Psycho-Pass Movie: Providence

In 2113, the Ministry of Foreign Affairs (MFA) dissolved their secret paramilitary unit known as the Peacebreakers. However, the squad disappeared, and their activities remained a mystery. Five years later, the Peacebreakers resurface when they murder Milcia Stronskaya, a scientist in possession of highly classified documents essential to the future of the Sybil System—Japan's surveillance structure that detects potential criminals in society.

To investigate the incident and prepare for a clash against the Peacebreakers in coordination with the MFA, the chief of the Public Safety Bureau decides to recruit the former Enforcer Shinya Kougami back into the force. Having defected years ago, Kougami currently works for the MFA under Frederica Hanashiro's command. Kougami's return creates tensions between him and his former colleagues Akane Tsunemori and Nobuchika Ginoza, but they must set aside their past grudges to focus on ensuring the security of the Sybil System.

[Written by MAL Rewrite]

Kougami, Shinya Main

Seki, Tomokazu Japanese

Tsunemori, Akane Main

Hanazawa, Kana Japanese

Ginoza, Nobuchika Main

Nojima, Kenji Japanese

Shindou, Arata Supporting

Kaji, Yuuki Japanese

Karanomori, Shion Supporting

Sawashiro, Miyuki Japanese

Kunizuka, Yayoi Supporting

Itou, Shizuka Japanese

Dominator Supporting

Hidaka, Noriko Japanese

Saiga, Jouji Supporting

Yamaji, Kazuhiro Japanese

Hinakawa, Shou Supporting

Sakurai, Takahiro Japanese

Ignatov, Kei Mikhail Supporting

Nakamura, Yuuichi Japanese

Morihiro, Fumi Producer

Kuroki, Rui Producer

Shiotani, Naoyoshi Director, Episode Director, Storyboard

Iwanami, Yoshikazu Sound Director

Reviews

Dec 17, 2024

logic340

Recommended

Psychopass Providence is a strong addition to the Psychopass universe and serves as a celebration of the series’ 10th anniversary. Known for its deep exploration of politics, ethics, and the complexities of law and order, this movie stays true to the essence of the series while introducing new challenges and dilemmas. While not perfect, it remains a compelling entry in the Psychopass saga, offering plenty for fans of the franchise to enjoy.

Plot: 6/10
The story revolves around a rogue group backed by the Ministry of Foreign Affairs, who aim to create an autonomous nation free from the Sibyl System’s control. Akane Tsunemori, now Chief Inspector of ... the Criminal Investigation Department, leads her team in investigating the mysterious death of a professor whose groundbreaking research threatens to destabilize both Japan’s government and the Sibyl System itself. The plot delves deeply into the ongoing tension between individual autonomy and the collective governance of Sibyl, raising new ethical and philosophical questions along the way. Akane’s steadfast commitment to working within the system while subtly pushing her own agenda is as engaging as ever. However, the story does falter slightly in pacing, and some plot elements feel a bit convenient. Despite these flaws, the overarching narrative is gripping, with enough twists to keep viewers on edge.

Characters: 8/10
Character dynamics have always been a hallmark of the Psychopass series, and this movie continues to deliver in that respect. Akane’s growth is particularly noteworthy, as her shift to the Foreign Affairs Department adds layers to her character. Her internal struggle to balance personal morality with the rigid laws of Sibyl makes her as captivating as ever. However, the return of Kogami feels somewhat forced, serving more as fan service than a necessity for the story. While his presence is always welcome, his involvement doesn’t contribute significantly to the plot’s progression. The supporting cast performs well, though their roles occasionally feel overly convenient to push the story forward. The antagonist group, while somewhat one-dimensional, manages to hold their own and provide a believable threat.

Animation: 9/10
The animation quality remains a high point for the Psychopass franchise. The movie’s visuals capture the sleek, dystopian aesthetic of its technological world with precision, bringing life to the grim and sterile environments. The iconic Dominators are as imposing as ever, and the aerial battle sequences stand out as particularly breathtaking. That said, the fight choreography in some scenes could have been smoother. While the movie benefits from a higher budget than the TV series, certain action sequences lack the fluidity expected from a cinematic release. Despite this, the overall visual experience remains immersive and well-executed.

