Ghost in the Shell
Ghost in the Shell (2017)
★★ / ★★★★
Rupert Sanders’ “Ghost in the Shell” offers the kind of entertainment that one can dive in and out of while doing laundry or some other chore around the house. This is a testament to the lack of depth in the writing—problematic because the material brings up questions about what makes us human, what it means to be alive, what it means to have an identity of our own, what we are in charge of in an increasingly automated world.
These are philosophical questions and yet, for some bizarre reason, the writing avoids rumination, as if the persons who helmed the screenplay—Jamie Moss, William Wheeler, and Ehren Kruger—were afraid of or did not know how to build intrigue. This is a picture more interested in external stimuli rather than what it could potentially make the audiences feel or think about long after the film is over.
Its special and visual effects look expensive, occasionally impressive but at times distracting. I enjoyed that every time a scene takes place outside, roads and skyscrapers are overcome by advertisements, overwhelming people to buy products or to upgrade themselves through “enhancements,” cosmetic surgeries, to become a better, stronger, faster, more intelligent version of themselves. In a way, this is a hyperbolic version of our society—which would have been an effective critique had the writing been more willing to delve into the rules and ethos of its universe.
Less effective are beautiful but boring action sequences. While it offers a certain moody look reminiscent of pictures like the classic but, in my eyes, overrated “Blade Runner,” the stylized shootouts and hand-to-hand combat do not come across gritty enough to be believable even within the context of a futuristic world where the line between man and machine is blurred. We are simply not immersed into the action. Rather, we stand right outside it as we struggle to feel for the characters, to care whether they lived or died, whether they walked away hurt or unscathed. For instance, certainly we are supposed to feel connected to Mira (Scarlett Johansson), a creation who has a brain of a human being but the body of a machine. And yet we do not until she begins to ask questions about who she is, where she came from, who she is working for.
The “ghost” in the title refers to the human soul, but there is nothing soulful about the film. Somewhat interesting is the friendship between Mira and Batou (Pilou Asbæk), both working for the government as anti-terrorist agents, but the screenplay actively avoids meaningful conversations that reveal about how they perceive and process the world, their goals as to how they could try to change it for the better. Isn’t a part of what makes us human the ability to relate with others in meaningful, messy, complicated ways?
“Ghost in the Shell” is a product of the desire to make a quick buck rather than to create a work that can potentially stand the test of time. A commonality among great science fiction pictures is that they strive to say something about the world of today and exploring that thesis like an excellent research paper. There is a balance between technical details and information that can be understood easily, a certain universal factor. Here, there is only pretty visuals and fast-paced action, pedestrian from flesh to wiring.