An artist could have the best painting skills and brush strokes but that means nothing if they only paint pictures of blank walls.
Ghost In The Shell is the remake of 1995’s anime classic. The Major (Scarlett Johansson) is a state of the art robot working as a stealth agent. When she discovers the Hanka corporation’s machines are being corrupted, she sets out to discover what is going on, whilst simultaneously learning the truths of her strange past.
To put it lightly, this is everything the upcoming Blade Runner sequel needs to not be. There is always a matter of disconnect in a film heavily focused on cybernetics, but Johannssen’s character is meant to be incredibly human for a machine and all she comes across as, is disconnected from reality. Johansson is great at the robot/cybernetic elements but the human tendencies The Major needs just aren’t there.
This actually goes for the film as a whole. All the way through it feels separated and uncompleted. Almost as if two sections of the film are running parallel to each other never connecting properly with a thick layer of CGI covering the gaps. Ghost In The Shell knows it’s strengths, like its unbelievable CGI, but chooses to ignore it’s weaknesses.
The action scenes are poor and with a slow pace to the film, the slow-motion fighting lags where a faster speed of action is severely needed. It looks beautiful, but what it makes look so great is just empty filler. An artist could have the best painting skills and brush strokes but that means nothing if they only paint pictures of blank walls.
Ghost In The Shell is a film of visual mastery. Every corner is filled with huge ideas and striking cityscapes but within, it fails to bring any substance and ends up being a ghost of it’s former self.