as the English dub adopts an intuitive rather than a literal approach (something which made it a rarity in those days). The cast for either dub are talented actors and actresses who are able to provide a depth and feeling that, especially in the original english dub, is rare to see. The music used throughout the film is composed by Kawai Kenji, who also provided the music for the first two GitS movies, and ranges from grand and dramatic to languid, almost calm. The choreography between visuals and music is handled extremely well, a hallmark of Oshii's directing skills, and the overall presentation is truly splendid. In terms of effects, the movie is also well served in the range and usage of the various sounds and noises. It's nice to hear mechs that sound like mechs should, and the range of noises associated with the mechs is choreographed to fit it's particular type as well. Granted there's a limit on how much one can differentiate between two mechs in terms of how they sound, but at the very least the effort was made and the movie should be applauded for that. Or is anyone going to tell me that a JCB and a patrol car sound the same? I mentioned earlier that the mechs in Patlabor: The…

Today I bring you another Giant Mech seires, but it's not Gundam. Today I'm gonna introduce you to another popular Mech seires called Patlabor. I really don't know much about this series but's really solid stuff. Think of it as a cross over of Gundam and Ghost In The Shell. What really got me into this movie was the mystery, not the battle scenes. Okay, the story takes place in the present day 1999 (well this anime was made in the 80's), and in the middle of Tokyo Bay a new building is being built. The Mobile Police force has been assembled to prevent anyone from destroying it. While this is happening a whole bunch of other Patlabor mechs have been going on random rampages. As they try to figure out the mystery to they quickly find out it's the building that's making all the Patlabor's go beserk. But how? Well you'll have to see the movie to see what's going on. As my last qoute on this, it's an anime worth watching, even though it's kinda retro. To be an anime fan you have to like many of the old animes before you can start obsessing over the new ones. Patlabor the Movie is a must see.

Ah Mamoru Oshii, a great man who can mold his characters to resemble something akin to that friendly neighbor, or that 40 year old fascist cab driver who keeps asking you whether you have a gun license...if you're reading this I'll tell you again, no I don't! Anyway, with Oshii's help and some superb voice acting (well I thought it was very fitting) the great story of another robot revolt comes to life. Of course this one's slightly different, using a very subtle reference to animals(and probably robots) knowing something that we don't, or are at least able figure it out before we do. But the major theme in Patlabor is clearly shown through the destructive force of the out of control mecha, and it questions our unbridled advancements in technology and science. In upgrading our physical society at such an exponential rate we run the risk of giving it the reigns, unless we place equal focus on cultural society, and allow people to catch up, we may just be forcing ourselves into absolution. As some of the older characters in this film complain over their outdated knowledge, so does much of the aging workforce of today still scream to be recognized. There are also some biblical references which are used in varying ways to aid the story, the most interesting of those would be that of the ark (as in Noah's Ark), of course Patlabor doesn't use the bible to the extent of Neon Genesis Evangelion. As I said before, Oshii is able to craft realistic and like-able characters, with my personal favorite being Kiichi Goto; the captian. I'd have to say the resemblance to Roy Mustang (FMA) is to close to be coincidental, but I'm not complaining. A cool, collected individual who never looses his head (well...not usually), Goto manipulates his crew of trigger happy pilots, eager cadets, and intuitive technicians to his ends. This seems to be a more efficient way of getting things done rather than constantly using his rank. The art is very well done for its time, but still doesn't hold up to modern work in terms of clarity. However it does have a rustic charm that I enjoy, and some of the urban landscapes are still impressive, high rise skyscrapers, construction sites and demolished lots all reinforcing the sense of unrestrained development. Also be prepared for a great 80's soundtrack, you know the standard that was in any great action movie, Lethal Weapon, Terminator...the never ending story. The point is you'll enjoy the funny and realistic characters as well as the at times comical animation, but at the same time you're able to dig into a solid story that doesn't just say advancement=good (unlike everyone else).

