In the near future, Major Motoko Kusanagi is the first of her kind: A human saved from a terrible terrorist attack, who is cyber-enhanced to be a perfect soldier devoted to stopping the world’s most dangerous criminals.
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Good casting idea : since "Her" and "Under the Skin", we kind of accepted that Scarlett Johansson is basically a robot without body. I usually don't like big blockbusters played in front of a green screen but it's here partially justified by the script and the visual result is stunning. So we got an entertaining first hour before Hollywood's dark side takes over. The last bit is a mess. Still a pleasant surprise.
Nice try but no cupcake. The film feels thematically confused and artistically compromised due to studio constraints. It is very beautiful looking, I must say. Also, isn't it weird how it's essentially about the cultural appropriation of itself? I don't think it works in the way it thinks it does.
the world they've built is so visually captivating but the script just loses itself when it tries to condense parts of the franchise into a single project. instead of white-washing i just ended up thinking about the washing i left in the machine at home.
Visually arresting, hauntingly scored and capably performed by an excellent cast. If you're sick of the overly glossy, anti-atmospheric sci-fi that's characterized the 2000's, you'll dig the lived-in city's sense of scope; from the glitz to the ghetto, there's a profound sense of character to every street-corner, and many sequences continue to leave me breathless. Falters only with pacing and a PG-13 stamp.
Watching Asiansploitation films or dramas like “The Iron Fist,” ”The Ornithologist” & this, I always think “I'm f**king fooled & Caucasians are really stupid.” But I also feel sadomasochistically guilty pleasure like “Woo I'll see how privileged white idiots altered Japan or other Asian countries’ culture into highly silly amalgam of misunderstandings! Woo Hoo!” I know this is self-injury fun but can't help [cont.]
Digital. Too dependent on the computerized virtualities and of a narrativity conformed with the possibilities of a video game. There is, however, something that survives the accumulation of commonplaces and is the confidence one has in a set of characters and in the décors in which they move, although unlike Blade Runner, one of the matrixes of this film, they are too digital. And Kitano still has his admirable beat.
Rupert Sanders' ambitious live-action adaptation of "Ghost in the Shell" feels like it was made by craftsmen who clearly revered their source material - there are several sequences from Mamoru Oshii's anime that are recreated here almost shot-for-shot - but found their hands tied by a Hollywood system that necessitated a safe, PG-13 product rather than anything approximating the groundbreaking force of the original.
The line isn't positioned between humans and robots, film or animation, but between real actors and their digitized image. The new Ghost in the Shell updates the creative cyberpunk cinema of the 1990s with surprising intelligence and amazing aesthetics. It's been a while since I've been taken aback by a film simply by looking at it. Even the casting, including Johansson as Major, is on point. Truly surprising.