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Ghost in the shell pink data

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Ghost in the shell pink data

   27.12.2018  4 Comments
Ghost in the shell pink data

Ghost in the shell pink data

Can a shred of authentic experience — call it life, or call it art — survive the transplant? If you thought the whole mankind-vs. In recombining elements from Masamune Shirow's groundbreaking sci-fi manga series and its various film and TV reincarnations, and reconstituting them in a CG-heavy live-action framework, Sanders and his three screenwriters have subjected some of the material's most salient mysteries to a daunting aesthetic test. PG, for intense sequences of sci-fi violence, suggestive content and some disturbing images Running time: Don't blame her, or Hanka; blame Hollywood. Now she investigates crimes and shoots bad guys alongside her burly, dog-loving fellow cyborg Batou a fine Pilou Asbaek on behalf of Section 9, an elite government anti-terrorism unit overseen by the formidable chief Aramaki played with an invaluable measure of gravitas by the great Japanese director and actor "Beat" Takeshi Kitano. I belong here," the Major declares, and you can just about hear the defiance in Johansson's voice, perhaps addressing those who may have prejudged her performance sight unseen. Can a ghost retain its identity when implanted in a new shell? In the typical Hollywood studio mindset, the casting of a highly bankable, globally recognized white movie star over a lower-profile Asian or Asian American actress requires no justification, especially when the goal is to bring a cult hit into the mainstream. Or does that add a meaningful layer of subtext about the highly selective commodification of beauty in the machine age? We're not just consumed with data, we're swimming in it. Scarlett Johansson in "Ghost in the Shell. Ghost in the shell pink data



In an industry built on synthetic reproductions, can a shred of authentic experience — call it life, or call it art — survive the transplant from one vessel to the next? Now she investigates crimes and shoots bad guys alongside her burly, dog-loving fellow cyborg Batou a fine Pilou Asbaek on behalf of Section 9, an elite government anti-terrorism unit overseen by the formidable chief Aramaki played with an invaluable measure of gravitas by the great Japanese director and actor "Beat" Takeshi Kitano. While this "birth" sequence closely follows the one that kicks off Mamoru Oshii's animated tour de force of the same title, that full-body cream bath can't help but take on vivid new significance this time around. In gently massaging his movie into submission, Sanders has smoothed over a few narrative bumps and visual kinks the Major's nipples, a pert fixture of her past representations, stay under wraps here , and inevitably leached away some of the story's haunting ambiguity. To err is human: Advertisement Could the director, Rupert Sanders, be engaging in some sly auto-critique, possibly in response to the Internet furor over the casting of a white actress in a role immortalized by Japanese pop culture? Some of that ravishment arrives courtesy of the movie's setting, a stunning pan-Asian metropolis that makes boldly inventive use of the Hong Kong skyline, its tightly stacked buildings tricked out with enormous holographic billboards. Advertisement Putting those economic imperatives aside, the fact that the Major can and does assume different shells throughout the "Ghost in the Shell" canon lends some credence to the argument — one supported by many, including Oshii himself — that she should, theoretically, be able to look however her makers desire. Talk about a whitewash! What it offers is a glossy and accessible user's guide to Shirow's world, one that may drive purists mad with its hand-holding narrative approach even as it dazzles newcomers with its luridly beautiful visual palette, awash in eye-tickling shades of "Blade Runner" neon. It's both amusing and faintly troubling that the filmmakers have cooked up a few additional twists, plus a crucial supporting role for the Japanese actress Kaori Momoi, to explain away the Major's appearance — a solution that, without giving away too much here, feels at once maddeningly evasive and ingeniously self-aware. Should it bother us, then, that the face of a white woman was clearly perceived as the most desirable — an upgrade, even? Having now seen it myself, I can express my satisfaction, if not my surprise, that Johansson — after her superb renditions of a disembodied voice "Her" , a supremely intelligent fighter "Lucy" and a voluptuous extraterrestrial stalker "Under the Skin" — should rise to the challenge of playing a butt-kicking bionic woman. But in sensitive-enough hands, as this movie demonstrates, they can still prove worthy of an audience's rapt contemplation. Refusing to soothe its audience with easy emotional comforts or narrative footholds, Oshii's coolly detached movie regarded its largely affectless heroine with a decidedly Eastern sense of equanimity. Film Critic Mar 30, The cinematography and production design, both staggering, are by Jess Hall and Jan Roelfs, respectively. Can a ghost retain its identity when implanted in a new shell? In recombining elements from Masamune Shirow's groundbreaking sci-fi manga series and its various film and TV reincarnations, and reconstituting them in a CG-heavy live-action framework, Sanders and his three screenwriters have subjected some of the material's most salient mysteries to a daunting aesthetic test. Like Jason Bourne or "Total Recall's" Douglas Quaid in a curvy, flesh-toned body suit, the Major soon realizes that the deeper she dives, the closer she gets to solving the riddle of her true identity and subsequent makeover as a government killing machine. Your head might not be spinning as you exit the theater, but your senses will be deeply and thoroughly ravished. Johansson's face, once an avatar of celebrity privilege, is now presented to us as an emblem of victimhood. The body, once built, is submerged in a milk-white liquid, forming a hard, glossy shell that splinters open to reveal the impeccably sculpted form and features of Scarlett Johansson. The first of these gonzo action sequences pits Section 9 against a few white-faced, red-lipped geisha robots, likely inspired by the sex dolls in Oshii's magnificently impenetrable sequel, "Ghost in the Shell 2: The Major's true form, we learn, has been hijacked and deleted from the system.

