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

4 Months, 3 Weeks, & 2 Days

Originally Written and Posted at Epinions.com on 5/14/09 w/ Additional Edits.

Written and directed by Cristian Mungiu, 4 luni, 3 saptamani si 2 zile tells the story of two college students in 1987 Romanian in the final days of Nicolae Ceausescu era trying to arrange an abortion, which was illegal at the time. With the help of a doctor, they hope for things to go right but instead, the two women learn about the consequences and sacrifices they have to go through. A harrowing drama with some political insight about the times of Communist Romania, it's a film that is truly eerie about the dark world and how two women struggle to live in those harsh times. Starring Anamaria Marinca, Laura Vasiliu, Vlad Ivanov, Adi Carauleanu, and Luminita Gheorghiu. 4 luni, 3 saptamani si 2 zile is a harrowing yet mesmerizing masterpiece from Cristian Mungiu.

Two young women are living in a dorm at a university in Bucharest as they're packing things for a trip. Otilia Mihartescu (Anamaria Marinca) is trying to get things for her roommate Gabriela "Gabita" Dragut (Laura Vasiliu). Otilia goes to various rooms in her dorm floor for things as she later leaves to meet with her boyfriend Adi (Alexandru Protocean). Adi asks Otilia to attend a family dinner to celebrate his mother's birthday as Otilia isn't sure as she's asking for some money. She reluctantly agrees though isn't sure when she's coming. Later that day, she goes to a hotel to get a room Gabita had made reservations but it didn't go through. After getting a room at another hotel and at an expensive rate, Otilia calls Gabita, who is feeling ill at the moment to meet a mysterious man at a rendezvous point.

The man is Mr. Bebe (Vlad Ivanov) who talks to Otilia about what to do as he's supposed to meet Gabita. Otilia revealed what has happened as Gabita had messed things up for the meeting. Later revealing that she's four months pregnant instead of three, Gabita is desperate for the abortion as Mr. Bebe makes some news about what he must do and such while both women are short on money. Bebe reveals the warning of an illegal abortion which means he could spend 10 years in jail while the two women would also be in trouble. Otilia decides to make Bebe an offer he couldn't refuse but as temporary payment. During the abortion, Bebe gives them a warning about what to do with the fetus. After his departure, Otilia decides to leave to attend dinner at Adi's as she is furious at Gabita for her lies.

At the dinner party, Otilia meets Adi's parents and some friends where she meets all of them but sits in silence. Worried about Gabita, she tells Adi privately about what's going on as she heard a phone call earlier as she wonders what is happening. After leaving the party early, she returns to the hotel as she ponders all that had just happened.

The film is essentially a thriller of sorts but not a conventional thriller with lots of chills and suspense. Instead, it all takes place on an entire day from the perspective of the person who is helping her friend have this abortion. Considering the political climate of the time where abortion was illegal, it shows the consequences of what would happen. Writer-director Cristian Mungiu creates a drama that is chilling though the suspense doesn't come until the second and third act. He sets it up without giving the audience an idea of what's going on until later. Instead, he follows Otilia in her journey to get some money, meet her boyfriend, and then have a rendezvous with Mr. Bebe. What transpires is a series of events in which Otilia learns about the lies that Gabita made just to get the abortion while listening to things Mr. Bebe had to say.

Mr. Bebe might seem like a villainous character but instead, he's a man that is just doing a duty but gives warnings about what could happen as well as some consequences if things go wrong. What they had to do for him as payment is something neither women would think would happen it's the harsh realities they have to face. For Otilia, it's a disillusioning moment for her as what Mr. Bebe says, there's a price to be paid. The price is that of the friendship of Otilia and Gabita, the latter of whom is naive, timid, and at times, dishonest. When Otilia later tells her boyfriend Adi about what happened. He reveals his feelings for abortion as it puts a strain on their relationship forcing Otilia to do things that would change her life, even in the decision about what happens in this event.

Mungiu's direction is entrancing with its mostly hand-held work and still shots to convey the sense of drama and suspense that is unfolding. The hand-held work is slightly shaky in scenes to follow Otilia in her dorm and such while in some scenes, it's very still. There's shots that are long but it's always because Mungiu is being very attentive to what is happening. Even in a conversation piece as it's focused on a character while the voice of another is heard. By the third act, there's a moment of suspense where something could go wrong as the camera continues to follow Otilia in this traumatic journey with a scene that is too disgusting to watch as Mungiu doesn't shy away on what is shown. The reaction of course, would be of disgust but works for its drama. The overall work of what Mungiu does is truly superb in both the writing, direction, and presentation of the story.

Cinematographer Oleg Mutu brings a tinted yet saturated look to the film in many of the bright, day-time exterior and interior scenes. Even in some darkly-lit scenes, there's an intimacy to the camera but also something that is rough but not grainy. There's even scenes with very little light, it doesn't have the kind of Hollywood polish or over-lit cinematography style as Mutu's work is phenomenal. Editor Dana Bunescu does great work in the use of jump-cuts and smooth transitions to give the film a rhythmic feel in the editing. Even as she lets the scene play out and knowing when not to cut except for some kind of emotional, dramatic impact as the editing is done superbly. Production designer Mihaela Poenaru does a fantastic job with the look of the hotel room that the girls stay in which is dark and drab along with the lobby outside of the room. Even the look of the home of Adi's parents have a richness that is sharp contrast to the harsh world that everyone else is going through.

Costume designer Dana Istrate does fantastic work with the clothing choices for the cast from the green and blue shirts that Otilia wears to the simple, brown-like clothing that Gabita wears to contrast their personalities and such. Also serving as a sound editor, Dana Bunescu along with Constantin Fleancu and recordist Cristian Tarnovetchi, the sound is phenomenal, notably in the third act to create a level of chilling sounds and such for its suspense. The film has no music score throughout the film except a song at the final credits by a Romanian singer.

The casting by Catalin Dordea is superb with its array of actors including Adi Carauleanu as Adi's father and from Moartea domnului Lazarescu, Luminita Gheorghiu as Adi's mother. In the role of Adi, Alexandru Potocean is excellent as Otilia's boyfriend who is concerned about Otilia's behavior only to realize what is happening though his feelings towards abortion seems to get the best of him. Vlad Ivanov is great as Mr. Bebe, the abortionist who seems mean only to warn the two women about the implication of what could happen as well as how much trouble both could be. Ivanov has this eerie presence where he could do things to them that are troubling as it's a great role from the actor.

Laura Vasiliu is very good as Gabita, the young woman seeking an abortion to naively believe that to lie about things would go smoothly. Instead, her lies, timid behavior, and lack of intelligence gets her into some serious trouble with Otilia and Mr. Bebe as it's a harrowing performance from Vasiliu. The film's best performance easily goes to Anamaria Marinca as Otilia. Marinca's performance is truly entrancing as we see her character handle everything while struggling with all that is going on with her and Gabita. It's definitely one of the best performances that was unjustly overlooked in many critics circle as well as a breakthrough for the Romanian actress.

4 luni, 3 saptamani si 2 zile is a harrowing yet provocative masterpiece from Cristian Mungiu featuring a superb, powerful performance from Anamaria Marinca. Audiences new to the Romanian New Wave will see this film as the best place to start. It's a film that is truly an unconventional thriller that pushes the edge of its constraints while adding a dose of realism and political surroundings to the story. It's not an easy film to watch and certainly one that will challenge anyone's beliefs about the idea of abortion. In the end, 4 luni, 3 saptamani si 2 zile is a mesmerizing yet eerie masterpiece from Cristian Mungiu.

(C) thevoid99 2011