Reception
Ilya Garger of Time said that Cutie Honey was more like the "tamer" 1970s anime version than the original manga, with campy "over-the-top" acting and "unpolished" CGI effects. Garger added that "much of the film seems devoted to giving people a chance to ogle in an array of fetching costumes—and in all fairness, she does an excellent job of being oglable." A Variety review agreed with those points: it called the movie "an embarrassment of kitsches" with "camp pleasures and candy-coated, comic-book giddiness" that has "more humor and a lot less perversion" than the manga, and praised Sato as "a highly marketable plus as the sexy superhero who shouts 'Honey, flash!'", but said its CGI and matte effects were "crude by H'wood standards".
On Allmovie, Jason Gibner wrote that the film's "scenes where Honey lounges around in nothing but a white bra and panties for extended periods of time" give "a feeling of unpleasant and unexpected sleaziness", despite being aimed at children with villains similar to those from Power Rangers and the childish heroine Honey; while he said Sato's role as Honey is "hard not to enjoy", he considered the film an unsatisfying "noisy thing" with an incoherent story.
Read more about this topic: Cutie Honey (film)
Famous quotes containing the word reception:
“But in the reception of metaphysical formula, all depends, as regards their actual and ulterior result, on the pre-existent qualities of that soil of human nature into which they fall—the company they find already present there, on their admission into the house of thought.”
—Walter Pater (1839–1894)
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)