Scarlett Johnson is Major, a cyber enhanced soldier ‘controlled’ by a human brain; one that has been altered by implanted memories (and regular doses of ‘medication’) so as to eradicate all traces – all ghosts – of her actual humanity. This is not an A.I that has achieved the singularity (consciousness), but a human who has been embedded into a robot. She’s an evolved version of Robocop.
The conceit that drives the story is Major’s intuition, fueled by dreams of a burning pagoda, that she isn’t who they (shady corporate villains) make her out to be. If she can only identify who she was before she became this hacked, carefully controlled consciousness, she can potentially free her ghost trapped within her shell.
And what a shell it is. Beneath her battle gear, Major wears an invisibility cloak that’s a gossamer thin extra skin that renders her invisible to all, but almost – but for the absence of nipples – naked to viewers. Far more compelling than the Blade Runner inspired futurescape (a crowded, though lifeless place, reminiscent of The Sixth Element, but with the wet, watery feel and Sino-Japanese iconography of Blade Runner along with CGI-clever holograms) a near naked Scarlett Johansson makes for attentive viewing.
But if the shell’s great, the acting’s no more than a ghost of a performance. Though this isn’t exactly a character driven story, Scarlett Johansson seems to have put so much emphasis into the robot side of her character that she managers to drag her way through the entire one hundred minutes of the movie with but one facial expression and no trace of intonation in her voice. Ms Johansson’s recent oeuvre has majored in the ‘non-human’. She’s an Avenger, a superhuman fighter (“Lucy”), a disembodied voice (“Her”) and an alien (“Under the Skin”). Her last decent movie was “Vicky, Christina, Barcelona” in 2008. Based on this sorry performance, either she simply decided to flaunt her very flauntable bod and take the money (she earned $10m for this); or she’s simply forgotten how to act…since her public probably isn’t all that interested in that side of her talent anyway.
This is a yawn-inducing movie. And no amount of production expense ($110m) can plaster over what is essentially a rag-tag plot strung together with the clunky, forgettable dialogue of three B movie writers and a director (Rupert Sanders) whose last big hit was that instant classic, “Snow White and the Huntsman”.
Nevertheless, along with production designer Jan Roelfs (whose achievements offer an interesting balance between the big production visionary sagas such as “47 Ronin” and “Alexander” and much more intimate fare: “Dark Blood”) he certainly works hard at giving the enterprise the visual gravitas of “The Matrix” series (which apparently borrowed heavily from the original animie version of “Ghost…”). And many of his set piece action sequences are visual delights.
But visual delights alone do not a tolerable movie make. Let’s just hope “Ghost in the Shell” isn’t a quality indicator of what the rest of this year’s summer blockbusters holds in store
GHOST IN THE SHELL. Dir: Rupert Sanders. With: Scarlett Johansson, Pilou Asbaek, Takeshi Kitano, Juliette Binoche. Cinematographer: Jess Hall (“Transcendence”). Production Designer: Jan Roelfs