Ghost in the Shell (2017)

Let’s get this first part out of the way:

If there is one thing I’m tired of in the realm of film and television, it’s pre-emptive complainers trying to de-rail everything before it even comes out. with any review of this live action American/Chinese Ghost in The Shell film, everyone has drawn battle lines in regards to the elephant in the room of “Hollywood whitewashing”; in fact, I would say you were almost expected to take a side, and if you took a side that many didn’t like you’d get lectured by the other. It’s annoying that folks are getting in fights and “unfriending” each-other because of opinions over a goofy sci-fi film, but that’s our modern society I guess. Some popular reviews from major sites didn’t even talk about the film, they just reviewed everything that was in some way perceived as racist to stoke the outrage fires, this honestly comes across like they never actually watched it.

I’m not going to dwell on this topic too much because I can see both sides and don’t think arguing over whether or not Scarlett Johanson should or should not be cast as The Major actually addresses the actual problem that Hollywood has with representation. The internet witch hunts and rage were nearly identical to what people attempted to do with both recent Star Wars films, and even last years re-boot of Ghostbusters, and I honestly don’t care anymore. I’d rather discuss a film based on an anime/manga property that I’ve loved for upwards of 20+ years, and how it turned out.

/end rant

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Ghost in The Shell has been a favorite of mine for a VERY long time. I recall being first introduced to it through my older stepbrother that loved cyberpunk stuff – he had the original Masamune Shirow manga laying around at some point when I was visiting and I was enthralled by what I saw. Not too long after that, I was able to rent the anime adaptation from one of our local video stores and was hooked on the franchise from that point forward. every continuation has been something I get really excited about – all the movies, games, TV shows etc. That said, I was torn when they announced that a western adaptation was going to be produced a few years ago.

Readers may recall that I’m pretty vocal about my dislike for most anime adaptations because they don’t treat the source material with respect and are generally bad (Dragonball Evolution is the king of this). That goes for live action adaptations produced in Japan itself. I am always annoyed when they discuss a possible Akira remake because the two directors that were vocally lobbying for it seemed determined to completely alter the entire premise of the story into something else. I recall at one point, the script going around had Kaneda and Tetsuo, protagonists of the film, gender swapped and made into former lovers – nope! Any such fears that I had with Ghost in the Shell were calmed when the released the first trailer – the logo was there, scenes appeared to be adapted directly from the 1995 film, characters looked almost correct – “wait?! was this going to be okay somehow?” the controversy I touched on above was something that troubled me a bit, but I figured I’d give it a shot and see what happens.

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quick verdict – Ghost in the Shell 2017 is good, not great, and it’s not deserving of the critical heat it’s getting online.

An argument can be made that many of the visual flourishes in this film seem like a road often traveled, somewhat dated, nothing new. That’s by design, as many scenes are literally directly lifted from the 1995 film – keep in mind that the source material is nearing thirty years of age if you go even further back to the comic. it’s filled with typical cyberpunk aesthetics, and much like steampunk, or post-apocalyptic fiction – straying too far from the agreed upon tropes is never a great idea. Most “cyberpunk” properties follow a set groundwork laid by much older films like Blade Runner, books like Neuromancer, and the like. Ideas like megacities run by huge militarized corporations, dingy slums filled with bright holographic neon lights, weird Asian and Western culture amalgamations and the idea of trans-humanism seem passe today, but we seem to be ever closer to that very reality. it might not look the same, but in many ways cyberpunk is closer to our modern society than it was back in the 80’s.

