Ghost in the Shell (2017 film)

Based on the manga series by Masamune Shirow, Ghost in the Shell is the story of a cybernetic public-securities agent who goes on the hunt for a mysterious hacker in a futuristic world where humans and cyborgs live together. Directed by Rupert Sanders and screenplay by Jamie Moss, William Wheeler, and Ehren Kruger, the film is a live-action version of the story that is partially based on the 1995 anime film as it explores a cyborg agent dealing with her humanity as she pursues a mysterious hacker wreaking havoc on the world. Starring Scarlett Johansson, Takeshi Kitano, Michael Pitt, Pilou Asbaek, Chin Han, and Juliette Binoche as Dr. Ouelet. Ghost in the Shell is a visually-entrancing yet deeply flawed film from Rupert Sanders.

The film revolves around a cyborg public-securities agent who is tasked to hunt a mysterious hacker who is wreaking havoc in futuristic Tokyo where humans and cyborgs coexist with some humans taking on cybernetic parts. It’s a film that play into a world where this agent is dealing with not just her being but also this person who might be the key to unveiling her true identity as it relates to the world of politics and ideals. The film’s screenplay by Jamie Moss, William Wheeler, and Ehren Kruger does start off nicely in introducing the protagonist Major Mira Killian (Scarlett Johansson) who is a top agent for this public securities agency who believe a hacker is killing off people from a top tech company as it relates to past experiments. Major Killian would do assignments with her partner Batou (Pilou Asbaek) as they would make some chilling discoveries that they report to their boss Chief Daisuke Aramaki (Takeshi Kitano) who believes something isn’t right as he finds himself at odds with a CEO tech in Cutter (Peter Ferdinando).

The script’s narrative does establish the relationships that Major Killian have in not just Batou and Chief Aramaki but also a scientist in Dr. Ouelet who created Major Killian by transferring her mind from a person’s body into a cyborg where Major Killian deals with dreams and such. It is among some of the aspects of the script that works but some lame puns in the dialogue as well as not doing enough to establish the stakes of what Major Killian and the securities agency is facing in this hacker that is known as Kuze (Michael Pitt). Though Kuze’s motivations for wreaking havoc are unveiled, things do get messy in the third act in terms of its execution as well as trying to understand what is really going on.

Rupert Sanders’ direction is definitely stylish as it play into the grand visuals of futuristic Tokyo as a world that is vast and dominated by holograms and other big buildings. Shot largely in Wellington, New Zealand with some locations shot in Hong Kong and additional shots in Los Angeles, Sanders does maintain this world that is futuristic but also have this hold on the past where it respects some of the landmarks of the city from the past. The wide shots that Sanders does create do capture so much attention to detail of the city but also in some of the places the characters go to including the opening action sequence where Major Killian tries to save a scientist from a robot. There are moments in Sanders’ direction in the usage of close-ups and medium shots that do play into character interactions along with scenes that play into the suspense.

Yet, for all of the grand visuals and compositions that include scenes that match its source material and Mamoru Oshii’s 1995 anime film. Sanders is hampered by not just the script’s shortcomings in terms of its plotting and execution but also in trying to create something that would appeal to both audiences of anime and Western film audiences. Notably its third act as it play into some revelations and although there’s some cool moments in the film, it is messy as it relates to alliances and whom Major Killian should trust. Overall, Sanders creates an adventurous but underwhelming film about a cyborg security agent trying to hunt a mysterious hacker.

Cinematographer Jess Hall does brilliant work with the film’s cinematography with its stylish usage of colors and lights to help set the mood for some of the film’s interior and exterior settings including its usage of neon lights. Editors Neil Smith and Billy Rich do terrific work with the editing despite its reliance on chaotic fast-cutting though there’s moments where they slow down and establish what is going on. Production designer Jan Roelfs and supervising art director Richard L. Johnson do amazing work with the look of the sets including the opening restaurant/building scene and some of the sets that the characters go to. Costume designers Kurt and Bart does fantastic work with the bodysuit that Major Killian wears to be invisible as well as the stylish usage of geisha robes and other stylish clothes to help establish the characters in the film.

Hair/makeup designer Jane O’Kane does nice work with the hairstyles and make-up for the characters including the eyes for Batou. Special effects supervisors Yves De Bono, Steve Ingram, and Brendan O’Dell, along with visual effects supervisors Asregadoo Arundi, Marcus Dryden, John Dykstra, Greg McKneally, Vincent Poitras, Guillaume Rocheron, and Doug Spilatro, do excellent work with the visual effects with its usage of holograms, dazzling lights, and other effects that help play into the futuristic version of Tokyo. Sound editor Karen Baker Landers and Per Hallberg, with sound designers Odin Benitez, Charlie Campagna, Peter Staubli, Jon Title, and Martyn Zub, do superb work with the sound as it play into the atmosphere as well in some sound effects that add to the suspense and drama.

The film’s music by Clint Mansell and Lorne Balfe is incredible for its mixture of electronic and orchestral music as it help play into the action and suspense that also include these haunting arrangements of traditional Japanese string and percussion textures into the score. The film’s music soundtrack feature an array of music from classical pieces from Claude Debussy and Wolfgang Amadeus Mozart along with some traditional Japanese music pieces, operatic cuts, and some electronic music pieces.

