Film Review: Ghost In The Shell
“Everyone Around Me, They Feel Connected To Something. Connected To Something I’m Not…!”
With the levels to which the hidden advertisement gurus have gone to in order to make sure this year’s adaptation of Ghost In The Shell is popularly positioned within every cinema, street corner and television set, one of the main reliefs of finally sitting down and watching such is to be safe in the knowledge that never again will we see the propaganda-esque levels of publicity for Rupert Sanders’ Americanised remake of the 1995 Japanese animation which in turn was based upon the famous manga series of the same name. Whilst the background to the development of the project was rife with controversy regarding the announcement of Scarlett Johansson in the leading role of a film which is primarily Japanese based, mirroring in an almost uncanny fashion to the awfulness which was The Great Wall, Ghost In The Shell fortunately is a solid enough by-the-numbers sci-fi flick which through a wide range of elements is strong enough to bypass the controversy surrounding its’ leading star’s heritage, yet still suffers from a wide range of issues which prevent it from being the culty spectacle it almost feels obliged to be.
Of the good elements of Ghost In The Shell, director Rupert Sanders has created a future world in which not only is highly plausible but beautifully admirable in its’ construction. Think Blade Runner meets The Fifth Element with a hint of Minority Report and the surrounding boundaries of our heroine’s setting is the grungy science fiction landscape which many films have attempted to utilise without a sense of physicality. Luckily for Ghost In The Shell, such physical spectacle is there to be admired, although one which is amongst a narrative which unfortunately isn’t as groundbreaking as it thinks it is, with it taking plot threads and twisty turns into realms of extreme obviousness, particularly amongst science fiction fanatics like myself, whilst the real interesting notions, such as Scarlett Johansson’s Major attempting to discover who she truly is in a Blade Runner-esque fashion, are left to one side in favour of various action set pieces. Having a soft spot for Peter Ferdinando, star of the Ben Wheatley directed A Field In England and High-Rise, his performance as the (SPOILERS AHEAD) villain-in-chief is passably fun, whilst Boardwalk Empire’s Michael Putt is truly wasted as the cast-off cyborg thingy who speaks in a way which combines the weirdness of The Man From Another Place from Twin Peaks and Stephen Hawking. Solid and spectacular in places, Ghost In The Shell is the type of movie you can sense what the ultimate endgame of the narrative is a mile off but for a cheap Friday night blockbuster, it does the job suitably.
Overall Score: 7/10
Posted on 01/04/2017, in Uncategorized and tagged action, Chin Han, Film 2017, Film Review, Ghost In The Shell, Juliette Binoche, Masamune Shirow, Michael Pitt, Peter Ferdinando, Pilou Asbæk, Rupert Sanders, Scarlett Johansson, Science Fiction, Takeshi Kitano. Bookmark the permalink. Leave a comment.