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I mentioned that some scenes were directly influenced by the Mamoru Oshii film of the same name, and I would even go as far as to say that this was almost a shot-for-shot remake of that very film with a little bit of some of the sequel material sprinkled in. This is a double edged sword in many ways, as seeing scenes like the building infiltration, the spider mech fight, and the cloaked fight with the hacked garbage man was cool, but a lot of those scenes were a lot cooler and more fleshed out in the original film. This was because there was a decent amount of new material – some adapted from the comics or TV series taking up the runtime. Reading reviews online, a constant complaint I kept seeing was that “The Major got a new backstory” which is funny because Hideo Kuze and his revelations at the end of the TV series factor into this film quite a bit, meaning that people have not seen Stand Alone Complex and should not be commenting on it as if they are authorities on the matter.

For much of the film, we know The Major as Major Mira KIllian – a cyborg created by a large robotics company named Hanka Robotics. She was a survivor of a refugee boat accident – something that left her family dead and herself severely injured. Her brain was the only thing salvageable from her body, so it was put in a new body as a second chance at life as long as she’s cool being basically sold to the government as a weapon. Of course, this is all BS and the driving force behind The Major trying to piece her previous life back together.

much like the backstory stuff, I saw people complaining that the inclusion of Hanka was a new addition to the franchise, but they were actually an organization from the original comic, although not as major as here. In both versions they are a VERY bad company, as the comic version of Hanka was caught in a scandal where they were dubbing the ghosts of children into a mass-produced consumer robot to achieve a greater sense of human personality. Here, without going into too much detail – they are trying to create a race of perfect soldiers with human brains in a cybernetic body, where they get these brains could be an issue.

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In some ways, making Hanka Robotics a major plot point in the film is actually going against one of the major philosophical ideas from the original manga. In a world where the internet is literally in and around you at all times, and cyber-warfare is something even low-level street thugs dabble in from time to time, old ideas like national sovereignty and borders are basically obsolete. Section 9 always skirted a fine line between acting within the scope of normal law enforcement, and treating the Networks as a free for all that the old ways stood against. Leaving out some of this diplomatic and political intrigue sort of boils down the role that Section 9 and Hanka have as nothing more than a Corporation acting as The Government and Section 9 acting as their willing lap-dog. I guess in some ways that’s a telling indictment of the current status-quo with our own corporations, but something that I wanted to point out as a major difference. Hanka is also a convenient way to have a blatant “villain” rather than the numerous ephemeral “gray area” antagonists the material usually features.

There are a few differences like this that are not huge deal breakers, but sort of “dumb down” the ideas from Ghost in the Shell to a more palatable product for those looking to see an action popcorn movie rather than a philosophical look into trans-humanism. I’m not annoyed by this in any way because no two versions of Ghost in the Shell are exactly alike. The manga, the Oshii films, The TV series, and the recent Arise films are all different parallel versions of this story, and none of them are very much alike to be honest. I actually prefer the TV series Stand Alone Complex, to the films and dislike the manga sequel. with a franchise like this, there are many ways to look at the story – something for everyone.

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When it comes to casting, I absolutely loved the job they did. And yes, Scarlett Johanson did a fine job no matter what internet folks want you to believe. Pretty much every character from section 9 is present aside from Paz, seemingly replaced by a new character named Ladriya, I’m pretty sure she’s not from any previous version, but could be wrong. Takeshi Kitano (As Aramaki) is my favorite Japanese actor, and having him be such a badass in this film was awesome. He has, by far, the best line in the entire film where he chumps out an entire squad of armored assassins with a briefcase and quips “Never send a rabbit to kill a fox”. I wanted to clap at that very moment, but that probably would have made everyone mad in the theater.

Chin Han is also great as Togusa, perhaps my favorite character from the TV series. He’s not a major part of the film by any means, but I was glad to see him in there. Finally, I wouldn’t be able to discuss this without talking about Batou, as played by Danish actor Pilou Asbæk. I’ve somehow missed him up to this point, but he was really good – he really captured the character and was perhaps the truest to the source material of anyone in the film.

