Science fiction is a large genre, so large, in fact, that there are sub genres within it. One such niche enjoys a nearly rabid fan base and those devotees refuse to brook any content not in keeping with a narrowly defined parameter for the niche, and that is cyberpunk. In the late 80’s and 90’s, cyberpunk was a growing segment of the Sci Fi phenomenon with its dystopian view of a future where people are fully integrated with technology so that entertainment is had by plugging one’s brain directly into the network. Many cyberpunk movies have enjoyed widespread appeal, such as the Matrix series, while others have fallen flat. One of the more eagerly awaited cinema treatments of a cyberpunk classic is The Ghost in the Shell, and the cyberpunk faithful have resoundingly decried the movie as a failure. Their beef with the film centers more around the casting of Scarlet Johansen as the protagonist, because Johansen is white and the story features an Asian in the role, rather than discussing the real problems with the film, and there are many.
The story centers around a cyborg referred to as “Major” who works for the ministry of security, section 9 in an unnamed future metropolis that looks like a concatenation of Hong Kong, San Francisco,Beijing, New York and any number of other large cities. Major is hot on the trail of a cyber terrorist whom she believes is responsible for the death of her parents and her current condition as a cyborg. During the course of the story, she uncovers a conspiracy that shakes the foundation of her understanding of her identity.
The contrived plot is not a new one and it has been depicted in TV shows and other films several times. The characters are flat and unworthy of empathy and the cinematography is a cacophony of color and light that hurts the eyes and disorients the viewer. The action seems disconnected from the plot and is used just to distract from the otherwise boring and uninspired story.
The one redeeming aspect of this film is Scarlett Johansson, but not for her performance. Johansson’s characterization of Major doesn’t let the viewer into her personal struggle, despite scenes written just for that purpose. She coasts through those scenes, looking confused and detached where one would expect a sharp focus. Her performance was less “Natalia Romanov” and more “Lucy,” with a lot of jumping, running and shooting. The only thing about her performance, and the film in general, that could be construed as positive is the skin tight body suit she wear during combat scenes. The effects of peeling her artificial skin, or detaching her face are interesting, but they’ve been done before. Her nearly perfect physical form, however, is unique and is the only reason to sit through this dismal failure of story telling.
Major’s partner in the film, Batou played by Pilou Asbæk, is the only character that creates a connection with the viewer, but the writers don’t give him enough story. For those who follow the Marvel Cinematic Universe, he could be excellent casting for Cable in any upcoming X-Men film.
If you are a fan of Scarlett, see it at the matinee, otherwise, wait for cable. It is not worth full admission price at a mainstream theater.