Our sister site Jalopnik has a stellar collection of movie cars — both official and replicas. These are mostly fan-made, drivable replicas of cars and bikes from science fiction.

Batmobiles

Some of the more ambitious projects are the Batmobiles. You can actually purchase kits to convert various car models into an Adam West-era Batmobile. But some fans prefer to make their Batmobiles the hard way.

It took Leif Garvin of Stockholm 20,000 hours and $1 million to convert a 1973 Lincoln Continental into the Tim Burton Batmobile. It may not be quite as hi-tech as Batman's car, but it does feature a voice recognition system and rear cameras. [via Toxel]

Bob Dullam attracted massive amounts of attention when he showed off his homemade Tumbler from Batman Begins. Dullam made the entire vehicle from scratch, and even made his own Batsuit and props to go with it. [via Superhero Hype]

And frequent builder Grant Hodgson made a Tumbler of his own. [via Jalopnik]

Bob Causey helped Dullam with his Tumbler and decided to create a Batmobile of his own. Causey took on the Batman Forever version, complete with a remote controlled top. [via /Film]

Kaneda's Bike

There are plenty of models of the iconic motorcycle from Akira, but many of those are non-working copies. Neo-Fukuoka, not a fan group but a professional garage, created multiple, working copies of Kaneda's bike, some offered for sale. [via Riding Sun]

But another fan, Matus, is also creating a replica of the bike from scratch, although he hasn't yet progressed to the exterior.

Mad Max Vehichles

Mad Max vehicles are a perennial favorite among vehicle modifiers. There are impressive lists of fan-made Interceptors at Last Interceptor and Mad Max Movies. But one fan stands out above them all. Adrian Bennett didn't just transform a Ford Falcon Coupe into the famous vehicle, he moved himself, his car, and his entire family from England to a tiny Australian town so he could live out his Mad Max fantasies. [via SCI FI Wire]

Other Mad Max vehicles have gotten the fan treatment as well, such as this Yellow Interceptor made by Grant Hodgson (who also did one of the Batman Tumblers):

And Goose's bike by Mike Acebo:

KITT

Knight Rider's KITT is another favorite, and again there are kits you can purchase to give your car KITT's Cylon eye. Of course, the best KITT mods don't just change the outside of the car, but are also incredibly detailed on the inside, such as this converted 1984 Firebird, which speaks in KITT's voice [via Jalopnik:

And this 1992 Firebird:

Frankenstein's Car

The Gator Car from the original Death Race 2000 would have been more fun, but some Russian fans of the Death Race remake took an impressive crack at Frankenstein's car, starting with a Chevy Camaro. [English Russia]

The DeLorean Time Machine

A DeLorean is already a DeLorean with those retrofuturistic gull-wing doors. But add a flux capacitor, a temporal display on the dashboard, and a liberal sprinkling of light-up buttons, and you've got yourself Doc Brown's time machine. [Auto Blog]

Ecto-1

George Barris, who famously designed the original Batmobile among other TV cars, famously made a replica of Ghostbusters' classic car, one that is perpetually for sale. But others have taken on the Ecto-1 challenge as well. Ghostbusters fanatic Joe Kerezman created an Ecto-1 of his very own.

And a fan calling himself "Venkman21" modified his from a Cadillac ambulance.

Luke Skywalker's Landspeeder

They may not hover, but fans can always pretend in their homespun landspeeders. [all via Interbent]

This puppy was made from a 1988 Ford Escort and is actually a licensed, street-legal vehicle.

This pre-distressed model, created by Daniel Deutsch, runs on batteries and can climb to 25 MPH — impressive, though not exactly putting the "speed" in "landspeeder."

Why the teeth and the clown's head on a pole? It's an art car from Burning Man.

And this last one — which is a bit heavier on the wheels — comes from Pawtucket, Rhode Island, and annual Star Wars Day.

Collider is reporting that the silence surrounding the movie has been the result of waiting for Children of Men and Iron Man screenwriters Mark Fergus and Hawk Ostby to complete the script, and that the project is still considered a "high priority" with a potential 2011 release date if the script is approved. Here's hoping that rumored star Joseph Gordon-Levitt won't be too busy with GI Joe sequels.

Exclusive Akira Movie Update [Collider]

The movie was rumored to take the six-book original series by Katsuhiro Otomo and translate it into two feature films. Ruairi Robinson was attached to direct the project.

