Charlie Stross reviews Mamoru Oshii’s Avalon:
Most of “Avalon” is shot in sepia tones; indeed, one way of looking at it is that it’s a classic art-house middle-European subtitled art movie in which the characters spend the entire film angsting about the nature of reality between cigarettes. (And shooting things up with helicopter gunships, tanks, and giant robots — for this is Mamoru Oshii, after all.)
If you read Hebrew, see also Raz Greenberg’s review