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I’ve already written a lot here, and I don’t want to spoil more than what I have since the film does have a few mysteries and twists. To reiterate from above Ghost in the Shell 2017 is a good, but not great film that stayed close to the source material with a few alterations. Yes, these alterations sort of “water-down” some of the themes of the source material itself, but this was a summer popcorn flick, I was never under the assumption that this was going to be a complex film for jaded otaku. I enjoyed the casting despite the online backlash, and would be up for a sequel if one ever materializes. That is unlikely as the film hasn’t really caught the box office on fire, but who knows. I am sad that there was no reference to any sort of mobile tank unit like the Fuchikoma / tachikoma / Uchikoma /or Logikoma units from the numerous iterations of the franchise. This was no surprise as they are not present in the 1995 film either unless you count the spider tank.

I’d say ignore the haters and see this for yourself – I’m not saying you’ll like it, but it’s not the bucket of dog turds everyone wants it to be.

 


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The MST3K Netflix Trailer is Here!

“I am re-opening my family’s most legendary experiment, Mystery Science Theater 3000”

Just a few days ago I posted one of the long awaited promotional images from the new season of Mystery Science Theater 3000, which will be airing on Netflix in a few weeks. I assumed we were just going to get a few odds and ends prior to the premiere, only to discover a brand new shiny trailer waiting on the internet after I got home from work! I’m not going to do a full breakdown or anything, but we can at least grasp the gist of the plot of this new season a bit.

It appears that Jonah Heston (Jonah Ray) is some sort of space miner, or rock transporter or something, just minding his own business when a distress call rings through the airwaves. Our new “mads” headed up by Kinga Forester (daughter of Clayton Forester and Granddaughter of Pearl Forester) have concocted a plan to shanghai a good Samaritan, just like himself, and force him to be the new test subject for a new iteration of the Mystery Science Theater experiments. The Mads appear to be on a moonbase called Moon 13 which has all sorts of minions about aside from Kinga and Frank Jr. On closer look – does Kinga have a sister that looks like Pearl?

We see a small taste of some of the films to be shown this season including:

Reptilicus (1961) – “A portion of the tail of a prehistoric reptile is discovered in Denmark. It regenerates into the entire reptile, which proceeds to destroy buildings and property and generally make a nuisance of itself. It can fly, swim, and walk, and has impenetrable scales, which makes it difficult to kill.”

Star Crash (1978) – “Outlaw smugglers Stella Star and Akton manage to pick up a castaway while running from the authorities, who turns out to be the only survivor from a secret mission to destroy a mysterious superweapon designed by the evil Count Zarth Arn. The smugglers are soon recruited by the Emperor of the Galaxy to complete the mission, as well as to rescue the Emperor’s son, who has gone missing.”

The Time Traveleres (1964) – “In 1964, a team of scientists are trying to develop a view screen into the future. What they in fact get is a portal and they soon find themselves on the other side, 127 years into the future when the portal collapses. The Earth of the future is barren and they are soon attacked by mutated humans but rescued by a group of scientists who are building a spaceship to take them to a new planet.”

–text from imdb

Check out the trailer below!


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ACCA: 13-Territory Inspection Department – Mid-Season Thoughts

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Every year it seems like a billion anime TV shows get released, and with each season having upwards of 50 shows, one can safely assume most of those are mediocre at best. I work a LOT, so I can’t watch everything I would like to, and truthfully, it’s very easy to burn out of anime fandom if one tries to be a completionist of any sort. I have to be VERY selective of what I watch, and usually I go for off-the-wall stuff that strays from the mainstream shonen fighting shows and paranormal adventure shows that everyone seems to absolutely love.

This year I decided to re-subscribe to Crunchyroll in order to watch the relatively recent live action Great Teacher Onizuka show, and have found a few gems from the “simulcast” section of the app. I’m not sure of it was the eye-catching art style, or the fact that it may very well have been the first thing on the list, but I decided to give ACCA: 13-Territory Inspection Department a try, and I’m very glad that I did.