Bloody Disgusting is now reporting that the film is dead in the water.

Sad news comes in this weekend as we have learned that not only has Robinson left the project, but Tetsuo and Kaneda's adventure is "dead as a doornail," a report we've confirmed with two separate sources.

You guys speculated that the project sounded rushed, and that such an undertaking probably couldn't be done, in a manner worthy to the series in time, for a 2010 release. So maybe it's all for the best, and maybe this it will have another life in the future — the far future where there are psychics, sex slaves, floating chairs, and we live in a Neo-City.

Shônen manga, aka boys' manga (the #1 category in the unapologetically gender-targeted world of Japanese comics), has always involved action and fighting. But after the success of Dragon Ball (which itself arose in the testosterone-heavy climate of early '80s manga like City Hunter and Fist of the North Star), a new generation of manga started to mix fantasy, comedy and a light attitude with the classic martial arts formula of training and maiming. Forget about the big megahit Dragon Ball-influenced manga like Bleach, Yu-Gi-Oh! and Naruto-those ones are okay, but these are the ones you've got to read.

• One Piece (Eiichiro Oda). Wacky super-powered pirates travel the globe of a fantasy world in search of "One Piece," a legendary lost treasure. The illustration for the article comes from this. Running since 1997 in Japan, this series combines the high spirits and humor of Dragon Ball with its own particular brand of gory (yet usually nonfatal) swordfights and punchups. It's Pirates of the Caribbean meets Dragon Quest meets Yellow Submarine, with blood; plus the world of One Piece is much more fleshed out and internally consistent than Dragon Ball ever was Oda says Toriyama is his favorite artist, and the two of them have even collaborated on a one-shot Dragon Ball/One Piece crossover, Cross Epoch. (It's not officially translated, but unlicensed scanlations can be found online.)

• Jing: King of Bandits (Yuichi Kumakura). The fantastical adventures of a young bandit in a Looney Tunes world of surrealism, wild scenery and strange monsters. This 1995-1998 manga (and its more Gothic sequel, Jing: King of Bandits: Twilight Tales) is episodic, without any real ongoing story, but it's a children's fantasy adventure with style.

• Ranma 1/2 (Rumiko Takahashi). Another must-read kung fu manga, which ran in a competing magazine, Weekly Shônen Sunday, from 1987 to 1996. Ranma 1/2 (from the creator of the rather blah Inuyasha) is very different from Dragon Ball; it's a pure action-comedy, with not much story to speak of, and it's about a group of high school martial artists cursed to transform into various animals and things when they're splashed with cold water. The hero transforms from a guy into a girl, often when naked, leading to much speculative fanfiction. But if you read only two manga about Chinese-style martial arts, let this be number two.

• Eyeshield 21 (Riichiro Inagaki, Yusuke Murata). Action manga. Spiky hair. American football. 'Nuff said. This (intentionally) hilarious, melodramatic sports manga has been running since 2002.

• Shaman King (Hiroyuki Takei). Had enough fighting manga in faraway lands, with silly characters? How about a fighting manga set in the modern world, where the heroes are shamans and wizards fighting a tournament ON THE BEHALF OF VARIOUS THINLY-DISGUISED WORLD MYTHOLOGIES TO DETERMINE WHICH WILL BE THE DOMINANT RELIGION FOR THE NEXT 500 YEARS? This bizarre 1998-2005 manga is full of subversive humor, pot leaves (mostly censored in the English edition), American superhero references and crazy fight scenes. Unfortunately it kind of peters out before the conclusion.

• Knights of the Zodiac: Saint Seiya (Masami Kurumada). Running from 1986 to 1990, this series technically isn't influenced by Dragon Ball; the veteran artist, Kurumada, had been drawing boxing comics and boys' action stories long before Toriyama got started. But the cartoony, nonstop violence and machismo of Saint Seiya is a manga classic, the Green Arrow to Dragon Ball's Green Lantern. The plot theoretically involves martial artists who derive their powers from the Greek gods (they're holy warriors, aka "saints"-an element obscured in the unsuccessful English translation of the anime), but basically it's just one fight scene after another. Its over-the-top insanity and complete lack of logic makes Dragon Ball look like a work of heavy intellectualism.