Studio Deen and Mamaru Oshii return after the original OVA series with a Patlabor movie sequel. Set in 1999 (ha), Tokyo is under heavy reconstruction to re-invent the city by tearing down old suburbs and building man-made islands in its place. It is called it the Babylon Project. With such a grand scale operation, an insane amount of Labors (robots made for construction work) are needed, and a Labor maintenance rig is built in Tokyo Bay call the “Arc.” Needless to say, a hidden plot is slowly unveiled as Labors start going wild without explanation threatening the project, the city, and the people. Well, this is a job for the unorthodox division 2 of the Tokyo Metropolitan Labor Police Force. Our rambunctious group from D2 is back with Noa, Asum, Goto, and the whole gang working together to solve this mystery. All of the characters maintain everything which made them loved in the previous OVA installment. All music, artwork, and animation are as stunning as the OVA series. Sharp colors and terrific mech designs are fun to look at and with all of the action going on is a breath of fresh air compared to the OVA as a whole. Backgrounds of construction sites and city high rises are rustic and incredibly detailed. Even the music matches up with each scene whether it is action or intense moments of pause. Like in typical Oshii fashion, he has helped create an anime with lovable characters and a very interesting story as well. This anime is almost like a Gundam crossed with Ghost in the Shell. An action oriented mech anime with mystery elements is the best way to describe it, along with that great Patlabor humour. Mech and humour with a fantastic story is what makes Patlabor The Movie a must see.

This film was created during the peak of the Japanese economic bubble, so a lot of resources were put in anime in general back then and you can tell by both the art and animation that this anime is great even by today and even future standards, however what this film excels in those two aspects, it lacks in story. The whole mystery going on here is so simple and uninteresting that reinforces how unappealing the story is, so watching this for the story is a bad choice, however it isn't all bad, as I previously said, the art and animation are superb, you might enjoy some of the action scenes, but that's it. It looks pretty, but it is just as boring. As a side note, despite praising the art, I disliked how Kanuka was portrayed here.

