Koukaku Kidoutai

In the year 2029, Niihama City has become a technologically advanced metropolis. Due to great improvements in cybernetics, its citizens are able to replace their limbs with robotic parts. The world is now more interconnected than ever before, and the city's Public Security Section 9 is responsible for combating corruption, terrorism, and other dangerous threats following this shift toward globalization.

The strong-willed Major Motoko Kusanagi of Section 9 spearheads a case involving a mysterious hacker known only as the "Puppet Master," who leaves a trail of victims stripped of their memories. Like many in this futuristic world, the Puppet Master's body is almost entirely robotic, giving them incredible power.

As Motoko and her subordinates follow the enigmatic criminal's trail, other parties—including Section 6—start to get involved, forcing her to confront the extremely complicated nature of the case. Pondering about various philosophical questions, such as her own life's meaning, Motoko soon realizes that the one who will provide these answers is none other than the Puppet Master themself.

[Written by MAL Rewrite]

Kusanagi, Motoko Main

Tanaka, Atsuko Japanese

Batou Main

Ootsuka, Akio Japanese

Togusa Main

Yamadera, Kouichi Japanese

Project 2501 Main

Kayumi, Iemasa Japanese

Aramaki, Daisuke Supporting

Ooki, Tamio Japanese

Ishikawa Supporting

Nakano, Yutaka Japanese

Garbage Collector B Supporting

Yamaji, Kazuhiro Japanese

Daita, Mizuho Supporting

Miyamoto, Mitsuru Japanese

Tsuan Gen Fang Supporting

Matsuyama, Takashi Japanese

Nakamura Supporting

Genda, Tesshou Japanese

Ishikawa, Mitsuhisa Producer

Watanabe, Shigeru Producer

Iyadomi, Kenichi Producer

Oshii, Mamoru Director, Storyboard

Reviews

Jul 6, 2008

Firestorm2117

Recommended

I just want to start off by saying that "Ghost In The Shell" loves to asks it's audience questions. What is it that makes us human? Is it the soul (refered to as 'ghosts' in this film)? Or is it flesh and bone? What happens when your memories can be erased and replaced like music on your iPod? If your body is entirely mechanical, can you still call yourself human? If your consciousness is active, yet your body is nowhere to be found, do you still exist?

Okay, I'm giving myself a headache. Let's get to the review.

Story
Cyborg cops battle an anonymous super-hacker who takes control ... of people's computerized brains and forces them to do his bidding. It's a wicked sci-fi thriller, yet it's also so much more. Not only is it a refreshingly original take on the standard Cops vs Criminals plot, but it manages to do it in such an intelligent manner. At it's core, the movie asks the audience "What is it that makes us Human?" Although it never truly finds an answer (can anyone?), it gets closer to it than any other film has yet dared to go. The best part is, with all the philosphical, existentialist and technical chatter, it never really tries to beat the audience over the head with it. Many of the "big questions" are handled in subtle ways that keep the pace of the film going, while still making the audience think. "Ghost In The Shell" is cyberpunk at it's best.

Art
GitS came out in 1995 and still the visuals can compete with current animation standards. This film has aged extremely well. The action is wicked, every scene is full of atmosphere thanks to well detailed backgrounds, and the limited CGI is well integrated, even in such an early stage of CG animation. Yet the most astonishing part of the art is not the quality of the animation, or the artwork. It's the level of thought and polish that went into creating the look and feel of this film. As an exemple: There is a scene where the heroine, Motoko, is fighting a criminal while wearing a suit that makes her invisible. Even though she is invisble, we can still see her shadow. This is because her invisbility is only an optical illusion. There is still a solid mass blocking the light. It's little details like this one that make the visuals so incredible and, more importantly, believable.

Sound
The sounds of the film remain on the same high level as the art. Gunfire, ricochets, explosions, and even all the little computer noises are crisp and well implemented. The music is also quite fitting and original ('Making of a Cyborg', played during the opening credits, is one example). My only gripe is the voice actors are not at their best in this film (of course I mean the english cast). I greatly dislike Motoko's voice (Mimi Woods) and would much prefer Mary Elizabeth McGlynn, who voiced her in pretty much every other GitS project. The rest of the cast is the same as it is in current GitS projects, but you can tell they weren't as skilled as they are today. Still, they are quite good and it by no means ruins the film.

Character
Though all the characters had aspects that made them interesting, Motoko is really the star of the show here and is the only character who developped over the course of the film. Of course, the direction in which her character went more than makes up for this fact. Throughout the whole film she is struggling with the thought of losing her humanity due to being a cyborg, and it all leads up to an incredible finale that just leaves you in awe.