• Jojo's Bizarre Adventure (Hirohiko Araki). Like Saint Seiya, this one's another parallel evolution of action manga. From 1987 to the present day, with breaks of no more than a few months, this horror-superhero-mystery adventure has delivered its own brand of craziness to readers throughout Japan. It starts out as the story of two feuding brothers in Britain in the 1890s, turns into a story about martial artists versus vampires, then about globetrotting psychic-powered heroes who can materialize spirits outside their bodies. The current storyline, Steel Ball Run, is about a transcontinental horse race in the Wild West. With superpowers. Imagine a glam fusion of Burne Hogarth's Tarzan, Bill Sienkiewicz's run on New Mutants, '80s splatter films, and Knights of the Zodiac, and you have an inkling of the idea.

• Dr. Slump (Akira Toriyama). This one isn't the "spawn" of Dragon Ball, it's the older brother. Toriyama's 1980-1984 Dr. Slump, a slapstick comedy about the adventures of a mad scientist and his android "daughter," is full of sci-fi movie references, robots, aliens and poop jokes. Some Japanese culture commentators consider it the last "grassroots" manga megahit, before later shows (including Dragon Ball) became more commercial and calculated. It's Toriyama's personal favorite of his own manga. And he drew it while living with his parents!

Tanaka was one of the key animators on Akira and was responsible for, among other things, the animation of Testuo’s rapidly mutating arm. His still illustrations draw from similar imagery, telling stories of young people set in a crumbling future, and filled with grotesque experiments and bizarre creatures. The images below come from Tanaka’s art book Cannabis Works.

[Digik Gallery via FFFFOUND!]

Thanks for the tip John!

Latino Review talked to Dr. Strangefist, who had an opportunity to review the script for the first live-action film, written by The Book of Eli scribe Gary Whitta. Dr. Strangefist outlines the basic premise of the new script, along with some of the characters’ newly-Anglicized names (Kaneda is still Kaneda, but Tetsuo somehow became “Travis,” which just isn’t as much fun to scream). Overall, he found the script happily familiar, although it doesn’t add much to the Akira universe:

The people out there who demand faithfulness in adaptations and remakes should be pleasantly surprised, even if not outright delighted by this script; sure, a few elements are slightly watered-down, Hollywood-ized, Americanized – but there is no outright wrecking, ruining, or childhood raping going on here. All things considered it is shockingly faithful to the source material, at times reading like a flat-out transcript/description of the animated movie, and even incorporating aspects of the original manga that were left out of the anime version. It is faithful not only in plot and character details, but in tone. It retains the darkness, the violence, the epic qualities and even some of the themes, though they’ve been tweaked, Americanized, and updated to apply to current events. They are also maybe a bit less complex, but still this is admirable. This adaptation actually retains a lot of the style and, more surprisingly, substance of the original. If you are already a fan, you will probably like this adaptation, because a lot of the same things are good about it.

The other side of that coin, though, is that it’s not bringing many fresh ideas or perspectives on the material to the table. What I love about good remakes or adaptations, what in fact makes some of them good, is that they are opportunities for artists with distinct voices and visions to take already existing works and re-interpret them, pay respect to them but use them to say new things and make them their own. There is very little of that happening here. Don’t get me wrong, as much as I’m talking about how faithful it is, a lot of that reaction is due to my surprise that it’s not a complete bastardization. We’re not exactly talking Gus Van Sant’s Psycho levels of slavishness here. But it’s not a particularly fresh take either. Neither infuriatingly dumbed-down nor invigoratingly creative and exciting, it just kind of exists - at least as a script.

It’ll be interesting to see if the filmmakers take a similarly faithful approach to the film’s visual style, or if they introduce a new vision to Akira while maintaining a similar storyline. Director Ruairi Robinson, who makes his directorial debut with Akira, is certainly no stranger to post-apocalyptic filmmaking, as is evident in his recent short film The Silent City:

[Latino Review via Animated News]

Metropolis (1927)
With the economy imploding, we know what The Suits are thinking: Why not tap into the zeitgeist by remaking this stylish, silent, futuristic thriller about socioeconomic-class chasms? Added bonus: At the heart of the film is a hot stripper robot — total box office bullion! To paraphrase Nigel Tufnel, speaking about his precious vintage guitar in Spinal Tap: “Don’t touch it… don’t point, even.” No, don’t even look at it.