Patlabor: The Movie is the best thing that nobody has watched, and I imagine a lot of that comes from the fact that it’s an old anime movie that isn’t Akira or Ghost in the Shell and is tied to a pre-established mecha franchise. Even though it is canonical to the broader Patlabor series, I cannot stress enough that you do not need ANY prior knowledge of ANYTHING Patlabor before you watch this or its sequel film Patlabor 2, which is equally superb. While watching something like Char’s Counterattack mandates you have some knowledge of the prior Gundam meta, Patlabor: The Movie is a true stand-alone film that tells an airtight story without any reliance on the previous Patlabor show and OVA. As of the writing of this review, I haven’t even watched any other Patlabor media apart from this movie and its sequel, and I can tell you everything you need to know about every character because this film does such a wonderful job of establishing its major players and using great acting and writing to give you the info you need to keep up with the film’s plot. If all you’re looking for is a simple “yes” or “no” to whether you should give this film a watch, I feel my 10 rating is enough of an answer to that question. Please watch it, it’s so good. Patlabor revolves around the central plot conceit of the titular utilitarian mecha known as “labors” going haywire while on duty or even while unmanned, and the Tokyo Metropolitan Police Department’s 2nd Special Vehicles Section’s colorful cast of characters as they work to get to the bottom of the mystery. In a lot of my reviews, you’ll hear me talk about directing a lot because it’s incredibly important when it comes to visual clarity. Anyone with a good head on their shoulders can tell you that the director is the single most important individual when it comes to a film because overseeing all aspects of production and making sure that these raw materials are utilized well is the mark of good directing. Mamoru Oshii, fortunately, knows everything there is to know about great directing and is deified by the anime community because of the positively incomparable directorial flare and quality he possesses. Mamoru Oshii is a name that should ring a bell, an anime legend known best for Angel’s Egg, The Sky Crawlers, writing Jin-Roh: The Wolf Brigade, and one of the most influential works of Japanese cinema of all time, Ghost in the Shell. He’s got a massive reputation for being an immensely talented director and Patlabor really lets the man flex his muscles and exemplify some of the best visual cohesion that this medium has to offer. His work is what’s most brought up among cinephiles when discussing the best Japanese cinema out there, and being spoken of in the same breath as legends such as Ishiro Honda and Akira Kurosawa is as good a primer as ever to let you know that this man doesn’t just make good anime, but good films, respectable outside of the context of just Japanese animation. From the very beginning of the film, Patlabor: The Movie fires on all cylinders and exemplifies quintessential exceptional visual storytelling. A man pets a crow as he stands precariously over top an exposed metal beam, his cohorts in the background screaming at him to come back, but no audio except for the empty tinny drum breaking the silence. He falls with a smile on his face, and the sound of flowing wind and birds' wings increase in volume as they cut to the next scene: the JGSDF’s hunt for a haywire Labor. The color usage and time of day reflect the uncertainty of the enemy that the military faces, the ample amounts of time given to show the setting up of the military and their increasingly complex weaponry immediately conveying the intensity of the situation and also illustrating to the viewer just how far into the future we are, the music being foreboding but high tempo as the moonlit battle against the Labor unfolds, and at its resolution reveals that the Labor wasn’t even piloted the entire time. What just happened? How can the robot move without a pilot inside? What importance does that man at the beginning have with the rest of the story? CUE THE TITLE CARD, changing the music from ominous thrills to upbeat guitar to let the viewer know that you are going to get ALL the answers to the questions this intro posed. Textbook perfection right there guys, I don’t know what else to say. This film, from beginning to end, in all its down moments and emotional apexes, is a treat to take in. The characters are no less well-handled, with great dialogue writing and a fantastic emphasis on the processes they take to come to the conclusions they do. It’s easy with such plot-driven stories like these with so many lines about pulling up files, interviewing people, operating systems, and futuristic technical jargon for the script to feel vacuous, but Patlabor writes its characters all with very simple straightforward personalities that act as great shorthand for how the characters react to certain information: Noa is happier and more positive, prone to see the bright side of the situation and get a plan going, Ohta is brash and loud, prone to not give two shits about the intricacies of the situation and just wants to have something to shoot or break, Goto being deadpan but deathly serious is apt at playing to the strengths of his crew and putting them in positions where they’ll be most suited, and so on. Having simple and straightforward characters in a serious situation can be a dangerous line to tread since it’s easy to have them fall back into caricatures of themselves, which can leave their lighthearted nature to not feel right for a more complicated story, but it’s precisely because they all have such colorful personalities that it’s believable that they are the ones tasked with solving this mystery around the clock. Their unit is looked down upon for being a group of losers and weirdos, when their varying personalities and takes on the situation lead them to come to conclusions other units too busy with their heads stuck in the books won’t come to, ultimately leading them to solve the mystery against all odds. These simple characters also provide great springboards for the deeper development they get in the sequel, which will get a review soon too. As is the case with most anime films made in the 80’s, Patlabor: The Movie is ceaselessly gorgeous. I’m an absolute sucker for mechanical detail and the intricacies of design-work gone in to make the technology of the world seem as real as it can be, and there’s oodles of that stuff to be found in this film. Railings and joints showing how the limbs move on a mech, varying metal sheens conveying the age or rigidity of a certain alloy, fabric coverings over some joints to protect from dust, piercing blinding eye lights and larger floodlights for varying light conditions, etc. Wonderful rich colors, informative character designs, lived-in and excessively detailed environments, impeccable direction and composition courtesy of your main man Mamoru Oshii; you get the gist. If you’re a nerd for excessively realized technical details, this is your movie. The sound department on this film is another aspect that is obviously spectacular, to go with all the well-realized technical details of the mecha and the settings are brought to life by chunky, tactile, purposeful sound design reflective of giant metal behemoths tearing through the myriad backgrounds they find themselves in. Bleak interiors of mysterious untouched homes are fittingly silent and eerie, a quiet door creak being deafening in the emptiness, bustling crowd shots overflow with speaking, laughing and yelling. The soundtrack composed by anime legend Kenji Kawai knows when to keep the instrumentation sparse and minimal to convey a mystery and can conversely blast memorable melodies with high-energy guitars and horns to accent a scene’s intensity. The second film’s soundtrack is certainly better, but this one, again, is a gem that…

