on it, such as Rintaro the director, one of my all time favourite anime folks Katsuhiro Otomo doing the scripts, and the production being done at Madhouse.Metropolis is…not very good.I feel a bit awkward not liking Metropolis, because there’s a hell of a lot of things to like about it. For one, it’s fucking gorgeous. Incredible detail has gone into each background drawing and there is rarely a shot where characters aren’t moving. Even background characters are doing little things like picking up bottles and throwing coins and puffing cigars. It seems weird to highlight something like this, but when you spend all your time watching the usual cost-cutting techniques of anime produced for television, it really stands out here. The music is fantastic too. It’s very blues orientated, which ties into the seedy underworld feel the lower levels of this heavily class-based world have.The movie clearly has an actual point to the story too. It’s about class warfare and how the lowest levels of society will rise up eventually. It’s particularly striking how the rebellion starts with the second class citizens throwing their little fight, but the real rebellion is right at the end when the robots all rise up under their ‘charismatic’ leader. Tie this is with government corruption and how the desires of those in power, as heartfelt and real those feelings might be, can lead to the destruction of their city. There’s some pretty obvious allusions to the Tower of Babel too and the danger of trying to become like a god. In other words, this movie is not like the other 2000-era movie with Katsuhiro Otomo on board, Steamboy. With Steamboy, all the pretty visuals in the world couldn’t hide that the story was a total damp squib with dumb idealism and pathetic characters mwahaha go my biased views go. With Metropolis, there’s clearly an artistic vision here and a story with proper depth.So why am I not feeling all that hyped about Metropolis? This might be a bit harder to explain.You know that thing I was praising earlier on in this review? How characters would always be moving, including the background characters? How detailed the background art was? The movie also seemed to realise how great it was at this and leant on it too much. You get a lot of scenes of one character walking, another character walking with him, the second character looking back and slowing down, then jogging to catch back up with the character they were walking with. There’s lots of scenes of characters walking through the streets, or robots doing busywork, or fat Tezuka designs smoking cigars. It’s all set-dressing to develop the world, but most of it is redundant. When I say ‘a lot of scenes’, I really mean it. At least half of the first hour of the movie was spent on these shots of ‘world-building’. They get very boring very fast, which also serves to give the movie a painfully slow plodding pace.The story is told almost entirely through symbolism and representative actions, which I generally like. That’s how I normally feel a story should be told. Thing is, this leaves the characters with rather little to say, but speak they do anyway. This leaves them with nothing of interest to say beyond idle chit chat, which leads me to the obvious conclusion that every single one is a boring person. Occasionally they might say something of interest that ties into the overall themes of the movie, but because the animation has been diligently working that point constantly, it’s again pretty redundant stuff. Combine these non-characters with a story that takes forever to move anywhere and has very little of excitement occurring and you get what makes Metropolis such a drag.I knew writing this review would be difficult. Reading back over the last 2 paragraphs now, a lot of the things I appear to be complaining about are aspects of other anime I love. The whole thing about characters not being people but merely ideals slotted into the story might as well be a line from a review of Madoka Magica. Letting the visuals tell the story and leaving the characters to just blabber on about whatever could be a line from a review of FLCL. So what is it that this movie is missing? Some kind of X factor? Some oomph to get me invested?Perhaps the best course of action might be to look at the end of the movie and see what it did right. For all the plodding most of the movie did, the end really ramps up and provides some of the most striking imagery I’ve seen in any anime. Absolutely jaw-dropping, end-of-the-world events centring on what had previously been this figure of purity and idealism warp into a mutant-baby-from-Akira monstrosity, but still had parts of its original face intact to make the shock turn even more grotesque and eerie. That scene had oomph, but it also wouldn’t have worked if the proceeding 90 minutes of rather boring studge hadn’t existed to build up the themes in the first place. It’s one of those cases where some reviewers would claim you require ‘patience’, which is a nice way of saying that the piece suffers from an inability to make its world-building and set up interesting to watch and only becomes interesting once Shit Starts Getting Real.When Shit Starts Getting Real in Metropolis, it’s an exhilarating experience that brings together the narrative arcs of several plot threads in one satisfying conclusion. It’s a shame that they couldn’t make the entire rest of the movie interesting rather than relying on high production values and hoping that alone will keep you entertained.