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Sinopsis :In the near future, Major is the first of her kind: a human saved from a terrible crash, then cyber-enhanced to be a perfect soldier devoted to stopping the world's most dangerous criminals.
Cast: Scarlett Johansson, Pilou Asbæk, Takeshi Kitano, Juliette Binoche, Michael Pitt, Chin Han, Lasarus Ratuere, Yutaka Izumihara, Tawanda Manyimo, Rila Fukushima, Michael Wincott, Anamaria Marinca, Daniel Henshall, Kaori Momoi, Peter Ferdinando, Christopher Obi, Danusia Samal, Mana Hira Davis, Adwoa Aboah, Kai Fung Rieck, Andrew Stehlin, Matthias Luafutu, John Luafutu, Kaori Yamamoto, Pete Teo, Tanya Drewery, Jacqueline Lee Geurts, Hannah Tasker-Poland, Emma Coppersmith, Shinji Ikefuji, Xavier Horan, Allan Henry, Joseph Naufahu, Makoto Murata
Genre: Action, Crime, Drama, Mystery, Science Fiction, Thriller
Production: Paramount Pictures, DreamWorks SKG, Shanghai Film Group, Reliance Entertainment, Arad Productions, Grosvenor Park Productions, Steven Paul Production, Huahua Media, Seaside Entertainment
Keyword: #philosophy #cyborg #hacker #strong woman #investigation #suspense #female protagonist #cyberpunk #terrorism #evolution #dystopic future #network #3d #based on anime #inner journey #prosthesis

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Ghost in the Shell (1995) is one of my favorite science fiction films, and I admit that it was impossible for me not to make constant comparisons with this new live action version. However, to be fair, the end credits of Ghost in the Shell (2017) clear out the fact that it isn't based on that masterpiece directed by Mamoru Oshii, but on the manga written by Masamune Shirow, which I read once many years ago, and therefore, I don't remember it with too much precision. So, for the sake of objectivity, I will make an effort not to compare both films in this review... as much as I can. The premise of Ghost in the Shell (2017) is interesting, and it invites us to question technology as a double-edged sword; on the one hand, improving our lives, and on the other one, earning too much influence over every aspect of humanity... including its nature itself: Where does the human end and the machine starts? What really defines us as persons? Those are fascinating questions which, unfortunately, co-screenwriters Jamie Moss and William Wheeler are unable to answer; and when they try to do so, they just use clichés and recycle concepts we have seen in uncountable science fiction films during the last 30 years. In other words, Ghost in the Shell (2017) doesn't add anything substantial to the genre... with the exception of its elevated visual values, so over-designed and ostentatious that they feel like a desperate attempt to compensate the weak screenplay. The main pro of Ghost in the Shell is the solid performance from Scarlett Johansson, whose conviction helps us to focus the diffuse story and obtain a few slight emotional moments. There has been a lot of talk about the decision to hire a North American actress to play an eminently Japanese character; however, I think that's one of the least important problems of the film (besides, there are some details which explain the change of race). What I did find an important mistake was the rigid structure of Ghost in the Shell (2017), which is developed without too much imagination or suspense; the screenplay seems more like a mediocre "origin tale" of some generic super- heroine instead of a mature and relevant story about the intersection between technology, biology and philosophy. And I now have to talk about the comparisons (at least briefly): the problem of Ghost in the Shell (2017) isn't everything it changed from the original movie, buy why it did it. What are the reasons? I guess that Ghost in the Shell (1995) seemed too dense and complicated for a North American blockbuster; or maybe, its innovative (back then) transhumanist proposals were interpreted as "mistakes" which were necessary to be eliminated in order for a wider audience to watch this new film. Anyway, the spirit of Ghost in the Shell (1995) was fundamentally altered, changing the message, tone and Oshii's indescribable vision in order to be replaced by the insipid "Hollywood style" which solves problems with money instead of creativity. Those who haven't watched the original movie might be left more satisfied by Ghost in the Shell (2017) than me. It personally didn't bore me, but I found it mediocre, and I definitely would have preferred to re-watch (for the umpteenth time) the original film.
As a film, this movie is damn near flawless. I couldn't think of any real criticisms. I have honestly never seen a more under-rated film in my life. This is a solid movie. I honestly don't see any glaring flaws in this film. It didn't even remind me of Lucy and vaguely familiar characters that Scarlet has played. It had it's own identity throughout the entire film.