(Check out my profile for a link to my site containing more up-to-date reviews and bonus media!) A month after the conclusion of the Mobile Police Patlabor: Early Days OVA, the staff launched their coup de grace in the form of an hour and forty-minute movie. If you haven’t read my Early Days review then I recommend that you do, as this will reference it due to the fact it’s chronologically a sequel. This movie has the same members of Tokyo Mobile Police Force Section 2 combating their largest scale threat yet. A new operating system installed on Labor units across the country has been causing the machines to go berserk for reasons unknown. The programmer behind the OS is unavailable for interrogation on account of suicide. Section 2 begins a seemingly hopeless investigation into the mystery behind programmer Eiichi Hoba and his cutting-edge operating system. If the crew can’t politically prove foul play, then all of Japan is at risk for a level of chaos that could sink their economy. Mobile Police Patlabor: The Movie is considerably more serious in tone than most of the Early Days OVA. It’s most comparable to episodes four and five, the epic two-parter that likewise got away from the more comedy-focused adventures of the series. It’s thankfully not a jarring shift, because although Section 2 finds themselves on a much bigger case, their core personalities haven’t changed. The focus is shifted to Asuma Shinohara this time around, who’s taken special interest in the case due to the impact the scandal could have on his father’s company. Most of the movie is an investigation procedural which maintains interest for how surprisingly elaborate the mysterious plot increasingly turns out to be. There’s a good amount of political maneuvering that’s relayed by commander Kiichi Gotou. Careful consideration is given for the implications of Section 2’s movements on bureaucracy that help the audience buy enough into the plausibility of the story when all of this complication could’ve simply been hand-waved by lazier writing. This movie feels like a natural continuation of the themes the OVA hinted at over its run. It started as an episodic comedy about an under-achieving police force, but in their exploits the audience uncovers what’s actually a dystopian future rife with political corruption, environmental destruction, and terrorism. The naïve members of Section 2 hold on to their optimism by being mostly unawares of how this degradation gradually slipped under the noses, similar to real generalized society, and Gotou is the perpetual link to a more realistic albeit depressing perspective. Another layer to Patlabor’s world is uncovered through the advancing of the Babylon Project. In the OVA this was introduced as a construction project to build a wall to deal with rising sea levels, and here it has broadened its scope into creating artificial islands in order to confront shrinking land mass. I won’t spoil the plot, but the antagonist is the most interesting yet. We get a feel for how a world like Patlabor’s actually impacts the individual rather than broad civilization. There’s an anti-industrialization sentiment at the movie’s core that seems to be a commentary on contemporary Japan’s industrialization movement cutting into long-held traditions of sentimentality and individuality. Mamoru Oshii’s routine perspective on the idea that human beings are becoming numbers and miniscule cogs ties this movie into the rest of his oeuvre. Kenji Kawai’s music is noticeably better here than in Early Days, seemingly making big strides towards the quality his reputation is known for. There’s much of the same synthesizer and electric guitar combination that’s definitive of 80s anime, but it all just sounds smoother than it ever did before and Kawai’s guitar riffs in particular are far more memorable and create appropriately powerful theme music. There’s more use of natural instruments this time around to suit the atmospheric ambiance of the investigation scenes, woodwinds in particular. A lot of the pulsing synthesizer work sounds similar to that of the original Terminator or a John Carpenter movie. The quality, variety, and synchronization of the music to the movie’s scenes has all greatly improved from Early Days. The production values are also suitably higher and certainly worthy of this larger production. The OVA was already impressive, so this is no small feat. There’s a scene in the middle somewhere where Asuma is looking up at the camera through a distorting fish-eye lens as a threatening message in red text flashes on his face repeatedly. I swear this same shot was used about a dozen times in Neon Genesis Evangelion. For the most part, the direction doesn’t hyperbolize reality too much in order to portray its story realistically. It’s still consummate, with care given to frame composition so that you aren’t staring at the same cels for too long. There are exceptions to this though, certain parts where the camera hangs far too long on a single frame that’s kept completely still. It can look pretty awkward when one character spends twenty seconds talking and revealing important information and five other faces on screen never change their facial expression in the middle. Just odd tidbits like that. Otherwise, this is a very worthy and well-edited movie. Patlabor: The Movie is well worth watching for fans, but it falls short of excellence. The themes are overly buried under the focus on the investigation, and they’re barren enough to the point they go past subtlety and simply undersell their weight and importance. The finale, which is otherwise extremely strong and the highlight of the movie, ends on a climax of plot resolution rather than addressing the themes the movie’s proposed. It’s too subtextual to be as profound as it could be, with the most relevant conversation taking place somewhere in the middle of the movie. With the themes pushed aside you have a high quality Patlabor plot that doesn’t become much greater than itself. I completely recommend watching the Early Days OVA first, as it’s not only first chronologically but it introduces the entire cast which doesn’t get as much focus during the movie. Patlabor is mainly enjoyable due to its likable cast of bums, and the implicit knowledge behind characters who aren’t featured as much this time around makes it much more possible to root for Section 2’s success as a whole. Furthermore, there’s an actual thematic progression from the themes of the OVA to the movie’s. Watching the movies first would be a mistake, but in the end this first movie delivers on an impressive quality worthy of the OVA. It can be argued, however, that it loses a bit of Patlabor’s character by getting away from the comedic malaise.

