Ghost in the Shell review

GHOST IN THE SHELL 

starring Scarlett Johansson, Juliette Binoche and Pilou Asbæk

directed by Rupert Sanders 

A review by Helen J. Reynolds

Based on the anime and manga likewise named, Ghost in the Shell brings Masamune Shirow's creation of a dystopian ultra-tech Japanese society into 3D live action.

In a world where humans are addicted to cybernetic upgrades, one company is looking to go further: producing a robotic "shell" linked with a human brain. Major (Scarlett Johansson) is the first success story in this new chapter of human evolution and is the perfect government agent. 

Sets and costumes are incredibly detailed though do reference other sci-fi films; holographic advertisements bring to mind Blade Runner, robotic arms recall Star Wars/Terminator and the beautiful meshing of the organic to metallic is highly suggestive of The Matrix, as well as the glitches that act as a motif to Major's searched for past. It's still a rich universe in its own right, overloading every frame with interest so that you almost want to pause the action to soak it all in.

Action punctuates the movie, with literal explosions following most of the key revelations and becomes a bit of a gimmick by the end. There's also little development of Major's Section 9 team, so it's hard to feel that invested as the climax puts everyone suddenly -and rather unnecessarily- at risk. Her partner Batou (Pilou Asbæk) has a great deal of promise at the beginning but the lack of integration between these Section 9 characters to the plot means they all get left behind. 

The casting of Scarlett Johansson's character could be viewed as white-washing, especially when considering Death Note (another Japanese anime/manga brought to live action) is about to have a new westernised interpretation for Netflix later this year. 

However, Johansson gives a strong performance. While the trailer markets a sexualisation of her role and, let's be honest, she's virtually naked for most of the movie, it's a relief to find her body has very little to do with her characterisation. She's shown as pure muscle and there's a butch, purposeful movement to everything she does. She drives the narrative completely, making rogue decisions and seeing what others don't. A fearlessness as well as a vulnerability given to her character makes for not just a strong female character, but an interesting protagonist full stop.

The let-down comes in the plot, which is overly simplistic and explained far too much by the dialogue. A disappointment since the world is presented as highly complex and we're given the impression early on (aided by the mysterious hooded figure of Kuze, Michael Pitt) that we should "trust no-one". Yet the characters, for the most part, are extremely black and white. Dr Ouelet (Juliette Binoche) is perhaps the exception, giving shades of grey as well as an emotional connection to her side of the story. Though a scene between her and Major that's reminiscent of I, Robot is done in such an obvious way that there's virtually no impact.

Overall, a beautifully crafted and well-rounded take on the universe. Some good action moments but the predictability takes away the tension that's needed to match with the epic nature of the world. Scarlett Johansson provides most of the draw. 

A combination of:

I, Robot (2004)

The Matrix (1999)

The Fifth Element (1997)

© Helen J. Reynolds, 2017