There is something deeply haunting about the 2017 Ghost in The Shell remake.
It frequently stumbles with an array of philosophical complexities which the original anime handled like a pro. This is a Hollywood remake just as much as it’s a live-action one. But it gets so much right. Most science-fiction devotees will tell you that the clearest sign of a worthy entry into the genre is if it successfully transports you to its setting. The other sign being it gets you critically thinking about the morality and ethics of scientific progress. On the first viewing, Ghost in The Shell (2017) is disappointingly formula-driven for all its jaw-dropping, visceral visual boldness. But it begs to be seen on a huge screen, because its Neo-Tokyo cinematic universe is relentless movie magic for 107 minutes.
This version of the tale borrows a lot from Blade Runner. It borrows Blade Runner’s palette, and it borrows from the legendary Vangelis soundtrack. The audiovisual texture and flow of the film is somewhere between the obviously superior original manga/anime on one end and Nicolas Winding Refn’s 2011 fever-dream ‘Drive’ on the other.
Methinks that it has enough merit to warrant its existence. Please keep giving us more movies with female protagonists who fight against the assholes of the universe like goddesses.