Katayama succeeds in sculpting complex conceits which hinge on climaxes that never come.

Considering that Masamune Shirow created such a vivid landscape, it's surprising that the plotlines succumbed to mediocrity.

The ambivalence within Dunan, especially, wedged between her human roots and her cyborg superiors, stirs the plot. But resolution on any level ultimately comes through some physical feat rather than a painstaking choice. Karon's convictions that Olympus is responsible for human decay drives the plot but, alas, culminate only in a misplaced reversal marginalized by explosions and gun play.

Although timid ventures into the third dimension meet with fewer successes than failures, vibrant backdrops and heart-pounding chase sequences rusticate an ailing script.

This American script maintains the free spirited banter between Dunan and Bularios. And Lorelei King's Athena is laced with a requisite sardonic realism.

A lot of gunfire, little blood and, sadly, sexual arousal reaches its peak in a brief profile shot of Dunan in her panties.

Athena is such an enigmatic taskmaster, replete with sharp eyes, pursed lips and fiery ginger locks, how can a mortal human resist bowing to a...well...a god.

Need to study for Classics 126, need to watch anime, well have I got news for you...

Teasing throughout the movie with an obvious, though unrealized, romance between Dunan and Bularios, an underused Cupid must have lost interest by the end.

Love it? Hate it? Buy it.