Watch Scarlett Johansson in GHOST IN THE SHELL
Looking for something intriguing to look forward to? Ghost in the Shell, the live-action adaptation of the landmark Japanese anime film, might qualify. Check out the trailer and the extended clip below and watch Scarlett Johanson charm you in more ways than one.
“You’re the first of your kind,” Juliette Binoche‘s Dr. Ouelet tells Johansson‘s human-cyborg hybrid, Major, in the final trailer for Ghost in the Shell. "We saved you, and now you save others.” However, Major finds out that her existence is a lie, and goes against the organization that gave her beautiful cyborg body.
The official synopsis reads:
Based on the internationally-acclaimed sci-fi property, “GHOST IN THE SHELL” follows the Major, a special ops, one-of-a-kind human-cyborg hybrid, who leads the elite task force Section 9. Devoted to stopping the most dangerous criminals and extremists, Section 9 is faced with an enemy whose singular goal is to wipe out Hanka Robotic’s advancements in cyber technology.
"ow do you improve on one of the greatest anime films ever made? The groundbreaking 1995 original Ghost in the Shell, directed by Mamoru Oshii and based on a manga series by Masamune Shirow, was a masterpiece. Its influence was far-reaching – most notably on The Matrix. But Ghost in the Shell was a challenging watch. For every shot of a generously breasted naked cyborg plummeting from the top of a building, there was a scene in which characters grappled with knotty philosophical questions. What is the nature of identity when the brain is souped up with cyber-implants and the soul is reduced to a series of electrical impulses? (Incidentally, the question of why a cyborg would need a gigantic pair of knockers in the first place was left unanswered.)" (The Guardian)
Ghost in the Shell opened this past Friday.
Check out the trailer below:
"Like the greatest screen goddesses, Scarlett Johansson rises above it all. In the thrill-free science-fiction thriller “Ghost in the Shell,” her character comes at you in pieces, emerging first during the opening credits in the form of a metallic skeleton. It’s a good look — it evokes the original Terminator — but soon the skeleton is being dipped like a chip in whitish goo. This technological soup gives the metallic frame a humanoid cladding, making it more reassuringly and pleasantly familiar, from bosomy top to round bottom. It looks like a giant dream Barbie, hairless pubis and all. [...] The movie has been widely criticized for casting Ms. Johansson in a role that was, of course, originally Japanese, a decision that isn’t offset by an absurd narrative twist that seems to have been created to forestall criticism but will only provoke further ire. This isn’t just appropriation; it’s obliteration." (New York Times)
"The main selling point here is the film’s breathtaking visual impact. References include everything from Blade Runner to Chris Cunningham’s music video for Björk’s All is Full of Love. But most of all, Sanders pays tribute to the original anime. Both take Hong Kong as inspiration, but looming over this technotropolis are giant holographic figures, as imposing as gods, extorting the people below to buy a lifestyle. Peel back the neon and artifice and there is a maze of cancerous concrete, cyborg chop shops and street dealers peddling implant upgrades. It’s a thrillingly sordid world; I can’t wait to revisit." (The Guardian)
This extended scene will make further prove the visual impact mentioned above:
Some controversies arose after the released of the movie's trailer.
“Apparently, in Hollywood, Japanese people can’t play Japanese people anymore,” MANAA President Robert Chan said. “There’s no reason why either Motoku or Hideo could not have been portrayed by Japanese or Asian actors instead of Scarlett Johansoon and Michael Pitt. We don’t even get to see what they looked like in their original human identities — a further white-wash.”
“Hollywood continues to make the same excuses, that there aren’t big enough Asian/Asian American names to open a blockbuster film,” added Founding President of MANAA, Guy Aoki. “Yet it has not developed a farm system where such actors get even third billing in most pictures. Without a conscientious effort, how will anyone ever break through and become familiar enough with audiences so producers will confidently allow them to topline a film? When will we ever break that glass ceiling?” (Variety)
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