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Steamboy
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Directed by Katsuhiro Otomo
Katsuhiro Otomo, director of the groundbreaking anime feature Akira, returns with this visually striking fusion of the past and the future. It's 1866 in London, and gadget-happy Ray Steam receives a mysterious package from his grandfather -- a tiny ball that turns out to be a miniature super-powered steam engine whose power is greater than that of its largest counterparts. As it happens, Ray's gift is regarded either as a technological marvel or a threat to the safety of the world depending on whom you ask, and a group of agents from the sinister but powerful O'Hara Foundation (who fall into the latter category) know about the tiny engine, and are determined to get it. Ray's father, Eddie, has fallen under the sway of the O'Hara Foundation, and tips them off when he learns that Ray is hiding the engine at one of the pavilions of the Great Exhibition that is the toast of the city. But Ray finds he's not the only one with the wonder engines -- the entire exhibition is being powered by a handful of them, and the O'Hara group is using its pavilion hall-cum-battle fortress to seize the rest. Patrick Stewart, Alfred Molina, and Anna Paquin are among the actors who contributed their voices to the English-language version of Steamboy. ~ Mark Deming, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
It's easy to see why Steamboy, the long-awaited film by Akira director Katsuhiro Otomo, took over ten years to come to fruition. The movie is positively bursting with words, images, opinions, characters, and sweeping gestures--elements that in their overabundance, all detract from each other. Steamboy takes a science fiction look at the birth of the steam age, heavy-handedly casting this revolutionary source of power in the light of today's conflict over nuclear energy. This controversy within the story ignites endless debate between its characters over the true purpose of science, often depicting the polarization with too much bluster to ring true. While it may be a drawback for the film's subtext to hit like a bag of hammers, there is little fault to find with its dauntless art direction. The movie is stylistically epic, sparing no expense with frame upon frame of ornately detailed imagery that frequently overshadows the film's high-minded commentary. Steamboy's aforementioned themes about scientific ethics generate a lot of dialogue, and it appears that Otomo tries to balance all this talk with lengthy action sequences. Unfortunately, more often than not this dichotomy of flashy movement vs. talky exposition has a herky-jerky, stop-start effect, leaving audiences alternately bored and over-stimulated. It's a shame, because Otomo remains an articulate filmmaker. Many of his narrative choices are clever and skillful, such as his use the pubescent character Ray to illustrate not just youthful idealism, but the inevitability of change. Sadly, even Ray's eloquence is swallowed up by Otomo's huge cinematic appetite, as the less than compelling secondary characters in Steamboy tend to steal focus. Ray's only peer, a little girl named Scarlett, is possibly the most gratingly irritating character to ever appear in an anime feature film, while his grandfather spends most of the movie wandering shirtless through the dark corridors of a power plant, raving in a Scottish accent and just begging to be made into a Saturday Night Live character. Perhaps Steamboy would be less of a disappointment if its creator wasn't considered by many to be one of the most important names in anime. Regardless, it's a film that reflects ambition more than achievement. ~ Cammila Albertson, All Movie Guide
 

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