Like the protagonist, beautiful to look at BUT no heart or soul. Shame.
In the near future, Major (Scarlett Johansson) is the first of her kind: A human saved from a terrible crash, who is cyber-enhanced to be a perfect soldier devoted to stopping the world’s most dangerous criminals.
It was always going to be a big ask to expect Hollywood to successfully remake a cult Japanese anime. I’ll admit. I haven’t seen the original BUT this effort has killed any interest to seek it out.
I could be doing a huge injustice by saying that BUT for all its moments, this sci-fi yawnfest failed to keep my attention.
The slow opener didn’t give me high hopes, despite the wonderful visual effects, as we watched Major’s ‘shell’ being freshly made off the assembly line.
ScarJo played the emotionless Major brilliantly. BUT her subplot was bland to boot. Suffering from ‘glitches’ (flashes/images of old memories), Major soon questions her origins. Wondering if the story of her “creation” was even true.
The only problem was that the truth had been revealed to the audience early on. So the puzzle solving was dull and formulaic as we waited for Major to reach the conclusion we already knew. A product. A military weapon. Nothing more.
Although . . . what a weapon. Her strangely alluring naked camo suit flagged mixed reactions. Especially when Major first stripped to reveal it. I’m sure that scene pleased the teenage fanboys.
The 12A rating restricted the little action that there was. Sacrificing bold visceral violence and the gritty neo-noir undertones for a wider market release. Tut tut tut.
Pilou Asbaek (BBC Four’s Borgen) was the only memorable supporting character as Batou. He worked well with ScarJo BUT the pair spent too much time apart. He bossed the military punk get up and funky Rutger Hauer look.
Jess Hall’s cinematography was incredible. The cityscape was a beautiful mish-mash of virtual avatars, skyscrapers and crazy neon colours. This could have easily fit into the Blade Runner universe.
It was great to see Takeshi Kitano in this. BUT after vowing to never make another American movie after his disappointment with Brother; I was surprised that this was the film to draw him back. Albeit, in an acting role.
A waste of a talented actor/filmmaker. His character was nothing more than a zombified desk clerk. And then in the closing minutes, the crew suddenly remembered that they had Zatoichi in their ranks and allowed him to dispatch some swift justice with an old revolver.
Where was that for the rest of the movie?
The cast sleepwalked through the generic murder mystery. The pace was agonizing. It felt a lot longer than 90-odd minutes.
How could a neo-noir murder mystery that tackled cyber terrorism, personal identity and corporate espionage be so god damn boring?
For all the fitting nods to Blade Runner, did they actually bother to watch the damn film? Come on.
Director Rupert Sanders featured a cast of virtually unknown/small time TV stars. Now that wasn’t a problem because this could have been the perfect platform for them to shine. BUT with such weak and wafer thin characters at their disposal, it was never going to work.
Peter Ferdinando’s dreadful pantomime villainy did nothing to muster any spark in this cold and lifeless thriller.
If he hadn’t popped up in a giant spider tank (No, not a tank of spiders. An actual tank shaped like a spider) in the fiery finale, I would have forgotten about his character altogether.
I even felt the “surrogate mother” relationship between ScarJo and Juliette Binoche’s (The English Patient) Dr Ouelet was cold and forced.
There was potential BUT it never really got going and failed to make a lasting impression. Fans of the original may feel differently.
BUT disappointing is my final summary on the matter.