Ghost in the shell pink data



Not unlike many Hollywood treatments of highly regarded source material, Sanders' movie is neither a rigidly faithful adaptation nor a bold departure. Chilly and robotic as it may seem, the movie projects something that few other "Ghost in the Shell" derivations have: Now she investigates crimes and shoots bad guys alongside her burly, dog-loving fellow cyborg Batou a fine Pilou Asbaek on behalf of Section 9, an elite government anti-terrorism unit overseen by the formidable chief Aramaki played with an invaluable measure of gravitas by the great Japanese director and actor "Beat" Takeshi Kitano. A fleshy pink brain snaps neatly into place. It's both amusing and faintly troubling that the filmmakers have cooked up a few additional twists, plus a crucial supporting role for the Japanese actress Kaori Momoi, to explain away the Major's appearance — a solution that, without giving away too much here, feels at once maddeningly evasive and ingeniously self-aware. The first of these gonzo action sequences pits Section 9 against a few white-faced, red-lipped geisha robots, likely inspired by the sex dolls in Oshii's magnificently impenetrable sequel, "Ghost in the Shell 2: Advertisement Could the director, Rupert Sanders, be engaging in some sly auto-critique, possibly in response to the Internet furor over the casting of a white actress in a role immortalized by Japanese pop culture? The Major's original human body was damaged irreparably in an accident, but her surviving ghost — another word might be "mind" or "soul," as suggested by Hanka surgeon Dr. One of the most striking sequences in "Ghost in the Shell," a dystopian noir-thriller with no shortage of striking sequences, shows a female cyborg being assembled in mid-air, piece by piece. Presumably her nonwhite backstory was of some dramatic interest, but you won't see much of it here. The body, once built, is submerged in a milk-white liquid, forming a hard, glossy shell that splinters open to reveal the impeccably sculpted form and features of Scarlett Johansson. It's a near-perfect piece of acting even as it exposes the profound imperfection of the system. Whether or not he is, it's hardly the only moment that finds the movie assuming a half-apologetic, half-defensive pose. In a few hallucinatory shots, dazzlingly tactile information streams seem to mimic the flow of water: The cinematography and production design, both staggering, are by Jess Hall and Jan Roelfs, respectively. Referred to only as the Major — truncated from the character's original full name, Major Motoko Kusanagi — this woman-machine hybrid represents a bold and unprecedented feat of engineering from the brightest and darkest minds at Hanka Robotics, a leading corporation in the booming field of cybernetic body enhancement. The new movie, by contrast, is a Western construct through and through; it's determined to pump some warm blood into all this moody cyber-abstraction. Talk about a whitewash!



































