Author Serdar Yegulalp

The simple algebra for Blade Runner Black Out 2022 is that it's to Blade Runner and Blade Runner 2049 as an episode of The Animatrix was to The Matrix generally.

Japan's Roaring Twenties are both backdrop and stage for these three excursions into the delirious, the decadent, and the surreal.

A masterwork, not just of period reconstruction and attention to the details of daily life, but also for the ways it navigates through the tricky issues of a story about WWII Japan without stumbling.

There are so many individual things wrong with Netflix's live-action Death Note film that you might as well roll dice to figure out where to start.

The work collected in Astonishing is as wide-ranging as the man who created it.

There's always the chance the live-action 'Gintama' and 'Bleach' movies will be good, but right now they appear to embody the deadliest, most literal sins of such projects.

Outlaw Star mashes together ingredients drawn as much from Westerns and wuxia adventure stories as it does space opera or pulp SF.

A trifle of a film, but it doesn't overstate its importance or overstay its welcome, and it shows how Studio Ghibli gave as much care to stories like this as they did for any of Miyazaki's fantasias

Nihei's original story sported a premise that lent itself to near-infinite extension.

The results are consistently hilarious, and so Tsukikage Ran works both as a love letter to its source material and a mutation of it, an homage and a sendup alike.

With a potentially fascinating story about the daughter of the fabled artist Hokusai and some beautiful production design, it's a shame this unfocused and aimless film isn't better.

When the director of 'Mind Game' and the author of 'The Eccentric Family' got together, they created a comedic masterpiece that plays like 'Groundhog Day' fused with both of those visionary projects.

'Abraham Lincoln: Vampire Hunter' for the J-lit set; a show that has one great creative invention and then spends its entire runtime doing nothing of consequence with it

Miranda was the source of a good half or more of the mesmerism exuded by these two movies. Put her onscreen, even doing nothing, and it’s impossible not to look at her.

A promising opening, an intriguing spin on an alternate version of recent history, a classy-looking production -- but it all crumbles no thanks to abysmal characterization and storytelling decisions.

Screwed comes off like something from under the banner of the avant-garde Art Theatre Guild, the groundbreaking and envelope-pushing production company that became identified with Japan's '60s and '70s counterculture.

Having a city slicker hit the sticks isn't an innovative story by itself, but 'Barakamon' has heart, humor, and some surprising insight into what makes creative people tick.

Few anime intended for mainstream consumption are this avowedly experimental; fewer still pull it off to the degree this one does.

The follow-up from the director of 'King Of Pigs' is both more artistically accomplished and more emotionally scarring, an attempt to get us to care about someone who would otherwise never warrant our sympathy.

This wild, stylish marriage of Gerry Anderson-style marionettes, wuxia cinema, and gnarly anime plotting may be tough to take in at first, but we all complained about big eyes and small mouths once upon a time