Though I feel like I may be painting a target on my own back for saying so, I enjoyed Ghost in the Shell. This Guardian article expresses a similarly positive view.
Parts of the movie reminded me of the 1995 version, which I vaguely remember as flawed, bogged down by abstruse exposition. If people don’t like the 2017 version, it seems to be because it feels too personal, emotional, and actiony in comparison. The “problem”, in essence, is that a mainstream American movie doesn’t match the tone of a foreign cult classic. I’m not sure I understand why anyone expected it to, or even thought it should, though I do applaud the suggestion that the script could have been sparser.
Many have complained that most of the cast wasn’t Asian. That doesn’t bother me because the genre is sci-fi; it’s hard to insist that the ethnographic landscape of the future is being misrepresented, especially when everyone in that future is some kind of cyborg.
I like the theme of self as defined by choice, but—as disproportionately dedicated as I am to the life of the mind—I believe the implications of a complete mind/body dichotomy are only philosophically relevant in a fictional future world where brain transplants are possible. Here and now, we are not our brains; we are who we are in large part because of how we are embodied. Injuries, even those we fully recover from, can disrupt an otherwise stable sense of self. (Case in point: A Leg to Stand on, a book about neurologist Oliver Sacks’s recovery from a serious mountain-climbing injury.)
Another way to think about the mind/body theme is from the standpoint of a political prisoner. A government can jail you, torture you, or even kill you, but it can’t change your mind because your mind (the ghost in the machine) remains yours and yours alone—unless you live in Orwell’s dystopia, in which case, all bets are off.
And speaking of 80s, I loved the choice of automobiles for this movie. They didn’t look like cars of the future, they looked like cars of the past. Or science-fiction of the past, at any rate. The setting had a Blade Runner kind of feeling to it; but this time the neon lights were all 3D, none of the skyscrapers were pyramids, and none of the robots were owls or snakes.
Keep reading for a plot summary with SPOILERS in the form of a beat sheet in the style described in Blake Snyder’s Save the Cat.