In a week where the Astronomer Royal Martin Rees predicted that within a few centuries machines will have taken over Earth the release of “Ghost in the Shell” seems timely. After all it deals with a future society where everyone is physically connected to, and dependent upon, a digital network; a world where cybernetic “enhancements” are as commonplace as plastic surgery is today.
The newest addition to this biomechanical society is Major Mira Killian. Caught in a terrorist attack her brain is saved by Dr. Ouelet, an employee of Hanka Robotics, and placed in a cybernetic shell. This fusion of a biological “mind” (or “ghost”) and a synthetic physical frame leaves Mira unsure of whether she is a human being or a machine. This is an interesting seam and one that director Rupert Sanders appears, initially at least, happy to explore without resorting to standard blockbuster clichés.
The Major is assigned to Section 9, an anti-terrorist unit composed of both enhanced and “pure” operatives. They are hunting a terrorist known only as Kuze who always seems to be one step ahead of them. Kuze is targeting employees of Hanka Robotics but no-one knows why. As Section 9 gets closer to their quarry the Major begins experiencing hallucinations which Dr. Ouelet calls “glitches” – the consequence of her brain partially rejecting her artificial body.
While the film sets up some intriguing questions and displays an eyecatching visual palette, including giant holographic advertisements and bodysuits that lend the wearer near invisibility, it never comes close to summiting the apex of its aspirations. The original anime version of “Ghost in the Shell” is an absolute classic of the genre but much of the plot of that film is discarded in favour of a more straightforward “catch the baddie” narrative. This is a strange decision given that the tone is much more solemn and contemplative than what you are used to seeing in a film of this nature. It’s as though it only has half the courage of its convictions.
Also there are no real “wow” moments in the film. There are quite a few aesthetic flourishes that catch the eye but the action sequences end up feeling routine and perfunctory. There’s also the fact that Scarlett Johannson has played roles quite similar to this in recent years (“Under the Skin” and “Lucy” come to mind) so, while you can see why she may have been drawn to this material, it feels like you are seeing echoes of performances she’s already given.
Having said all that “Ghost in the Shell” is commendable for how it tries to present an alternative to the big-budget blockbuster fare we’re used to seeing. With a better script it really could have been something but, ironically, it ends up feeling sort of soulless finishing with the kind of predictable finale that leaves you wanting less. Worth a look but only to see what it could have been rather than what it is.
Director: Rupert Sanders
Running Time: 107 mins
Rating: 15A
Starring: Scarlett Johansson, Pilou Asbaek, Takeshi Kitano, Juliette Binoche, Michael Pitt, Chin Han.
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