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Based on a popular Japanese manga series written and illustrated by Natsume Ono, ACCA (as I will refer to it from now on) tells the story of Jean Otus, who acts as the second-in-command of the ACCA inspection agency. Jean’s job is to travel to the various major cities within the Kingdom of Dowa (which is, itself divided into 13 districts) and visit other ACCA offices to look for corruption, government waste, and other things that may destabilize the Kingdom. ACCA had been created over one hundred years in the past, during a lengthy period of unrest, in order to bring order to the masses. Many feel that ACCA is no longer relevant, but murmurs of revolution seem to be in the air. Small hints of possible revolution have been cropping up, such as scenes where various people start remarking on the increasing number of fires that have been occurring.

I jokingly told my wife (after viewing episode one) that this show could be summed up as “office politics – the anime” which was perhaps a bit flippant considering the way the show has progressed these past few episodes. To some, ACCA might seem slow – as it is free of the ridiculous exposition dumps and false world building that a lot of modern anime seems to be comprised of. Instead, the story is left to breathe while the viewer is allowed to see some sites, and understand the culture of the various districts within Dowa. This almost makes it a animated travel show ala Anthony Bourdain. Jean travels to places, buys gifts for his co-workers and sister, and samples the local cuisine. Food, in particular, takes such a large role in some episodes that one wants to sample the exotic sandwich breads and pastries that everyone seems to be obsessed with.

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I think the main reason this show has endeared itself to me so much, is that it reminds me a LOT of a few other shows from a number of years ago that had a similar traveling theme – Kino’s Journey, and Mushishi. Kino’s Journey was a philosophical show that saw the titular hero visiting various towns that all seemed to be examples of philosophical conundrums, and example being a town where everything was handled by majority vote to the conclusion of there being one person left alive in the entire city. Kino would go to these places and observe the issues these people have and rarely take action to alter the path that fate was going to take. Mushishi was a  bit different but involved a traveling apothecary / exorcist as he went from town to town saving people from paranormal creatures and other bad things.

ACCA is very similar in the way Jean interacts with the other districts, he’s there to inspect these towns, not to do anything to alter them in any way. in some cases, he is even witness to an attempted rebellion, and decides that preserving the status quo is better than reporting this to his superiors. One of my favorite “visits” is Jean’s trip to a city that is full of gigantic people that eat enormous food. It’s never made abundantly clear why this is the case, but I’ll pretend that the produce all has growth hormone in it or something, because nothing else makes much sense. it’s obviously a slight softened jab at America from an outsider’s perspective, but it still gave me quite a few chuckles. Seeing Jean and company try to eat strawberries the size of basketballs and sandwiches that would make that guy from Man Vs. Food blush.

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Jean soon finds himself to be the object of a persistent rumor, one that places himself at the forefront of a suspected Coup d’état that he has no knowledge of. It seems that many feel he is in some way an information broker for coup leaders, and that his travels are actually a cover for bad things that he may be doing. People think he is rich, and privileged due to his large house and his smoking habits (smoking seems to be very scarce and an extreme luxury) so him being some sort of spy makes sense to many. Sure, he has heard the same murmurs from around his office, ones of fires and killings, but has no clue why he is suspected, or why the rumor is so specific. Many see him as non-caring or naive about this situation, but Jean is pretty stoic and street smart. something like a baseless rumor isn’t going to rattle him.

I won’t actually spoil anything here, but episode seven delivers a huge bombshell in the plot department, one that will likely move the narrative to the season finale and hopefully beyond. I have not read the manga or kept up with ratings, so I have no idea how much story is left or how cost effective more would be, but I really hope the show continues for a while instead of stopping at episode twelve. assuming the ending is good, ACCA: 13-Territory Inspection Department could end up being a personal classic of mine – an anime that may not be the next Dragonball Z or Naruto, but I will end up remembering for a long time. Here’s hoping it stays this way as we move into the back half of the series!

Stay tuned for my thoughts on the entire show in a few months!


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