Enjoyment
Now, I'm giving it a 10 for enjoyment, but with an asterix. I personally loved this movie to death due to just how intelligent it is. Unfortunately, it is not an easy film to get into. Very little time is taken to explain how the GitS universe works. For example: The opening scene has Motoko speaking telepathically with Batou, who's nowhere to be scene. The film never really takes the time to explain how this is done, but you do manage to draw your own conclusions once you get your first glimpse of a cyberbrain. Unfortunately, much of the film relies on just how quickly the audience can put together the little details of the world and storyline. This isn't necessarily a bad thing, but it can make things needlessly complicated and actually alienate viewers who may not have the patience to put together the pieces of this techno-puzzle. Luckily, the principle story is simple enough, and the action is good enough so that viewers can still have fun with it. Basically, it can leave you feeling pretty stupid, but you still pat yourself on the back for seeing it through to the end. And don't be surprised if you want to watch it a second time.

Overall
With great action and an intelligent narative, "Ghost In The Shell" is a classic. It inspired "The Matrix", and anyone who has seen that film will know how great of a compliment that is. If you're into philosophical discussions about the soul and the consequences of technological evolution, see this film. If you just want to see a bunch of cyborg cops shooting stuff up, see this film. You will not be disapointed.

Reviewer’s Rating: 10

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Apr 13, 2014

iSuckAtWriting

Mixed Feelings

“If you don’t know where you’re from, then you don’t know where you are, and you don’t know where you’re going.” It’s a clichéd if truthful saying, especially for this film. Well, sort of. This film knows where it’s going, but it doesn’t know how to get there, it doesn’t know where it is, and it doesn’t know where it’s from. This film is a voice pining to speak, but it studders at every word.

So where does this leave Ghost in the Shell? Read on to find out.

In the year 2029, cybernetic technology has strengthened the human body and connected the human mind. Barriers have ... been broken as people can access the Internet with just their body alone. But with this new tech, comes cyber criminals looking to exploit it, and Section 9, a group tasked with stopping cyber criminals. One criminal, the Puppet Master, is skilled enough to hack the human mind. As Section 9 works to track him down, his very existence will challenge the idea of what it means to be human.

This is because almost every member of Section 9 is cybernetically enhanced. They’re basically super soldiers, with abilities far beyond even what most civilians can do. But at the same time, they’re just as vulnerable as anyone else. If a cybernetically enhanced person is hacked, their memories can be deleted or they can be fooled into believing a false life. Even then, their bodies need maintenance, and a system failure on that end would mean going back to their old shells or returning to dust. The story is basically used to explore what it means to be human.

But Ghost in the Shell explores these themes with as much discipline as an undisciplined soldier. Sometimes the themes are used believably, like with Motoko or Togusa’s dialog with the captured criminals after the garbage truck chase scene. Or Section 9’s dialog in Daisuke’s office about something they discovered. These scenes are believable because it raises the questions the film wants to ask, without letting them become heavy, so the plot still moves forward.

At other times, the theme use is cringeworthy. The last dialog from the Puppet Master shows an evolutionary tree several times, with the most roundabout way of saying “I want to evolve.” Or the boatside dialog between Motoko and Batou, where the former switches from soldier to philosopher at the drop of a hat, with deep water metaphors abound. There is actually a point where the second scene takes Batou’s point of view, giving the effect of Motoko talking to the viewer. Seriously.

Seriously. The film wants to be thought provoking, but doesn’t know how to express itself. At some points it expresses itself quietly, letting scarce dialog and a lot of plot progress imply questions for its viewers. At other times, the questions are loudly overplayed, hitting viewers over the head and grinding the plot to a halt. The story itself, for all the international conspiracy it involves, is underplayed. But that’s not a problem, since it’s just a vehicle for the themes the film tries to convey.

Too bad then, that said vehicle breaks down several times throughout the film. For minutes on end, the plot is road blocked by scenes of Motoko being cybernetically enhanced, random scenes of the city, and scenes of the military getting ready. But only the military scenes resemble story progress. The city scenes don’t progress the story, and Motoko’s scene would have worked as part of her background, but becomes pointless when later scenes explain it anyway. Time spent on these montages should have been used smoothing out character progress.

Most of the characters themselves have the same personality (military badass), making them hard to tell apart. Some background can help to tell them apart, but most of them are undeveloped on that end too, or share the same background anyway (“we’re all cybernetically enhanced”). This only leaves character progress to save its cast, but the result is like a failed military mission. And the one who takes the most casualties from this is Motoko.

Motoko has the most progress in the film, but it comes in chunks and lacks sincerity. Spending most of the film being a military badass, peppered with scenes FILLED with philosophical rambling, or worry over Section 9’s discovery, simply doesn’t compute. It lacks a middle ground to bridge the opposite sides of her personality, so it’s hard to believe her as the same person. Character progress should be steady, not sudden. The only one with steady progress is Batou.

Batou starts as a military badass, whose humanity slowly shows itself as the film goes on. During the boatside dialog, the viewer can get a sense of why Batou tagged along with Motoko when she’s changing out of her swimwear. During the dialog in Daisuke’s office, Batou casually tells Togusa why a recent discovery is a sore spot for Section 9. And during the last scenes, Batou’s emotions finally boil over in the end confrontation with the Puppet Master.