Close Encounters of the Third Kind (1977)
After the success of his UFO-sighting film, Stephen Spielberg expressed interest in revisiting the property, which haunted our minds and stoked our imaginations as we pondering these mysterious aliens. Soon after, he made the cuddly E.T. instead. Smart man.

History of the World, Part I (1981)
It’s a joke, you see: what with history traditionally recalled in successive volumes. As much as we’d love to see the musical “Jews in Space” — which was teased in Mel Brooks’ cinematic romp through times of yore — we’d hate to see this stellar concept stretch into an SNL type skit gone too long. Plus we’ll always have The Schwartz.

The Thing (1982)
The late Vincent Canby, one of the New York Times’ greatest critics, once referred to John Carpenter’s remake of 1951’s The Thing From Another World as a "a foolish, depressing, overproduced movie." Which is naturally why we consider it a classic. Carpenter, the Sci Fi Channel, and Strike Entertainment (Slither, Dawn of the Dead), and have respectively tried to resurrect the property. And just last year, it was announced that the latter had succeeded, forging an (unholy?) alliance with Universal for a prequel. Nicely played, Strike, nicely played. But a prequel still feels like a sequel even though it is a prequel. (We’ll pause while you think that through.)

12 Monkeys (1995)
A dude goes back in time and hangs at a mental hospital while trying to stop an earth-plaguing virus, in this gripping, plot-twisting head trip. Anything more would simply be anti-climactic. Besides, what would you call it: 13 Monkeys? 24 Monkeys?

The Running Man (1987)
We know what you’re thinking. The awesome, sensational Running Man — about a to-the-death reality show for felons — would make a perfect obvious tie-in soon enough. It takes place in 2019! Which is coming up. Like, relatively soon. Too bad Death Race beat you to the punch. As we learned, the game show-as-moral-decay metaphor simply isn’t shocking anymore. Besides, we’ve been getting our fix of dystopian competitions from Japanese competition shows anyhow.

Akira (1988)
A thriller about a covert government op and a guy teeming with supernatural powers, this is an apocalyptic epic of sweeping beauty and challenging complexity. To attempt to improve upon — or even mimic — this classic would be utter hubris.

Armageddon (1998)
Despite popular disdain, the hysterically ridiculous doomsday asteroid flick made a killing, internationally, at the B.O. And we know you all too well, Michael Bay. We’d hoped you’d learned your quality-control lesson from Bad Boys II, but here’s hoping you will with Transformers 2.

Donnie Darko (2001)
Director Richard Kelly’s break-out movie was dark, intriguingly time-twisty, and made ghoulish use of a rabbit. It also went on to become a surprise cult hit, which is why the industry is so ready to juice it with a story about the creepy misadventures of his little sister (Sparkle Motion!) while on a roadtrip. (Nightstalker director Chris Fisher will helm the follow-up.) S. Darko, as it’s called, was said to have started shooting in May. But, as we learned from the original, it’s never too late to change fate and put this risky proposition out of its misery.

Ghost Rider (2007)
Nicolas Cage’s painful paean to the flame-headed motorcycle enthusiast made a decent chunk of change, so a follow-up is already in development. But it’s never too late to do the right thing and snuff it out of its misery. According to the actor, there’s been talk about “going international with that character. Taking him into Europe, having him go on a motorcycle.” Perhaps we should use that Penance Stare on the sinful filmmakers—apparently the fate of the Western world depends on it.

I Am Legend (2007)
The lucrative, Will Smith-starring adaptation of the Richard Matheson book initially found its stride, then missed the plot mark completely — that the infected vampire/zombies are, in fact, evolved humans — in its frustrating, off-putting second half. Still, not ones to pussyfoot around, Warner Bros., eager to cultivate another franchise, has obtained the sequel rights. But forgive us if we doubt Hollywood’s commitment to the fine source material, given the tendency to transform anything cerebral into a mindless popcorn flick.

Watchmen (2009)
Zach Synder recently took the high road and declared that he’s doubtful he’d direct a second Watchmen without the Hollywood-loathing Alan Moore’s involvement — which pretty much settles that. Or not. Once we figure out who owns the big-screen rights to the property, they can theoretically bastardize the bejesus out of it. Surely some things are sacred.