Sound: 9/10
The Psychopass series has always excelled in its use of sound to enhance storytelling, and this movie is no exception. The OST is a mix of nostalgic tracks from earlier installments and fresh compositions that effectively set the tone for each scene. The opening theme attempts to evoke the same intensity and mood as the original series’ OPs but doesn’t quite hit the same mark. Nonetheless, the music does a stellar job of immersing viewers in the film’s tense and atmospheric world, making the auditory experience one of its strongest aspects.

Enjoyment: 8/10
For fans of Psychopass, Providence delivers an engaging mix of action, philosophy, and psychological intrigue. While Kogami’s inclusion may not have been necessary, his return is still a treat for long-time viewers. The film’s exploration of ethical dilemmas and the ever-present question of whether the Sibyl System is a necessary evil remain as provocative as ever. Though the antagonist group is somewhat one-note, they serve their purpose well, creating tension and stakes that keep the story moving. Overall, this movie offers plenty of food for thought, making it a satisfying watch for fans of the franchise and newcomers who enjoy thought-provoking narratives.

Overall: 7/10
Psychopass Providence is a solid installment that captures much of what makes the series beloved. While it stumbles in places with its pacing and character utilization, it more than makes up for it with its compelling themes, stunning animation, and evocative soundtrack. Whether you’re a dedicated fan or someone seeking a smart and intense psychological thriller, this movie is well worth your time.

Reviewer’s Rating: 7

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Dec 2, 2024

CarbonRuiner

Mixed Feelings

TL;DR: It's watchable and entertaining even if it doesn't make sense. Plot-wise it's uninteresting and a carbon copy of SAC's Individual Eleven The 2nd gig.

I've always believed that Psycho Pass should have followed the line of the sublime first season: criminal investigation and a more thoughtful and methodical approach. But they went down a more action-centric path trying to mimic GitS SAC, but where in that one it was believable and logical, here it never quite clicks. Mainly due to the fact that the Public Safety Bureau is a civilian organization, not a military one, and its competencies would not be the ones represented. Or ... that seeing individuals in suits and skirts facing special forces with state of the art equipment while they use their standard batons is not very credible.

In the movie you will find everything that is in Psycho Pass after the first season. An action story with zero logic and a background that seems interesting or deep but that when you stop to analyze it shows its superficiality and little sense.
The action scenes again aren't very credible (special ops losing as if they were random npcs, characters running and jumping even though they have been shot in the leg, jumps from great heights without consequences, some politics to fill and look like something serious, poor character development, etc.).
The plot is bad and poorly written. It's also clearly the same as the Individual Eleven arc in The 2nd Gig (Some rogue squad wants to create an independent nation of Japan. They even use like in GitS the hacking of bodies and so on).

The characters' motivations are not explained, the mix of agencies and how they "fight" is laughable, the protagonist's final act lacks conviction or logic on her part (and she might as well have done it at the beginning and saved us two hours). Sybil forgiving Akane is less and less believable in every iteration. And several scenes are blatantly poorly written to create "tension" or to force the script to go somewhere specific. There are also numerous absolutely laughable moments that make no sense whatsoever (like the bad guys not shooting and waiting to be shoot, or a character about to be killed shouts "don't shoot, he has to be judged according to the law" to the person who is going to save her. Even the bad guy and the good guy seem to think "eeeh what?").

An example of the whole plot would be: the bad guy wants to press a button that will make the world end. The good guys discover that he is wrong and that they really want him to press it, because the result would be good. Even so, they decide to mess it up, to make a whole war to finally press it themselves in front of the bad guy.


As I say, one would expect a Psycho Pass movie to be somewhat more realistic and better made (like the material it tries to imitate/homage) something to reference in the future. But this is just a plain, entertaining, fun and forgettable action film. Is that a bad thing? No, not at all. It is what it is and that's it.

To put it bluntly, it could have been the original GITS, and it is its live-action adaptation

Reviewer’s Rating: 6

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Nov 17, 2024

LightningComet

Not Recommended

Oh, how the mighty have fallen.

Where Psycho-Pass in its first season was an intelligent examination of the balances between societal control, justice, and idealism, it has with this film truly devolved into a mess of incomprehensible plotting featuring empty husks of characters with incoherent motivations. Other reviewers that disliked this film seem to also harbor harsh feelings toward season three, but I believe that to be mostly unfair. In fact, I would argue that consideration of the third season would be a good and quick way to identify what exactly is missing in Providence that made seasons one and three so much more memorable than ... this drivel: good dialogue.