The casting by Lucy Beavan and Liz Mullane is wonderful as it feature some notable small roles from Chris Obdi as an African ambassador, Rila Fukushima as a geisha robot, Kaori Momoi as an old woman that Major Killian seems to know, Anamaria Marinca as a tech lab consultant in Dr. Dahlin, Danusia Samuel and Chin Han in their respective roles as fellow agents Ladriya and Togusa, and Michael Wincott in an un-credited performance as a tech ambassador in Dr. Osmond who is one of the first targets of Kuze. Peter Ferdinando is alright as Cutter as a tech CEO who is trying to gain control of all of the technology and gain some political pull as he’s just someone that isn’t interesting as an antagonist.

Michael Pitt is pretty good as Kuze as a mysterious hacker who has a grudge towards the tech company where Pitt does reveal his motivations though he is underwritten as he’s not really given more to do but be mysterious. Pilou Asbaek is fantastic as Batou as Major Killian’s partner as a man who loves stray dogs and is a loyal partner to Major Killian as well as later getting eye implants after Major Killian saves him as Asbaek’s scenes with Johansson is a highlight of the film. Juliette Binoche is excellent as Dr. Ouelet as a designer who cares deeply for Major Killian as a woman who is tasked to create weapons who follow orders yet feels that Major Killian is someone who has a lot more to say as she is willing to protect her.

Takeshi Kitano is brilliant as Chief Daisuke Aramaki as security agents chief who is suspicious of what Cutter is doing as well as protective of Major Killian whom, like Dr. Ouelet, sees her as someone special while Kitano does all of his dialogue in Japanese which makes it much cooler as he’s also a man not to be fucked with. Finally, there’s Scarlett Johansson in an amazing performance as Major Mira Killian as a public-securities agent tasked with hunting down a hacker as Johansson displays that air of restraint and determination in a cyborg that has humanistic qualities as someone that is trying to find herself as it’s one of her finer performances.

Ghost in the Shell is a stellar but messy film from Rupert Sanders that features top-notch performances from Scarlett Johansson, Juliette Binoche, Takeshi Kitano, and Pilou Asbaek. While it is hampered by its script and Hollywood aesthetics including the white-washing of Asian characters, it is still a film that is exciting and filled with some great visuals as well as a hypnotic score by Clint Mansell and Lorne Balfe. In the end, Ghost in the Shell is a worthwhile film from Rupert Sanders.

Related: Ghost in the Shell (1995 film)

© thevoid99 2019

The Wolverine (2013 film)

Based on the comic series by Chris Claremont and Frank Miller, The Wolverine is a spin-off film from the X-Men series in which Logan/Wolverine travels to Japan to meet an old friend who offers him the chance to be mortal only to encounter dark forces who want to end him as he also struggles with himself and the guilt over those he lost. Directed by James Mangold and screenplay by Mark Bomback and Scott Frank, the film is a stand-alone film in which Wolverine faces new dark enemies while dealing with the actions he caused in his past as Hugh Jackman reprises his role as the titular character. Also starring Hiroyuki Sanada, Tao Okamoto, Rila Fukushima, Will Yun Lee, Haruhiko Yamanouchi, Svetlana Khodchenkova, and Famke Janssen as Jean Grey. The Wolverine is a smart and compelling film from James Mangold.

The Wolverine is a character that is known famously for his metallic claws as well as the ability to heal himself quite quickly which makes him invulnerable. Yet, the film showcases Logan/Wolverine troubled by guilt over the people he’s lost in his life until he is offered the chance to lose his immortality by an old friend in Japan whose life he saved in Nagasaki during the atomic bombing in World War II. For the Wolverine, he would eventually encounter mortality as it would be difficult to deal with as the visions he had of Jean Grey would also haunt him as he tries to protect his old friend’s granddaughter Mariko (Tao Okamoto) from the Yakuza and those who want her dead over the fact that she would inherit her grandfather’s company. With the help of a mutant named Yukio (Rila Fukushima) who has the power to foresee death, Logan would do whatever it takes to protect Mariko from these forces.

The film’s screenplay does bring in some back story about how Logan met and saved the life of Yashida (Haruhiko Yamanouchi) as Logan’s trip to Japan would have him think about the day and what they encountered. Yet, the film begins with that awful day in Nagasaki as well as Logan’s dreams about Jean and his vows to not hurt anyone ever as he has become a man lost in his grief until Yukio finds him in Alaska as a ragged warrior who refuses to kill or hunt. When he arrives to Japan to meet Yashida, he deals with Yashida’s very angry son Shingen (Hiroyuki Sanada) as well as a mysterious chemist named Dr. Green (Svetlana Khodchenkova) who is also a mutant who is immune to toxins as she is one of the film’s antagonists along with Shingen and Mariko’s fiancée Noburo Mori (Brian Tee) who is a corrupt politician who hopes to marry Mariko for political and financial means. Yet, these individuals all have mysterious ways to immobilize Logan who is trying to protect Mariko from these people as he learns more about her and Yashida while trying to come to terms with his grief and facing mortality.

