But in general, there are merits and demerits, and the division is quite obvious.
Let’s talk about the good things first, such as the structure of the world view and the restoration of the original lens.
This time the story generally follows the plot of the 95th edition, starting from the synthesis of the prime body and the jump from the high building at the beginning, and some of the shots still show respect for the 95th edition and even the 04th edition. For example, the synthesis of the prostitutes at the beginning (the rhythm is too slow...and what the hell is the soundtrack...) is very similar to the storyboard after 95 attack the shell and start the first fight. The most impressive one is the part of chasing the cleaner and the driver, starting from the driver putting on optical camouflage to escape, to running through the courtyard of the dilapidated residential area like Kowloon Walled City, the water on the ground, the plane flying in the sky, and then to the The sound of the prime son appeared, the driver suddenly turned around and shot to the suddenly elongated shot, and then to the fight scene (to be reasonable, this fight is supported frame by frame in slow motion, the rhythm skills are far worse...) Almost completely reproduced. Also, the lighting of the head-up moment and the explosion of the geisha's face armor in Kuze's debut are almost completely reproducing the 04 version of the innocence, and if I remember correctly, the section of the major scanning the building should also be a tribute to the 08 version of Ghost in the Shell 2.0.
I think this is already a good place for this movie, because this way of shooting is good-looking, and secondly, this way of shooting is in line with the world view and video style of cyberpunk in Attack in the Shell. Now that I think about the storyboards and editing of these original works, in addition to telling the story, they also use their style to help people build a new world view from the senses, and use the lens itself to build and stimulate the imagination. The level is quite high.
Unfortunately, however, the film's strengths pretty much end there. Let's put it this way, I don't think it's an exaggeration to say that the highlights of this film are almost all in the trailer.
Let's talk about the place where the street is thrown. .
First of all, let’s talk a little bit, such as character construction and character relationships are quite thin (actually it’s Facebooking…). Most of the characters are basically just one tendon. For example, Bart (Fuck Bart is an important character, look what happened) until the end of the performance, it only stayed in a "dutiful and good policeman" and "a good _____" At the level of , he can't see the dashing and evil hair on his body! In the lines, he only gave something when he went to the black market bar, "I still like this kind of place". . (Black question mark face?) What is this? Also, in the original work, Ribat himself is also a prosthetic body. Will he and the major discuss about the rejection of the prosthetic body by the brain, the past of the self, the cognition of the self and so on. Look what's going on in this movie. . . As for the other friends from Section 9 of Public Security, except for Daisuke Aramaki (Teacher Kitano Takeshi), I think the director directly treated you as passers-by A, B, C. . . They really have no character or characters, and they can't compare to the geisha who just appeared on the scene. . . As for the relationship between the characters, hey. . .
Let's talk about rhythm. I have to say that the director has a knack for shooting a lot of fast-paced short takes, but the cuts are still slow and protracted. . Moreover, the lens language is poor, and the information per frame is pitiful. I watched it repeatedly and kept waiting for the next message, and while waiting, the audience was lethargic.
It's not a question of the length of the lens, it's a question of lens design. For example, think about the slow, long shot of Back to the Future 1 that doesn't say much in the first two or three minutes of a single line, and then watch the movie. . Of course we can't expect everyone to have the level of Zemex or the Coen Brothers or Wong Kar-wai, but I think this level of filming is quite unfortunate for this story.
Of course, the feeling of being drowsy is not entirely due to the language of the camera. No matter how many lines are there, it can be supported. For example, most of the films of Old Man Woody Allen and Mr. Quentin and Mr. Linklater. Wonderful dialogue, even if it is chatty, can be very beautiful. Besides, the original works of 95 and 04 are full of wonderful speculations that are worth pondering over and over again. Sadly, there is none in this movie. . . I don't know if it's because the obscure dialogue will scare the audience away or what, all! No! ! Of course, I understand that it is quite difficult to deal with it as a comic book movie, but it is really sad that you do it like this. .
However, it is really sad that the director and screenwriter have adapted the main line. I think this is inevitable. After all, not everyone can figure out and understand the relationship between the spirit and the flesh, the mind/ghost's understanding of their own consciousness, and their thinking about the existence and evolution of human beings. After all, it is acceptable to take a step back and make the core structure smaller. However, in the end, it revolves around the major's life experience? Clam?
It's as if the boss is going to take everyone to celebrate the New Year and go to the top-floor revolving restaurant of a 5-star hotel by the sea for a Wagyu meal. As a result, the boss said that the meal is available, but the overall industry benefits this year may not be able to invite everyone to be particularly good, so everyone Lowered the expectations and thought it was okay. The 4-star 5-course steak meal was also good. In the end, the owner walked everyone to McDonald's with a BigMac meal per person. .
And the frustratingly written mystery of her life experience is so straight-forward, it's all thanks to Juliet Binoche's teacher hiding and forcibly creating suspense, and there is no need for twists and turns to reverse. where it goes. Then there is this mystery of life experience that I also find quite bizarre. In the original 2013 Ghost in the Shell: Arise, it was mentioned that Major's mother had lunch when she was pregnant with her. She was rescued from the placenta and had been fitted with a prosthesis since she was a child. In this film, it is said that she is an older rebellious girl, formerly known as Sonoko, who went to the Sanno District and was swept away by the black-hearted boss of the prosthetic body manufacturer. Just like Hannibal, she is only interested in the brain, erasing her memory, and it is named after her. For Suzi (called Mira in the film? I don't know how to do it). Well, I understand the truth, but can you tell me why, this Japanese mother's daughter is of European and American blood? If the prosthetic body of the major is not the original appearance of Sonoko, then who did the makeup of this prosthetic body kill or where did it come from? You fascinate me! (John Oliver face) What's
even more terrifying is that at the end of the film, Major and Kuze actually found out that they were each other's lovers before being transformed by a prosthetic body, and then skillfully staged an amazing scene of life and death sadomasochism. . . My mother, they seem to be saying, I seem to have seen you somewhere in the previous life. . . So Oshii Mori's masterpiece has been turned into a pseudo-cyberpunk "Kun's Name は" fandom sadomasochism film? ? ?
In addition to this, there is another adaptation that has most of the original party furious, and that is the change of Tachikoma. .
To say that the previous one can also be understood as a question of the level of the director and the screenwriter, if you move the knife, it is a question of character. The thoughtful chariot of others was turned into a large remote control toy by you? Is Nima so ugly? When I really saw that scene, my faith collapsed. . In addition to a lively and vigorous action scene, the final scene between Suzi and Tachikoma in the 95th edition of the original is the highest point of self-reflection in the whole film. What is this about you?
Hey. . Hate that iron is not steel. .
ps. I also heard that Hollywood is also preparing to remake Cowboy Bebop. If it can be filmed in the future, I hope the Hollywood gentlemen can take it a little bit.
View more about Ghost in the Shell reviews