Psycho-Pass is probably the talkiest cop show that actually warrants being taken seriously, a trait that is somewhat diminished in season three but almost entirely absent in Providence. The real key here is what is being spoken. With season one, the subject of discussions usually pertained to questions surrounding the push and pull between those three aforementioned topics; the cases being handled were mostly simple and were made even clearer to the audience by removing the whodunit factor by following the criminals around. One could even argue that these cases’ procedural details were largely irrelevant on a thematic level; how is a psychopathic high schooler murdering her classmates and posing them in grotesque homages to her father’s art even remotely pertinent to those debates of security and freedom? Short answer: it isn’t. The point of these murder cases is to demonstrate how criminality and, in tandem, judicial practices have changed in the world presented. This is actually what drew me to the series way back when: if the world is ostensibly a utopia, why are there still such horrific crimes being committed? That line of thinking is needed to dive deeper into the franchise’s central debate of security versus freedom, especially in the latter half.

Season three was more of an episodic mystery show, meaning the perpetrators’ identities and methods were what were frequently explored in the dialogue. The reason this did not bother me but, in fact, kept me engaged week-to-week is that those topics were all in some way indicative of flaws in Sibyl; the point of these cases was that only a human would or even could have identified something as being problematic or the result of foul play, thus affirming the franchise’s thesis of the need for humanity’s individualistic agency, the value in having people control their own fates. That each case indicated different cracks in the system and society at large kept the season feeling routinely fresh, the other primary reason being that different characters were given the spotlight in each arc (with mixed and limited results, though I still respect the effort).

But here we have Psycho-Pass: Providence, the entry where very little (especially of actual substance) is spoken. To pull back a bit and see how it contrasts with films as a whole, this is not inherently a bad thing, even if it is new to Psycho-Pass; I see this effort to inject longer bouts of silence as an attempt to be more contemplative and emphasize characters’ emotions more than developments in the world presented. Providence is really trying to be Blade Runner, a film where, even though the plot is paper thin and the dialogue is sparse and mostly uninteresting, the story is remarkably well-conveyed; there are few other films that utilize atmosphere and mood so effectively (see also Three Colors: Blue). All this is to say, however, that Providence is not the kind of film that employs atmosphere, visual fidelity, and shots of people watching life pass them by to great effect. This film fails as a psychological and emotional examination of quiet characters and their (in)humanity because both the franchise (most of it, anyway) and this film have always been more about the world and far less about the people in it. Providence tries to have it both ways and fails both ways; the few attempts at connecting the interpersonal, intrapersonal, and investigation-relevant problems the characters face to the franchise’s thesis of individualism, this time through religious metaphor, feel extremely forced in addition to being, in some ways, a retread (see the Sybil worshippers in season three).

I should note that I don’t think it’s fair to call the film’s plot scattershot or even overly-convoluted. It is, however, damn near incomprehensible during an initial watch because the head of Psycho-Pass’ dialogue and characterization has never before been quite so firmly and deeply up its own ass. Those that have read critiques of season one will know this to be an actually rather remarkable feat. Providence has this idea in its head that the characters’ mere act of speaking like the Renaissance-era people they cosplay should automatically make them smart, and yet all the dialogue succeeded in doing was upset me by making once-interesting intellectual characters totally insufferable. This issue of extremely clunky dialogue is dwarfed, however, by the fact that, with all those contemplative silences, not enough is actually said about what is happening or why it matters. There is a wealth of missing information here that only serves to make the experience annoyingly confusing. Why characters do the terrible things they do was never quite clear to me, yet all these actions warrant further explanation beyond the fact that Psycho-Pass has a history of being grim-dark. The tragedy is that it’s now grim-dark with whatever points intended by the creators frustratingly muddled by the film’s shoddy presentation.