James Mangold’s direction is pretty stylish in terms of the set pieces and action sequences he creates while taking the time to slow things down so that audiences can get a breather and get to know the characters. Much of the compositions are straightforward in some cases as it includes some close-ups, medium shots, and some wide shots as some of it is in Japan plus some of the locations are in Australia. Mangold keeps much of the dramatic and humorous scenes in an intimate setting while much of the action scenes are quite spectacular such as Logan’s fight with Yakuza members on the bullet train. Yet, the climatic action sequence where Logan fights off against members of the Black Ninja Clan led by Mariko’s longtime friend Kenuichio Harada (Will Yun Lee) and later a mysterious enemy known as the Silver Samurai. While there are some flaws in the film in terms of exposition as well as a few twists, Mangold is able to keep things engaging as he balances a lot of the film’s action with some Japanese mythology on the samurai as well as Logan facing himself and the guilt he had been carrying. Overall, Mangold creates a very entertaining yet captivating film about a mutant trying to find meaning again in his life.

Cinematographer Ross Emery does excellent work with some of the film‘s naturalistic and slightly stylized look for some of the daytime exterior/interior scenes while going for some low-key filters and color scheming for the interior/exterior scenes at night. Editor Michael McCusker does brilliant work with the editing in creating a few montages while keeping things stylish for some of the film‘s action sequences as it doesn‘t deviate to chaotic-editing styles while going for something more straightforward in the dramatic scenes. Production designer Francois Audouy, with set decorator Rebecca Cohen and supervising art director Ian Gracie, does fantastic work with the set pieces from the lavish yet traditional Japanese home of Yashida to the secret home in Nagasaki where Logan and Mariko hide out at.

Costume designer Isis Mussenden does terrific work with the costumes from the Japanese robes as well as some of the stylish clothes that Yukio wears as well as the clothes that Dr. Green wears. Visual effects supervisors Phil Brennan and Nick Pill do superb work with the visual effects in some of the film‘s action sequences as well as the design of the creatures that would infect Wolverine and his immortality. Sound editors John A. Larsen and Donald Sylvester, with sound designers Chuck Michael and Dror Mohar, do amazing work in the sound for its sound effects as well as some of the distortions that it creates whenever Logan starts to feel vulnerable. The film’s music by Marco Beltrami is wonderful for its mixture of low-key electronic music with Japanese percussion music and bombastic string arrangements to play into the suspense and action.

The casting by Lisa Beach, Priscilla John, Sarah Katzman, Jessica Kelly, Yoko Narahashi, and Suzanne Smith is phenomenal for its ensemble as it features notable small performances from Haruhiko Yamanouchi as Logan’s old friend Yashida who offers Logan mortality while Famke Janssen is terrific as Jean Grey who would haunt Logan in his dreams and play into his sense of guilt. Brian Tee is very good as Mariko’s corrupt fiancée Mori who tries to gain power through marrying Mariko while Will Yun Lee is superb as Mariko’s childhood friend Harada who tries to protect her only to get into some trouble with Dr. Green who would use him as he becomes confused in his loyalties. Hiroyuki Sanada is excellent as Mariko’s father Shingen who becomes upset in being passed over by his father as he wants control of his father’s company. Svetlana Khodchenkova is amazing as the mysterious Dr. Green who spouts poisonous toxins as she is this slimy villain who is able to bring problems to Wolverine.

Rila Fukushima is brilliant as the skilled assassin/mutant Yukio who is a total badass as she is also Logan’s conscience of sorts as well as a sister to Mariko. Tao Okamoto is fantastic as Yashida’s granddaughter Mariko who deals with the loss of her grandfather as well as what she would inherit as she also tries to understand Logan as she tries to get him to find a reason to fight again. Finally, there’s Hugh Jackman in a marvelous performance as Logan/Wolverine as Jackman brings that sense of doing what is right as well as the anguish of a man wracked by grief and guilt as it’s a performance that makes the Wolverine character so beloved as only Jackman can bring that character to life.

The Wolverine is an excellent film from James Mangold that features an incredible performance from Hugh Jackman as the titular character. Not only is it one of the smarter action-blockbusters but also an entertaining one where it gives audiences a reason to care for the character all over again. Especially as it is a major improvement over the previous film that starred the character as well as being a solid entry in the X-Men film franchise. In the end, The Wolverine is a superb film from James Mangold.

James Mangold Films: (Heavy) - (Cop Land) - (Girl, Interrupted) - (Kate & Leopold) - (Identity (2003 film)) - (Walk the Line) - 3:10 to Yuma (2007 film) - (Knight and Day) - Ford v Ferrari - (Indiana Jones 5)

X-Men Films: X-Men - X2: X-Men United - X-Men III: The Last Stand - X-Men Origins: Wolverine - X-Men: First Class - X-Men: Days of Future Past - X-Men: Apocalypse - Logan (2017 film) - Deadpool 2 – (X-Men: Dark Phoenix) - (New Mutants)

© thevoid99 2014