And speaking of confrontation, there’s the actions scenes in the film, and by extension, the film’s aesthetics. The animation is fluid, but the art design itself is grimy and imperfect. There’s a sense that every street in the city has been lived in, that characters have worn out their outfits, that colors lack any life to them. It’s not pretty, but then again, a crime that can invade the mind itself wouldn’t be pretty. The visuals have an organic look despite the high-tech setting and being computer generated, making them more impressive.

The action scenes themselves are quiet, forgoing actual music in favor of bone-crunching sound effects. The ground crunches when Motoko drops from a large height, and gun shots are the only melody during action-packed symphonies. Some of the scenes, like a criminal’s leg being twisted, or the snapping of Motoko’s arms when she’s trying to open an army tank, can be hard to watch. But that just goes with the gritty feel the film tries—and succeeds—to give.

There IS actual music, a haunting, choir-like piece. But it’s used in the montages that do almost nothing for the story, making for a nice but pointless soundtrack. Time spent on those montages should have been used to smooth out character progress. Even then, the story’s themes are believably used one moment, then without subtlety the next moment. Some viewers may wish the Puppet Master would delete their memories of wasting 82 minutes gawking at aesthetic wonders.

Now, to say Ghost in the Shell is enjoyable with the viewer’s brain turned off, watching it for the underplayed story, and being wowed by the aesthetics is a reasonable stance. But that would be ignoring everything else the film tries to do, and for something trying to be thought provoking, it’s inexcusable. This film may be a smart Ghost, but the voice it leaves behind is only a Shell of what it could be.

Reviewer’s Rating: 5

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Aug 26, 2023

honzoslav

Not Recommended

Funny

In the year 1920, a Czech writer named Karel Čapek released a sci-fi play called R.U.R. (short for "Rossumovi Univerzální Roboti"). As you can tell from the title, this play introduced the world to the word robot. The play is about a robot uprising causing the extinction of the human race. The last act of the play tries to answer a simple question. Can a machine become human? The play was met with negative reception from critics, although that probably had more to do with the author's political leanings than the work itself. Either way, the play turned out to be a massive hit and ... its influence can be seen in sci-fi media to this day. Sci-fi as a whole has obviously changed over the years, yet to this day many authors try to tackle the same question Čapek did more then a hundered years ago. Ghost in the shell is one of these stories.

With so many different books, plays, films, series, songs and video games insisting on exploring the exact same question, it must be a real head scratcher, right? Well no, not really. As you might have noticed by looking at my profile picture, I am a Christian. This is important, since from the Christian perspective, the obvious answer is "NO, it doesn't have a soul". You don't even have to be a Christian to arrive at the same conclusion. As long as your belief system includes some sort of spiritual element that makes us who we are, you are golden. You might counter this by saying that I didn't really answer the question, I just used my religious beliefs to dodge it. Alright, you might have a point there. So, for the sake of argument, let's assume that no such thing as a "soul" exists. The answer is once again obvious. NO, a machine by definition cannot be human. But since, as we already established, there is nothing special about us humans, the question becomes completely meaningless. A much better one to ask would be "Can a machine become conscious?". The answer to this depends on the setting, but it usually becomes blatantly obvious after the first five minutes. The robots in this story are either conscious or they are so good at faking it that they are completely indistinguishable from conscious beings. And at that point they would just be conscious *insert that Kaiki quote from Nisemonogatari*. Well, there you go, mystery solved.

Now, contrary to what some of you might think, the purpose of my last paragraph wasn't to dunk on everyone with my huge fucking brain. In fact, most of the things I wrote didn't come from me and have been floating around for some time now. I wrote the whole thing to explain in detail that the story has absolutely nothing deep or philosophical about it. What it has is an illusion of depth that can be very easily dispelled just by thinking about it for a few minutes. But because online discourse, by its very nature, will always be dominated by midwits, most of the reviews on this site praise Ghots in the shell for exactly these qualities. What is even more frustrating than that is the fact that the movie manages to stumble upon an idea that would have made for a much better story. Early on, we find out that one of the minor villains had his memories changed. Now that's an interesting direction to take the story. This might be just me, but I am a sucker for stories that fuck with the characters memories. It introduces so much suspense, mystery and even some actually hard questions to tackle. Well, if you are looking for a story like that, I would highly recommend you watch Memento or read "There is no antimemetics division" because those stories actually do something with it. Here it gets immediately dropped. I honestly dont get it. Why would you introduce something this important and then never use it for anything? This is basic writing advice. The gun always has to go off, otherwise it shouldn't even be included in the story.

And last but not least, we have the presentation. The presentation is the only reason I gave this movie a positive score. Sure, it has aged a bit and I have seen better looking shows over the years, but it still delivers when it needs to. Sadly, unlike Akira, Ghost in the shell cannot get by on animation alone and, as I already explained, the story is a meandering journey to answer a question you already know the answers to that came nearly a century too late to be innovative. What we are left with is a bloated mess with no meaning or message. If there is one thing I took away from watching this movie, it is that so called classics only rarely live up to their name. A lesson which I have already been taught too many times to count.

Reviewer’s Rating: 6

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