Patlabor the Movie is a wild and fun ride. Especially for someone coming off hot from the heels of the TV anime series or the OVAs. The movie balances the more anime like aspects of its art retained from the TV plus the OVAs into its movie setting. Lending a certain charm when contrasting it with its later sequel patlabor 2 which handles its art style in a more realistic fashion. The music is top notch and puts a stupid grin on your face, if only more anime would devote this much heart and soul to its music. I love this movie. It just feels like a payoff for getting yourself invested in these characters from either the OVA or the TV series. If I had to ding anything off this movie it would be the lack of characterization of some of the supporting characters and the lack of context to explain why they act in the manner they do. Which is addressed in the TV series but that's asking a little much. Should you watch this movie? If you're willing to at least watch the OVA series that came before to experience maximum enjoyment, then why are you reading a review of it?! Go watch it! As for the more casual or less invested viewer, you will find enjoyment in patlabor the movie. Though you will miss some of the little things related to the characters. Well that's that, hopefully I didn't waste too much of your time. Target, Lock On!

Though the subgenre has been in a drought for several seasons, mecha anime is as prevalent as buddy cop films in the U.S. But very VERY few can walk up to Gundam and pull a Captain America. Patlabor is not just among the few, they lead the pack. A real robot series that puts Tokyo police into the titular Patrol LABORs, this first of three film adaptations of the Patlabor series retains the signature humor despite a more serious plotline. Very crisp and detailed for an early 90s anime, it's one of the rare Oshii projects that isn't a meta philosophical drag. Plenty of Labor on Labor combat, a boots on the ground police investigation, and more destruction than the average kaiju. Definitely worth a marathon.

Patlabor: The Movie This is a spoiler-free review. This movie is fantastic. I first watched this film (and have rewatched it several times) without having seen the OVA's or the series it was based on. You are not required to be familiar with them to enjoy this excellent story as it is self-contained and firmly establishes its own universe. Produced in 1989 and set in what was the near future the story and plot holds up surprisingly well in the current digital and ultra-information age. Where are we going? Who are we? This film, set in a completely realistic hard science fiction world, casually explores these questions without metaphysical hocus-pocus, cybernetics, or the lofty notions of artificial intelligence which director Mamoru Oshii would later explore in the equally stellar Ghost in the Shell movies. Instead, we are treated to a good old-fashioned intrigue with noir/detective elements, a view into police life, a view of machines and computers as tools in our society, and how these very things can contribute to the loss of heritage and the memory of regional history as a trade off for the increasing speed of progress. Intelligent dialog between characters, corporate and police force politics, and a positive depiction of Section 2 as "allies of justice" instead of a run-of-the-mill cynical police force is a refreshing take on this pre-cursor to the often souped up fantasy mecha anime that emerged for the decade that followed this film. While there is plenty of subtext and simple symbolism explored in an otherwise straight-forward plotline, the genius is in how the mysteries are solved and the ramifications to society is explored in a still-as-yet analog machine-centric world. The characters are real, warm, likeable, and believable as are the machines they use and pilot. There are no quick-fixes as the story unfolds since humans still think, act and innovate in their environment and machines are simply tools that can be used for good or evil. The title sequences and ending moments may be action-packed, but all of it is driven by the scheming, thinking, and problem-solving characters rather than being a means unto itself. The animation holds up well, the sounds are surprisingly good but display the limited bandwidth in the era (and, I suspect, the budget for the genre at the time) and composer Kenji Kawai's musical score, while more dated than the rest of the film, serves to encompass and pay tribute to the analog nature of this film compared to it's digital successors that came afterwards. Make no mistake, this film's strength is in it's characters and plot and it's quite an enjoyable story. High recommended.