It lived up to all of my expectations and stayed there throughout. The poorly translated Japanese philosophical conversations from the original aren't present, their meaning, significance unlike the original, are not over stated in the film, the movie is thought provoking but doesn't spell everything out for you. But, if you're not retarded and can think on your own...it's more or less all implied. For any one capable of actual intelligent, independent thought, it should all be mostly inferred to them.

There was no need to complicate inherently very simple concepts that were originally made to seem more complex than they actually were. If you watched the original, and are capable of deeper thought, you probably saw through the fluff...The original is weighed down by pseudo intellectual babble, which tries to make the subject matter appear deeper than it actually is.

"Any intelligent fool can make things bigger and more complex... It takes a touch of genius - and a lot of courage to move in the opposite direction."

E. F. Schumacher

There's a lot of fluff in the original anime, pseudo intellectual dialogues that are poorly translated into English to appease the pretentious anime watcher. When you cut through it though, it's really not that mind blowing. Neither was the Hollywood adaptation, but it was thought provoking...and if you were actually paying attention, it explored the same ideas as the original anime, some times without even saying a word.

As a film, the casting was near perfect. I loved the entire cast, and each cast member were on their A game. The characters were all believable in their roles.

The visuals were stunning! The story was compelling, thought provoking and evenly paced. Everything the original anime set out to explore, make you phantom, so does the Hollywood film, given you are capable of thinking...and don't need any one to hold your hand.

The action was also perfect, very evenly paced. I can't think of anything this film got wrong, did too much of, or did too little of. This is the most under-rated film I've seen in a long while, that was no doubt attacked for a "white wash conspiracy" created on false pretenses...

This was a terrific, beautifully made, wonderfully acted, thought provoking science fiction film. It deserved much better reception than it received.
Let's start off by saying this: I'm not a fanboy of the original. Although I do like the film, I thought it had its problems.

What Hollywood got right:

The visuals in the movie are gorgeous and for me a lot more "believable" than the original. The original was intensely drab and didn't paint what for me a future world should look like. Sure, it helped establish a mood, but there's other ways to achieve that.

The acting is fairly good, although Scarlet's clunky style of portraying her character was a bit off-putting, to me. By that I mean that she kind of stomps around in the film, almost like a exasperated angsty tomboy. It seemed too out-of-step with her acrobatic and finessed fighting style. She can do flips while running on the wall but makes walking in a straight line feel awkward. Pilou does a really good job with Batou, though. His character seems to be the only element that feels true between the original and the remake.

Certain crucial story elements were rewritten, and although I don't like what they came up with (more on that below), I did like the fact that they decided to remove the unnecessarily complicated foreign-affairs-mystery bit from the original; it was a bit difficult to follow and didn't add anything to the film.

What Hollywood got wrong:

The philosophy.

The central question in the original is: what makes humans, special? If our bodies don't (since everybody's replacing their parts with robotic ones) and our memories don't (since those can be altered and are just units of information just like in a computer system) then it must be our sentience. But what if a computer became sentient? And if it did, would it be entitled to be treated like a human? Then I ask you again: what's so special about humanity? The film ends in a question: can the marriage of computer intelligence and humanity surpass both? These questions are personified by the film's antagonist, which is why it works so well. Both the audience and Major are compelled to come to grips with the meaning of humanity.

Hollywood butchers the philosophy. It instead recasts the film to be about human memories, and it asks the rather banal question: do your memories define you? To which it ironically answers: no, your actions define you. I say "ironically" because actually the entire film speaks to the contrary: Major only starts to work against her programming and Hanka Robotics because of her intuitions which are fueled by her partial memories. It's not until she regains her full memory that she knows her place in the world and how to act ethically. The film's antagonist is flimsy and plays no role except to point Major to her true identity. He doesn't represent any kind of serious challenge for either Major or for the audience, unlike in the original, and consequently the film falls flat on its shallow undeveloped face.

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