When fear based oppression achieves another level that incorporates the capacity to hack into the individual mind and control them, Major is particularly fit to stop it.
Things enroll into her own reality when a new mission presents a new enemy, claiming to reveal more about her past than what was told her.
Major soon finds that her life was stolen rather than spared. Used as an experiment to combine the human brain into machine bodies, she was built as a weapon.
Major is the first of her kind: a human who is digital improved to be an impeccable trooper committed to halting the world’s most hazardous futuristic menaces.
She will persevere relentlessly to recuperate the memories of her past while rejecting the corporation that did this to her.
Major Kusanagi, is a cyborg counter-terrorism agent: a human brain in a morally questionable robot body. One of the first in the beginning of man-machine development.
Rupert Sander´s film is a cutting-edge motion picture in view of an adored manga and anime series.
Taking a lot of risks, like the choice to cast a white performing artist, Scarlett Johansson, in a part that was initially Japanese, these exchanges might not be the nearest thing to a motion picture fans had in mind.
But where the new movie deviates from the anime base is where it delights the newcomers to the series.
The script, which is reasonable, replaces the substantial fight scenes with a philosophical talk about private life and privacy around the middle part of the film.
Johansson as cyborg ass-kicker Major Motoko Kusanagi and the rest of the cast actors are well performed, the not so distant future world in which robotic upgrade is typical is portrayed in top CGI moments, especially the night fly-by across the city skyscrapers.
Asian countenances flourish the majority of the key moments, we can’t get enough of this Oriental styles, geisha robots, yakuza goons, the tangled Hong Kong horizons and holographic ad boards across the city.
Unfortunately, the movie could have been longer in order to address all its own expectations, let me explain:
The main character doesn’t know anything about her past but fights like a professional against terrorism, and that involves us into the story right at the beginning of the movie.
Then an action break takes place to a more inner-look about our hero´s past life and the memories she so wanted to have back. A new enemy with the right set conditions allows Major to have a glimpse of herself before she was converted into a cyborg-like machine.
After that, the action never really comes up and back, the ending comes too fast, too soon, like an excuse to cut the film right there, but we wanted a bit more. The mother-daughter relationship moment was made in a hurry, the attacks on the members of the project were just a few words and dead actors, no particular action took place until Major was involved in stopping the enemy, that eventually leads to the abrupt ending.
Would be good for balance, but for what is worth, it leaves up to expectations of fans of futuristic action that don’t know the original anime-manga series in which “Ghost in the Shell” is based upon.
If you are a fan of the original series you have to decide for yourself if the conciliation of Japanese characters in this story is up to your expectations, my review only aims fiction, futurist action movie fans stranger to the series.
Directed by Rupert Sanders
Screenplay by Jamie Moss, William Wheeler and Ehren Kruger
Story by Jonathan Herman, Jamie Moss
Music composed by: Clint Mansell, Lorne Balfe
Cast: Scarlett Johansson, Michael Pitt, Christopher Obi, Josep Naufahu, Pilou Asbæk, Philippe Joly, Takeshi Kitano
Production: Paramount Pictures, DreamWorks, Reliance Entertainment