Author Serdar Yegulalp

The return of Kentarō Miura's violent fantasy epic to the little screen brings with it a fidelity to its strong characterization and powerful story -- and a renewed appreciation of all that was problematic the first time

Of all the science fiction properties for Hollywood to flirt with, Dune was among both the best and the worst.

If Harmony doesn't make a case for balance, most dystopias don't anyway. If they did, I suspect they wouldn't be called dystopias.

Label anything 'steampunk' and the label tends to take over, but this fantasy from the late lamented Project Itoh is about more than just clockworks and longcoats.

Restored to its original psychedelic glory, this mad masterwork from Osamu Tezuka's studio goes from chic porn to feminist parable and everything in between.

Mamoru Hosoda's new film starts as a predictable story of irreconcilable opposites forced to work together, but becomes something more ambitious and challenging -- and worth sticking with despite its narrative bumps.

The first of the 'Aoi Bungaku' animated adaptations of classical Japanese literature is a keen, well-devised adaptation of Osamu Dazai's novel of downfall and decadence, No Longer Human.

Edogawa Rampo's 'erotic-grotesque' horror stories are remixed for the (post)modern day in this sinister, surreal, and colorful adventure.

After 'Knights of Sidonia', Netflix and Polygon Pictures aim -- successfully -- for darker and harder-hitting territory.

With all the anime/manga projects out there to choose from, why does Hollywood insist on choosing the ones that give it the biggest cultural difficulties?

Concrete Revolutio is a sprawling anime answer to Watchmen, with all of the ambition -- and all of the shortcomings -- implied by such a thing.

I might once have described Kenji Miyazawa's Night on the Galactic Railroad as Japan's answer to The Little Prince.

A pivotal inspiration for Tarantino's 'Kill Bill', the violent revenge tale Lady Snowblood brings us an anti-heroine who's as much of an outsider for being a woman as she is for being an assassin.

When the first film in this live-action trilogy of Rurouni Kenshin is among the very best adaptations yet of an manga/anime property, we can forgive any weaknesses in the whole.

Fullmetal Alchemist deserves more to be seen for where it rethinks and reinterprets, and less for how it deviates from the playbook.

Vampyros Lesbos and She Killed In Ecstasy were intended to be moneymaking exploitation pictures, not cult items.

The most pleasant surprise of Vampire Hunter D: Bloodlust is not just how much of an improvement it is over the original film, but how much it also improves upon its source material.

Gerard Kargl's Angst, unseen for decades, is as good a case study as any for a movie that transcends its own mythology.

Two impulses are at work within me when discussing the new reissue of the 1985 Vampire Hunter D film.

Robot Carnival is a product of anime from as far removed from our time now as the release of Disney's Sleeping Beauty was from its time.