There's something so incredibly captivating about cell drawn animation, where every frame is a painting and every shot evokes pure beauty. To say I was instantly drawn into the world of Patlabor: The Movie, is a massive understatement, captivating me to the point that I even started recalling the original OVA series that I watched a very long time ago. That vague recollection definitely helped matters because, my god, this is truly marvellous. A film that transcends its mecha trappings to become a quiet, cerebral techno-thriller. Directed by the great Mamoru Oshii, the film takes the more comedic tone of the Patlabor series and retools it into something more mature and introspective, trading punchlines for mood, philosophy and an unsettling sense of plausibility. The result is a film that feels more like a speculative crime drama about systems spiraling beyond human control, building tension through investigation, silence and environmental storytelling. Oshii's direction is simply gorgeous, the animation inspiring as the film lingers on empty streets, rain-soaked cityscapes and the hum of urban infrastructure, grounding the narrative in a Tokyo that feels real and lived-in. The central conflict, rooted in faulty code, automation and the fragility of interconnected systems, feels remarkably prescient, anticipating modern anxieties about software dependence and technological overreach. While Kenji Kawai's pulse pumping score further elevates the film, blending both high energy synth work with eerie chants and restrained orchestration to give the film a solemn, almost elegiac tone. Simultaneously building on Oshii's already established world and standing on its own as a self-contained cinematic experience, Patlabor: The Movie blends a perfect balance of endearingly loveable characters with a cyberpunk-tinged mystery and thematic heft. Even now, more than three decades later, Patlabor stands tall amongst its contemporaries. I can't wait to dive into the sequel.

This movie was a treat to watch, I had a special edition DVD from 1989 I got as a kid, watched it once and thought it was like a 5/10, Sold the Movie on ebay and realized I should probably rewatch it again. This time around I realized how much I missed hand drawn Animation. And my god this movie was very well animated. The story was good enough, and the mechs were enjoyable to watch. As a 30yo adult in 2024 I dont know a single other person who has watched the Patlabor series, but they are missing out and it forsure a must watch if you enjoy the golden age of animation and want some mecha in your life. And can we talk about how this movie was set only about 10 years in the future from its release and the tech in the show is still probably 20-50 year out lol

Mobile Police Patlabor: The Movie is the first of three sequel movies to the OVA Early Days. The movie was made by Production I.G, and came out on July 15 1989. Mamoru Oshii (Ghost in the Shell) was the director for this movie. The movie takes place in 1999 and it still focuses on the same cast of characters from Special Vehicle Division 2. All the Labors have had a new OS installed called HOS, but it seems like this is making the drivers lose controll of their Labors. When SV2 looks into this it all seems to tie into a mysterious man who have commited suicide on the massive Babylon Production construction site sets of a cascade of events that may signal the destruction of Tokyo. The characters are the same as in the Early Days OVA. If you wanna know more about them I suggest watching the OVA or read my review of the OVA. This movie doesn't really focus much on the characters in any way. The animation during the Labor fights are still as good as ever. They also liked to use a fisheye effect to add to the comedy during some scenes. Sadly though, I was expecting a bit more from the animation with this being a movie. It's not bad by any means, but there are times where it looked a bit wonky. I was not super impressed by the music in the OVA, so when I learned that Kenji Kawai had done the music for it I was even more disappointed. However, Kenji Kawai really stepped up his game for this movie. The music was a lot better and it made the movie that much more enjoyable to watch. Overall I thought this movie was good. The beginning of the movie was a bit slow, but come the middle point it starts to get a lot more interesting, and towards the end it got really exciting. The Patlabor franchize is good and I really recommend it for anyone who is on the fence about it. The mix between comedy and more serious police business is handled very well, and even if you're like me and not the biggest fan of mecha, I'd say that there is so much to enjoy here that you're not even gonna think about the fact that it's a mecha show.