Levitt, who's won critical praise for his roles in movies like Brick and The Lookout, has long been rumored to be taking the main role in the live action version of Katsuhiro Otomo's classic 1980s story of psychic teenage delinquent motorcycle gangs and widespread destruction... but he's not willing to admit anything yet, as he explained to MTV's Splash Page blog when asked about his taking the role:

I love the movie ‘Akira.’ I still have yet to read the manga, but that's really just a rumor. They don’t have a script or anything.

So, wait. Was that a non-denial denial? He didn't say that he wasn't being considered or in talks, after all. And how would he know that they didn't have a script if he wasn't involved in some way...? We're saying give it until he hits it big as Cobra Commander in next year's big toy movie, and then we'll hear that he's agreed.

Joseph Gordon Levitt Denies ‘Akira’ Involvement…For Now [MTV Splash Page]

Super Dimension Fortress Macross: Well, yeah. Big ass robots are pretty much a given, what with the success of Transformers. And while the mecha of SDMF don't transform into cool cars or panty vending machines, they have a secret weapon in the battle for big money franchises: this epic tale of war between humanity and an alien race was adapted as the first segment of the Robotech cartoon. That series, which ran in the U.S. in 1985, gave many Americans their first crucial taste of anime action filtered through a sweeping storyline. As if that wasn't enough, Super Dimension Fortress Macross features a love triangle between two military officers and a pop idol, enough twists and turns to put Battlestar Galactica to shame, and characters with big, big hair. Like, "hey, I could skydive onto that," big. Once he's through having his way with Watchmen, we want to see Zack Snyder take Super Dimension Fortress Macross and make it the big screen franchise of cheesy awesomeness most of us have been waiting for without even knowing it.

Parasyte: Hitoshi Iwaaki's manga is the strangely satisfying marriage of Spider-Man and Invasion of the Body Snatchers: a failed attempt by an alien invader to take over the brain of Shinichi Izumi has left it in control of his right hand, and teen and alien must form an uneasy alliance to avoid being found out by Shinichi's culture or killed by the aliens that have infiltrated it. Blending paranoia, frenzied fight scenes, and meditations on what it means to be human, Parasyte takes the most painful subtext of puberty—that your body has become something strange and not quite in your control, and now you're an outsider as a result—and serves it up as delicious, delicious crazy. (No wonder Del Rey's current adaptation is the second time the series has been brought to the USA.) Rumors abound that Jim Henson's studio and producer Don Murphy are already working to bring it to the big screen, but screw that noise: let Peter Jackson get his hands on the material, and make it as a bloody bookend to his adaptation of Alice Sebold's The Lonely Bones (and a loose companion piece to his classic Braindead (or Dead-Alive, as it's known over here)).

FLCL: An Original Video Animation (OVA) from 2000, FLCL has a lot in common with Akira: you've got people hollering and jumping off motorized two wheelers while strange growths shoot out of the foreheads of pained adolescents. But whereas Akira takes creator Katsuhiro Otomo's memories of growing up during the turbulent period of 1960s Japan and transmutes it into a serious sci-fi epic, FLCL stems from the shock contemporary culture can bring to a lonely kid growing up in a small town, whipping the story into a wild-eyed froth of rampaging robots, crazy vespa-riding women, and bass guitar centered fight scenes. Benjamin Button, Shmenjamin Shmutton: we want to see David Fincher in full-on Fight Club mode try to match the brio of this series' animated anarchy.

20th Century Boys: The toast of scanlators worldwide and a huge hit in its native Japan, 20th Century Boys is the most ambitious work Naoki Urasawa has undertaken, spanning more than forty years, dozens of characters, and twenty-two collected volumes. (His previous work, Monster, was no slouch either—a crime thriller set in Eastern Germany that reads like a cross between The Fugitive and Silence of the Lambs, Monster ran for six years and was collected in eighteen volumes.) While 20th Century Boys takes its name from a T. Rex song, its hook seems like a Stephen King novel on steroids: a group of old friends in the '90s try to figure out the link between a destructive cult leader and their forgotten childhood fantasies. Meanwhen, in 2014, a young woman tries to figure out what happened to them. While Lar von Trier has the chops to keep so many characters and so many stories moving along, he lacks the warmth and affection Urasawa brings to his characters. Let Best of Youth's Marco Tullio Giordana give it a shot—his five hour epic from 2003 covers a similarly vast swath of time.

