The reviews are uniformly positive, and the praise gathers around the same two things: the ideas and the look. Most critics treat Oshii’s film as a serious inquiry into identity, memory and what remains of a person inside a manufactured body, and several note how far ahead of its time its picture of a data-saturated world looks. The animation is singled out repeatedly, with the central city sequence named more than once as the point where the film’s brooding, melancholic mood comes into focus.
The spread is narrow; the reservations are about density rather than quality. Time Out finds the characters closer to ciphers than people, and The Skinny notes clumsy exposition and a plot hard to follow at first. The Guardian goes furthest, calling it too opaque to invest in fully while saying it should be seen. Sight and Sound admits a first impression of dullness that a rewatch with subtitles corrects. Nobody dislikes it; a few find it cold.
