'Ghost' paints ethereal scene

Halloween is just around the corner, and with it comes the season's perennial staple: horror movies.

Most are idiotic, recycled dreck that numb the mind. But "Ghost in the Shell 2: Innocence," the new science-fiction anime from Mamoru Oshii, is refreshing in its thought-provoking premise and frightening implications.

The story has been done before, in both "Blade Runner" and 1995's original "Ghost in the Shell," now heralded as a cult classic. And it was lifted and taken to fame in 1999's mega-hit "The Matrix."

But here, the basic outline still works.

In the movie's futuristic Japan, cyborgs are commonplace, used as pets, sexual companions and government agents.

Recently, advanced prototype "gynoids" have been murdering their owners and then attempting to commit suicide. Some of the victims have political connections. The government fears terrorism, and soon the investigators of counterterrorism group Section 9 are put on the case.

Batou, the Major's first partner from the original film, returns as an android warrior-slash-existential philosopher, equal parts Terminator and Kant.

His new partner, Togusa, is a former cop who's all human and has a family.

However, don't let it be said that Batou does not have a loving relationship with his dog.

For newcomers, the film's title is confusing until you realize that ghosts are souls and shells are bodies.

Outside of this given, the definitions are blurry. Can robots have a ghost? Does a ghost need a shell to exist?

In the words of one character: "Why are humans so obsessed with constantly recreating themselves?"

The film raises the same complex philosophical questions that the most prolific theoreticians of history, from Descartes to Confucius, have been battling.

The difference here, though, is the medium. With the benefit of animation, Oshii is able to tackle these tough questions through mind-bendingly stunning images. "Innocence" is quite possibly the most breathtaking, visceral experience to hit theatres in years.

The title sequence alone is worth the price of admission and is the best since the famous "gun" opening of "Fight Club."

To the film's detriment, the genre also is used as a crutch. In this sequel, it appears that Oshii is trying to cater to a larger audience by introducing some buddy-cop movie clich