Patlabor: The Movie proves the franchise can be more than a mecha police series. The OVA’s blend of bureaucratic comedy, procedural chaos, and grounded robot action becomes here something slower, colder, and more cinematic. Humour remains, and the cast is recognisable, but the film focuses more on atmosphere, urban unease, and quiet investigation than the early material’s everyday charm. The film is compelling because it treats technology as infrastructure rather than spectacle. Labor units are practical tools embedded in city life, making the story’s tension more grounded than most mecha films. When the HOS software causes malfunctions, the threat feels less like a supervillain plot and more like an impending systems failure. The danger is not war or invasion, but a city reliant on a vast, interconnected, poorly understood network that can fail. Here, the film’s themes come into focus. Patlabor: The Movie is quietly sceptical of technological progress and the institutions behind it. The Babylon Project and the Ark are more than worldbuilding; they symbolise redevelopment at any cost, sweeping away the old city for a shinier future. Released as Japan’s bubble-era hope faded, the film portrays Tokyo not as modern and lively but as haunted by neglect and displacement. Oshii lingers on empty spaces and rundown districts, suggesting every promise of progress is built on something abandoned. This gives the film a melancholy edge. It is not just about a program bug or a dead genius’s sabotage. It is about a city so dependent on systems and corporations that no one understands the whole structure. Hoba fits perfectly: less a villain and more a spirit in the machine, surviving through the systems he created. The film turns code and infrastructure into extensions of human obsession, imbuing the mystery with an eerie, almost spiritual quality. Visually, the film is where Oshii’s style crystallises. City montages, sombre pacing, Kenji Kawai’s unearthly score, and the heavy, realistic labors give the film a seriousness absent from the OVA. Action is sparse, but when it comes, it has weight. The machines move not like toys or superheroes, but as cumbersome, vulnerable, expensive equipment, making every deployment feel consequential. The final operation on the Ark feels impactful because the machinery is grounded in physical reality. Still, the film is not flawless. The middle section drags, and the mystery is less gripping than it should be. Once the core mechanism is revealed, the investigation loses momentum. The film also struggles with Noah, the series's face and earlier emotional core; here, she seems present rather than central. She gets her moments, and the ending tries to give her something decisive, but the focus is more on mood, systems, and urban anxiety than her character. Which, for me, definitely holds this film back from being perfect, as Noah is unironically one of my favourite characters in fiction. Even so, Patlabor: The Movie succeeds by aiming higher than a TV episode. It takes Patlabor’s core and filters it through Oshii’s interests in modernity, decay, bureaucracy, and fragile order. It is more accessible than his later work, but it contains many of his best traits. Not a masterpiece, nor as rich as Patlabor 2, but a strong film: a grounded, haunting mecha thriller about a city facing its future while losing sight of what it abandons. If the OVA is about daily life managing a ridiculous system, Patlabor: The Movie is about when that system becomes a threat.

I wish that I could just write a shorter review, but I guess MAL only lets long stuff. This movie is good. But. The damn soundtrack is just a 10, more than a 10 in fact. Just so great makes me want to rewatch just for the music. Overall haven't heard that much Kenji Kawai but in terms of what I have, as great as GITS is, this soundtrack just slaps the hardest. I have said my piece. Ok, apparently that review was for some reason not long enough? Why is there such a long requirement. Wanted to just say a couple of words about the soundtrack and the magical Kenji Kawai but I guess I'll just have to throw in some run-on sentences just for the hell of it. At this point I guess I just will refuse to write anything more about the movie itself as good as it is. This just started as purely me wanting to say how much I liked the OST but I guess the MAL gods just won't let me have it easy huh. To summarize, good movie bro. Maybe I haven't mentioned the music yet.

Combat Is Not A Valid Reason For Entry Patlabor: The Movie is a movie about labor going on a rampage, and the police being so jealous, than they have to bust them. Political intrigue, detective work and robot combat, this movie has the best balanced in al ofl the franchise. It's incredible how much better at storytelling this is, than the ova's. It's so much more serious and uses simpleism and clues to tell the story, It's no longer a robot comedy. The script is just so much better, and the dub is especially so much better performed. The way it uses shading and shadows, has also improved spectacular, and it really has come into its own great art style. The character design also feels more adult, and doesn't have that cute factor, like the Ova have. It's also not afraid to be more slow pace, to really make the mystery set in, and makes you wonder. It just so much more confident in what it does. As a fan of Mamoru Oshii, it is interesting to see how much of his latest style is becoming apparent, philosophical dialogues about the nature of man, and religious references and very on the nose naming, and the way when characters are moving through places, it feels meditative. God did not destroy the tower of Babel, it was the cops. would recommend.

