Since it’s release in 1995 the anime of Ghost In The Shell has become one of the touchstones of not only Japanese animated films breaking through into western culture (along with the likes of Akira and the Miyazaki films) but has become a heavy influence on science fiction cinema of many sorts from The Matrix to Dredd and beyond.
So now, some 22 years later, the long developing ‘Hollywood remake’ has hit the multiplexes with Scarlett Johansson leading an international cast, also including Juliet Binoche and ‘Beat’ Takeshi Kitano.
The story here concerns Johansson’s Major Mira Killian, a cyborg member of a kind of top-secret law enforcement agency, and her teams mission to take out a mysterious new threat who is killing off high level scientists from the company who created the Major’s robotic body. From there things head into a fairly predictable conspiracy plot.
While there’s nothing wrong with the plot per se, and it does use the conspiracy to explore a similar notion to the earlier animated version, it is hampered hugely by a near total lack of definition in the characters all of whom are at best two-dimensional renderings of fairly well-worn stereotypes – even Major who of all the roles has the most scope for something more.
While this same criticism could be levelled at many of today’s blockbusters everything around the central group of characters just feels somewhat bland with a script that relies too much on spoken exposition to both move the story on and labour its point with visuals that, while technically impressive, never wow like it feels they should and display no sense of flair or originality.
Given the fact at least some of the cast are known talents it’s hard not to conclude that a major part of the problem lies with director Rupert Sanders, the man previously responsible for Snow White And The Huntsman which had many similar problems.
On top of this came the fact that there is a sense that Ghost In The Shell was produced somewhat ‘by committee’, trying to simultaneously target both the mainstream American (western) movie audience, the increasingly important Chinese market, the Japanese market and fans of the original.
While the original anime version of the film helped establish new tropes of future urban dystopia this version does little to build on that, strangely giving it a feeling that it is copying the very things the original influenced both visually and in terms of its story and characters.
This all comes together to leave a film that, while not technically bad, just feels flat and uninspired which, given the legacy of its progenitor, makes it a massive disappointment and a missed opportunity that probably arrived two decades too late, if it ever even needed to arrive at all.