Ghost in the Shell review – a stylishly made, and spectacle filled sci-fi

‘In the near future, a unique human cyborg leads an elite force in a hunt for a deadly criminal who aims to destroy a leading cyber tech company.’

Before 1995, anime was a niche medium outside of Japan, had a hard-core but sparse fan base. Those who loved it, embraced it, and those who didn’t were just indifferent to its existence. Then came Mamoru Oshii’s Ghost in the Shell (1995), and exploded this old-fashioned, 2D animation style into the mainstream.

Since then, anime has only grown in popularity, and although is still an acquired taste for many, is far more accessible, and widely acknowledged as an important form of visual storytelling.

Not only did Ghost in the Shell bring anime more into the spotlight, but it also made western film makers stand up and take notice. It was only four years later that the Wachowski siblings gave us their game-changing sci-fi film The Matrix (1999), which was heavily inspired by Oshii’s movie, and has itself, been imitated many times over the years.

Now, just over two decades later, Hollywood is going back to the source and giving us a live action remake of the film that started it all. You could argue it’s further proof that major film studios have no interest in original stories. That they continue to lean heavily on rebooting, remaking and adapting existing properties. Yet despite that being the case with Ghost in the Shell, due to living in a very technologically advanced and dependant age when compared to 1995, the themes explored in this film feel just as relevant and potent as they did back then.

Similar to the anime, the story takes place in an unspecified city in the near future, where most of humanity has embraced cybernetic enhancements. The plot follows Scarlett Johansson’s Major Killian as the first person with a fully prosthetic body, with just her brain left inside. Working for a special task force known as Section 9, she and her team begin hunting down a terrorist (Michael Pitt), who is targeting Hanka Robotics, which just so happens to be the company that gave the Major her new body. As the hunt for this mysterious enemy goes on, she begins to dig into her own past for answers, only to discover that everything she’s been told about herself has been a lie.

Director Rupert Sanders has put a valiant effort in with this remake. Understanding that the film needs to be its own thing, and stand on its own, he skilfully tackles the challenge of appeasing the fans of the original by providing a movie that is both familiar, and different. All the favourite moments from the animated version have been faithfully brought over, and while it doesn’t go as deep, the spirit of the original remains intact, with the same philosophical ponderings of what it means to be human still being explored. At the same time, the writers also take the story in a few different directions, which might anger the purists, but at least keeps it fresh and distinguishes it from the anime. For example a dramatic change has been made in the ending, and the antagonist backstory has been altered, clearly keeping things open for a sequel.

Visually, the film is stylishly presented, with the city environment having both a polished and futuristic aesthetic, but also a very gritty and lived in one. A world swimming in technology, it feels very reminiscent of Ridley Scott’s Blade Runner (1982). CGI is good and blends well with the more practical effects, especially when it comes to some of the human characters and their various cybernetic enhancements. Sets also are constructed and given a real visual flare, with a number of them being ripped right from its animated predecessor. This disperses some much needed colour throughout an otherwise, dark and grey palette.

Sanders directs the action proficiently. There are times where it’s difficult to see what’s going on, with some choppy editing and dark lighting. For the most part, he provides some well executed, and mind-bending set pieces. Even though there is plenty of action, he doesn’t overly rely on it. Instead, he is able to balance it well with the cerebral approach from the original.

Over the last few years, Johansson seems to have been gravitating towards these more provocative science fiction roles. In films like Under the Skin (2013), Her (2013), and Lucy (2014), she plays characters that all go through some kind of identity crisis, questioning their humanity, and having to evolve in some way, and she continues that trend with Ghost in the Shell. Although many will see her casting as another example of Hollywood white washing, she proves the perfect choice for the Major, and actually fits in amongst an international cast and unnamed location.

As a cyborg, she skilfully traverses that that line between human and machine, physically changing her movements to be more robotic, while at the same time is able to let her humanity shine through her performance and facial expressions. Furthermore, with the action, it’s old hat to Johansson by now, and she efficiently displays in that department, convincing us of her status as a literal killing machine.

Unfortunately, as a result of the focus being squarely on the Major, a lot of the supporting characters don’t get enough time spent on them to feel very compelling. Thinly sketched archetypes, they’re basically there to support Johansson, and really don’t have much of an impact. Even Pitt’s antagonist doesn’t get a lot to do, and again, is purely there to propel the Major’s story arc, acting more like a plot device than an actual three dimensional character.

‘Ghost in the Shell is a sufficient attempt to introduce an excellent anime property to a wider audience. With a lot of style, a brilliant performance from Johansson, and great visual effects, there’s a lot to enjoy. Some fans might not like the liberties that were taken, and in no way does it equal the original, but it still has a timely message, and if it points more people to anime, that’s only a good thing.’