If that was not bad enough, Providence also falls victim to the practice of not leaving well enough alone e.g. Kougami. To be fair, the problems with his characterization really started with his decision at the end of the third Sinners of the System film to effectively be an Enforcer all over again except for the Ministry of Foreign Affairs, meaning he would be fighting foreigners and would use guns rather than Dominators (as such, the coolest sci-fi element of the franchise is largely absent from the film, dumb black hole gun notwithstanding; not exactly a great marketing ploy). The question I have is this: why is Kougami doing a bunch of 007 nonsense on behalf of a government for which he has no love? Here’s his arc across the franchise: in season one, he’d already fallen from grace, having resigned himself to being a state-sanctioned stone killer but who then proves himself to be an egotistical murdering bastard by the end. Psycho-Pass: The Movie and the third Sinners of the System film have him feeling tortured over his decision to execute Makishima; he wanders freely around Asia without any direction beyond wanting to do right by people, perhaps even in atonement for his sins, before making the boneheaded decision to return to Japan and be a state-sanctioned killer again because… freedom wasn’t what he thought it was? I bring all this up because Providence actually touches on this negation of his entire arc; he says that his current job helps people, which doesn’t make any sense considering he is still just an executioner for Sibyl. The film, in contrast to its attempt to be more emotionally introspective, makes no effort to have Kougami actually reflect and change or even effect healing within the people he had hurt with his betrayal. He calls up Akane, ostensibly to apologize (and only at the prompting of Professor Saiga), but instead tells her he regrets nothing. This is never brought up again. When this happened, I immediately laughed, cupped my hands around my mouth, and called out to my TV, “Nice apology, dicknuts!” Sure enough, Akane herself pretty much says the same thing after he hangs up. Though I had already suspected it, that moment was when I really knew this film was too dumb for me to enjoy.

On the topic of 007 nonsense, I have a bit of a bone to pick with the action sequences in this film. I think the proper word to describe them is “overdone”, the reason being that they bill themselves as extremely climactic and lethally consequential but carry only a minimal amount of actual dramatic weight or narrative tension. To compare this to seasons one and three/First Inspector, confrontations between the detectives and criminals felt engaging because they were significant; characters and audiences both endured harrowing journeys to get there. That these scenes also made the effort to put the franchise’s themes front-and-center was competent writing. In Providence, none of the ideas being spouted during the confrontation had been examined in ways that really affect the characters and how they feel; the film plays catch-up in these few minutes on all the things it should have been doing with its dialogue and character interactions throughout the majority of its runtime. But no, it had to pretend to be more like Blade Runner while still appealing to the crowds who just want to watch characters and machines fight and blow up during a way-too-long climax with four different POVs running concurrently. It doesn’t help that there is also a feeling of diminishing returns with these action sequences. All of them look strong (even if the sound mixing goes completely out of whack, which I found annoying), but the sheer frequency and duration of these set pieces made them feel less like the integral next step of the story and more like fanservice in a way only a superhero film could be.

And usage of the word “fanservice” is a decidedly apt choice to function as a segue to discussing the ways in which this film contributes to the setup of season three. Or, more accurately, should contribute but doesn’t. The long and short of it is that I found nothing in this film to explain anything in season three other than why Akane is behind bars; you’re probably not going to get any cathartic “Oh, that’s why!” kind of moment in relation to Shindo and Ignatov’s family history because what is provided doesn’t actually have any thought-provoking conflict behind it. Maybe I’d need to research this to know for sure, but I was too busy trying to parse out Shindo's father’s motivations to really notice anything of import (hint: I failed. Miserably). There is something that does bother me, though: why does Chief Kasei bleed after getting shot? Is she not an android avatar of Sybil, as evidenced by the fact that she was clearly an entirely mechanical being in season one? Or is Akane actually a murdering lowlife shitheel like Kougami now?

If that's the case, then I called it back in December 2019: Akane Tsunemori is criminally asymptomatic.

Chances are, though, the production team added the blood just to fool the in-universe press. Joke’s on them because they should have tried harder to fool me! Hahahahaaaaa!

Although… I paid forty-five dollars preordering this shit from Crunchyroll, so…

Ahh… fuck.

- LC

Reviewer’s Rating: 3

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	Poll: Psycho-Pass Movie: Providence Episode 1 Discussion Jutin123 - May 17, 2023	47 replies	by FI3RY »» Nov 29, 7:12 PM
	Do you think providence is bad ? ZeroViolet - Jan 6	18 replies	by Greek12 »» Oct 29, 7:46 PM
	Any other psycho-pass stuff after this movie ? Lacam - Jan 7	5 replies	by hi777 »» Jan 20, 11:56 AM
	Why is it a ‘sequel’? Karl-Rihonin - Sep 20, 2023	3 replies	by regulusgal »» Nov 1, 2023 2:33 AM
	Blu ray release on December 20 MegamiRem - Oct 4, 2023	0 replies	by MegamiRem »» Oct 4, 2023 12:09 AM