Patlabor: The Movie, is an absolute masterpiece of the mecha genre, wrapped in a surprisingly nuanced package that most wouldn’t expect from a flick about giant robots. We’re not talking about explosions every five minutes or mindless action – no, this movie dares to get cerebral. It tackles some seriously thought-provoking themes like the potential dangers of unchecked technology, the fine line between man and machine, and the social responsibility that comes with innovation. This is heavy stuff, especially when you consider it was made back in 1989 – damn near prophetic, I’d say. What really hits is the pacing. Now, it's not a non-stop thrill ride; it’s slower and more deliberate, which could turn off the attention-deficit crowd. But if you stick with it, that build-up is intense and has you glued to every damn frame, like waiting for a pot to boil over in glorious chaos. Mamoru Oshii, the director, knew exactly what he was doing here. The tension, the mystery, the atmosphere – it all culminates in a way that makes you feel like you’ve just witnessed something way bigger than a cop-with-a-robot story. Animation-wise? Gorgeous. The backgrounds, the detail on the mechas, the rain-soaked streets, that gritty Tokyo skyline – it’s like stepping into a world you wish was real but also scares the crap out of you. And the music. Kenji Kawai’s score? Eerie, minimalistic, and totally fits that looming sense of dread. The soundtrack does half the work in pulling you into this shadowy world where not everything is as shiny and heroic as it seems. Now, yeah, there are a couple of hiccups – character development could’ve used a bit more oomph. Some of the characters don’t exactly get their time to shine, which feels like a bit of a cheat in a story with this much depth. And the pacing, like I said, isn’t for everyone. But if you’re in for a smart, atmospheric mecha thriller with style and substance? Patlabor’s an easy recommendation. It’s like a fine whiskey – not everyone’s taste, but damn, does it hit hard if you appreciate it.

"'As I tracked down his past, it felt like time was passing me by. Places I used to know were just rotting away, or had become empty ruins. Look away for even an instant and it's all gone. And it happens before I can even consider what it all means. I guess the past is worthless in this city.' 'This spot was part of the ocean until recently. And in a few years, a huge city will rise up from the sea in front of us. But before you know it, that will become yesterday's junk too. It's like sitting through a sick joke.'" This film feels kind of awkwardly pulled between two polls. On the one hand you have some more slow, methodical, contemplative exchanges like the above which pre-empt the tone that supposedly characterises the second film (I haven't seen it yet), and then, on the other, you have the lighthearted low-key character interactions from the decidedly slice-of-light comedy from the OVA and/or anime, plus a smattering of more standard actiony set pieces. All rolled up together, it doesn't really manage to excel at any of them, and largely comes and goes like a very inoffensive beautifully produced and hand drawn appetiser -- it doesn't fill you up. As a side note, I watched the OVA before this since I thought it would be good to get some context going into it. Now, I think that doing so probably isn't entirely necessary, you might find yourself confused at first by whoever the characters are and their relationships, but I don't think that's anything you wouldn't be able to work out in the viewing process.

I did not like Noa as a protagonist in the original ova . So naturally when i saw Asuma take the leading role in this one , i was excited because he is both charismatic and smart and it was fun seeing him solve a mystery using his strengths . However , at the last moments of the final act Noa takes the lead once again , and i would be dissapointed , however she proved to be a capable fighter and that was a pretty good way to end this film . My god the christian symbolism , well this sure did pave the way for Mamoru Oshii to direct Ghost In The Shell ... obviously ...

Marmoru Oshii is one of those directors that I can understand the appeal of, but I'm not a big fan of his. That being said, I actually think this might be Oshii's best film so far because it feels like an actual film and not a showcase. The animation is beautiful and there is a true sense of impact with the Patlabors when they hit each other. The writing was decent, if a bit odd at times, the voice acting in the dub was pretty good, although I could clock Roger Craig Smith's voice a mile away. The music is pretty good with it's late 80s synth that I really like. The pacing is one of my issues with this film because it feels both too fast and too slow because this is a Marmoru Oshii film and from what I've seen of his films, they all have that problem. It's a fine film, but it's Oshii's best film so far. 7.9/10