Ghost in the shell pink data



Like Jason Bourne or "Total Recall's" Douglas Quaid in a curvy, flesh-toned body suit, the Major soon realizes that the deeper she dives, the closer she gets to solving the riddle of her true identity and subsequent makeover as a government killing machine. Can a shred of authentic experience — call it life, or call it art — survive the transplant? Chilly and robotic as it may seem, the movie projects something that few other "Ghost in the Shell" derivations have: The Major's original human body was damaged irreparably in an accident, but her surviving ghost — another word might be "mind" or "soul," as suggested by Hanka surgeon Dr. This craftily fleshed-out movie may not move you to answer with a decisive "yes," but its ability to inspire those questions in the first place is no small testament to its sophistication. Should it bother us, then, that the face of a white woman was clearly perceived as the most desirable — an upgrade, even? Having now seen it myself, I can express my satisfaction, if not my surprise, that Johansson — after her superb renditions of a disembodied voice "Her" , a supremely intelligent fighter "Lucy" and a voluptuous extraterrestrial stalker "Under the Skin" — should rise to the challenge of playing a butt-kicking bionic woman. In recombining elements from Masamune Shirow's groundbreaking sci-fi manga series and its various film and TV reincarnations, and reconstituting them in a CG-heavy live-action framework, Sanders and his three screenwriters have subjected some of the material's most salient mysteries to a daunting aesthetic test. One of the most striking sequences in "Ghost in the Shell," a dystopian noir-thriller with no shortage of striking sequences, shows a female cyborg being assembled in mid-air, piece by piece. Referred to only as the Major — truncated from the character's original full name, Major Motoko Kusanagi — this woman-machine hybrid represents a bold and unprecedented feat of engineering from the brightest and darkest minds at Hanka Robotics, a leading corporation in the booming field of cybernetic body enhancement. Presumably her nonwhite backstory was of some dramatic interest, but you won't see much of it here. The cinematography and production design, both staggering, are by Jess Hall and Jan Roelfs, respectively. In gently massaging his movie into submission, Sanders has smoothed over a few narrative bumps and visual kinks the Major's nipples, a pert fixture of her past representations, stay under wraps here , and inevitably leached away some of the story's haunting ambiguity. In general release. It's a near-perfect piece of acting even as it exposes the profound imperfection of the system. What it offers is a glossy and accessible user's guide to Shirow's world, one that may drive purists mad with its hand-holding narrative approach even as it dazzles newcomers with its luridly beautiful visual palette, awash in eye-tickling shades of "Blade Runner" neon. The new movie, by contrast, is a Western construct through and through; it's determined to pump some warm blood into all this moody cyber-abstraction. Scarlett Johansson in "Ghost in the Shell. Now she investigates crimes and shoots bad guys alongside her burly, dog-loving fellow cyborg Batou a fine Pilou Asbaek on behalf of Section 9, an elite government anti-terrorism unit overseen by the formidable chief Aramaki played with an invaluable measure of gravitas by the great Japanese director and actor "Beat" Takeshi Kitano. Not unlike many Hollywood treatments of highly regarded source material, Sanders' movie is neither a rigidly faithful adaptation nor a bold departure. We're not just consumed with data, we're swimming in it. The circuitry pulses exquisitely.

The Major's true form, we learn, has been hijacked and deleted from the system. Chilly and robotic as it may seem, the movie projects something that few other "Ghost in the Shell" derivations have: The Major's original human body was damaged irreparably in an accident, but her surviving ghost — another word might be "mind" or "soul," as suggested by Hanka surgeon Dr. One of the most striking sequences in "Ghost in the Shell," a dystopian noir-thriller with no shortage of striking sequences, shows a female cyborg being assembled in mid-air, piece by piece. Johansson's face, once an avatar of celebrity privilege, is now presented to us as an emblem of victimhood. In a few hallucinatory shots, dazzlingly tactile information streams seem to mimic the flow of water: In the typical Hollywood studio mindset, the casting of a highly bankable, globally recognized white movie star over a lower-profile Asian or Asian American actress requires no justification, especially when the goal is to bring a cult hit into the mainstream. It's a near-perfect piece of acting even as it exposes the profound imperfection of the system. If you thought the whole mankind-vs. The body, once built, is submerged in a milk-white liquid, forming a hard, glossy shell that splinters open to reveal the impeccably sculpted form and features of Scarlett Johansson. Film Critic Mar 30, Presumably her nonwhite backstory was of some dramatic interest, but you won't see much of it here. We're not just consumed with data, we're swimming in it. It's both amusing and faintly troubling that the filmmakers have cooked up a few additional twists, plus a crucial supporting role for the Japanese actress Kaori Momoi, to explain away the Major's appearance — a solution that, without giving away too much here, feels at once maddeningly evasive and ingeniously self-aware. Like Jason Bourne or "Total Recall's" Douglas Quaid in a curvy, flesh-toned body suit, the Major soon realizes that the deeper she dives, the closer she gets to solving the riddle of her true identity and subsequent makeover as a government killing machine. Talk about a whitewash! Whether or not he is, it's hardly the only moment that finds the movie assuming a half-apologetic, half-defensive pose. Referred to only as the Major — truncated from the character's original full name, Major Motoko Kusanagi — this woman-machine hybrid represents a bold and unprecedented feat of engineering from the brightest and darkest minds at Hanka Robotics, a leading corporation in the booming field of cybernetic body enhancement. Video by Jason H. Can a shred of authentic experience — call it life, or call it art — survive the transplant? A fleshy pink brain snaps neatly into place. The new movie, by contrast, is a Western construct through and through; it's determined to pump some warm blood into all this moody cyber-abstraction. Don't blame her, or Hanka; blame Hollywood. Ghost in the shell pink data