Nausicaä of the Valley of the Wind: Finally, if Hollywood is crazy enough to tackle such a groundbreaking classic as Akira, why not let it try other works of manga that've had an indisputable impact on the medium? Hayao Miyazaki may rule the world of Japanese animation now, but his anime adaptation of Nausicaä of the Valley of the Wind, his own manga, was only able to cover approximately the first quarter of his tale. As long as Hollywood wants to bite off more than it can chew (for the profit to be garnered by pre-chewing material for the masses), why not have it mount a Lord of the Rings style cycle, covering the entire tale of a princess's adventures a thousand years after our modern-day civilization has destroyed itself. Epic battles, environmentalism, more opportunities for CGI than you can shake a fistful of sticks at—they'll eat up Nausicaä in the cineplexes, particularly if you get Alfonso Cuarón on board. Having directed such diverse work as Chldren of Men, Harry Potter and the Prisoner of Azkaban, and Y Tu Mama Tambien, Cuarón's got the right amount of razzle-dazzle, hippie-dude humanism, and child-eyed wonder. To the extent such a thing can (or should be) attempted, Cuarón is the one to do it.

Imagi is selling shares in the company for an increase in funding that will hopefully increase its " development of four full-length feature computer graphics imagery animation movies, scheduled tentatively to be released from 2009 to 2011." Imagi is already set to release movies of the classics Astro Boy and Gatchaman. It's probably a safe bet that the other two releases designated for those years (they'll put out a movie every 8 months) will most likely be anime as well.

Hollywood is mad for live action anime remakes: Leonardo DiCaprio's production company and Warner Brothers are set to bring Akira to life, and Stephen Spielberg and DreamWorks are recreating the immensely popular Ghost in the Shell, which will also be 3-D. But I'm most excited for the re-creation of Robotech, and the mecha-warriors of the future.

I'm looking forward to a year of introducing the world of anime to the mainstream audience, I especially would like to see what everyone will think of Takashi Murakami Planting the Seeds feature film.

It's a mere matter of months until we start seeing more American live action flicks with school girl's toting around weaponry Mai HiME style, and is it wishful thinking to hope for a epic fantasy remake of InuYasha? I say the more girls in school outfits blowing up the world, the better.

Sadly, the synopsis doesn't sound that great, with its references to "spiritual decay" and Jazz singers:

Simeon Rockwell is a man who becomes infected with a spiritual disease. His past and now this disease, forces Simeon to wrestle with his own inner demons and help rid the world of this virus. Simeon is aided by a beautiful female Jazz Singer named Satia Niall, who helps him in understanding his place in the greater struggle of mankind. Simeon realizes that time is running out and he must act fast to stop the spiritual predator who wants to bring about the downfall of society. During the course of this adventure, Simeon and Satia both change, as they bring out the best in each other; and eventually fall in love.

Akira debuted as a manga strip twenty-six years ago, running for eight years in the Japanese magazine Young (It's been reprinted twice in the US, by Marvel Comics in the '90s, and Dark Horse in the beginning of this decade). The plot centers around Shotaro Kaneda, leader of motorcycle gang The Capsules, his psychic one-time best friend and now enemy, Tetsuo Shima, and eponymous character Akira, a cryogenically-frozen child whose destruction of Tokyo decades earlier started World War III and precipitated the creation of the hypermodern metropolis Neo-Tokyo. Add in secret military organizations, terrorists and corrupt government figures and you have the kind of sprawling epic that Warner Bros is undoubtedly hoping will capture the hearts and minds of the public in an almost Matrix-like fashion next year.

For the manga snobs amongst us, there'll always be the animated movie.

WB takes franchise turn with 'Akira' [Variety]

Famous names: Katsuhiro Ôtomo

Crunchy goodness: 4

Sight you'll never unsee: A teddy bear that mutates slowly into an atomic monster, managing to combine ultra-cuteness with ultra-horror in a visual paradox that will have you freaked out for days afterwards.

Design breakthrough: One of the first anime flicks to make a critical splash in the United States, Akira taught US audiences that animation could be very grown-up. It influenced a generation of animators who were enchanted by Akira's gorgeous, disturbing images of war and post-apocalyptic future cities.

The shit: Akira's soundtrack is packed with haunting mashups of techno and traditional Japanese music, creating a post-apocalyptic atmosphere tinged with myth.

Interrogation Report: Akira (Movie Review)