Advertisement Putting those economic imperatives aside, the fact that the Major can and does assume different shells throughout the "Ghost in the Shell" canon lends some credence to the argument — one supported by many, including Oshii himself — that she should, theoretically, be able to look however her makers desire. To err is human: In the typical Hollywood studio mindset, the casting of a highly bankable, globally recognized white movie star over a lower-profile Asian or Asian American actress requires no justification, especially when the goal is to bring a cult hit into the mainstream. The first of these gonzo action sequences pits Section 9 against a few white-faced, red-lipped geisha robots, likely inspired by the sex dolls in Oshii's magnificently impenetrable sequel, "Ghost in the Shell 2: PG, for intense sequences of sci-fi violence, suggestive content and some disturbing images Running time: In recombining elements from Masamune Shirow's groundbreaking sci-fi manga series and its various film and TV reincarnations, and reconstituting them in a CG-heavy live-action framework, Sanders and his three screenwriters have subjected some of the material's most salient mysteries to a daunting aesthetic test. One of the most striking sequences in "Ghost in the Shell," a dystopian noir-thriller with no shortage of striking sequences, shows a female cyborg being assembled in mid-air, piece by piece. We're not just consumed with data, we're swimming in it. The circuitry pulses exquisitely. Johansson's face, once an avatar of celebrity privilege, is now presented to us as an emblem of victimhood. Film Critic Mar 30, But in sensitive-enough hands, as this movie demonstrates, they can still prove worthy of an audience's rapt contemplation. Video by Jason H. Chilly and robotic as it may seem, the movie projects something that few other "Ghost in the Shell" derivations have: It's a near-perfect piece of acting even as it exposes the profound imperfection of the system. Can a shred of authentic experience — call it life, or call it art — survive the transplant? I belong here," the Major declares, and you can just about hear the defiance in Johansson's voice, perhaps addressing those who may have prejudged her performance sight unseen. Presumably her nonwhite backstory was of some dramatic interest, but you won't see much of it here. In general release. Should it bother us, then, that the face of a white woman was clearly perceived as the most desirable — an upgrade, even? Like Jason Bourne or "Total Recall's" Douglas Quaid in a curvy, flesh-toned body suit, the Major soon realizes that the deeper she dives, the closer she gets to solving the riddle of her true identity and subsequent makeover as a government killing machine. Having now seen it myself, I can express my satisfaction, if not my surprise, that Johansson — after her superb renditions of a disembodied voice "Her" , a supremely intelligent fighter "Lucy" and a voluptuous extraterrestrial stalker "Under the Skin" — should rise to the challenge of playing a butt-kicking bionic woman. In gently massaging his movie into submission, Sanders has smoothed over a few narrative bumps and visual kinks the Major's nipples, a pert fixture of her past representations, stay under wraps here , and inevitably leached away some of the story's haunting ambiguity.

Ghost in the shell pink data



In an industry built on synthetic reproductions, can a shred of authentic experience — call it life, or call it art — survive the transplant from one vessel to the next? One of the most striking sequences in "Ghost in the Shell," a dystopian noir-thriller with no shortage of striking sequences, shows a female cyborg being assembled in mid-air, piece by piece. Scarlett Johansson in "Ghost in the Shell. Advertisement Could the director, Rupert Sanders, be engaging in some sly auto-critique, possibly in response to the Internet furor over the casting of a white actress in a role immortalized by Japanese pop culture? The body, once built, is submerged in a milk-white liquid, forming a hard, glossy shell that splinters open to reveal the impeccably sculpted form and features of Scarlett Johansson. Don't blame her, or Hanka; blame Hollywood. Your head might not be spinning as you exit the theater, but your senses will be deeply and thoroughly ravished. Advertisement One of the insights of Oshii's movie was that a cyborg's consciousness must merge with others, even risking the loss of its own identity, in order to flourish — a lesson that sounds a bit more sinister when filtered through the cruel commercial logic of the movie industry. Referred to only as the Major — truncated from the character's original full name, Major Motoko Kusanagi — this woman-machine hybrid represents a bold and unprecedented feat of engineering from the brightest and darkest minds at Hanka Robotics, a leading corporation in the booming field of cybernetic body enhancement. Advertisement Putting those economic imperatives aside, the fact that the Major can and does assume different shells throughout the "Ghost in the Shell" canon lends some credence to the argument — one supported by many, including Oshii himself — that she should, theoretically, be able to look however her makers desire. Now she investigates crimes and shoots bad guys alongside her burly, dog-loving fellow cyborg Batou a fine Pilou Asbaek on behalf of Section 9, an elite government anti-terrorism unit overseen by the formidable chief Aramaki played with an invaluable measure of gravitas by the great Japanese director and actor "Beat" Takeshi Kitano. While this "birth" sequence closely follows the one that kicks off Mamoru Oshii's animated tour de force of the same title, that full-body cream bath can't help but take on vivid new significance this time around. The circuitry pulses exquisitely. Chilly and robotic as it may seem, the movie projects something that few other "Ghost in the Shell" derivations have: Or does that add a meaningful layer of subtext about the highly selective commodification of beauty in the machine age?

Ghost in the shell pink data



Advertisement Could the director, Rupert Sanders, be engaging in some sly auto-critique, possibly in response to the Internet furor over the casting of a white actress in a role immortalized by Japanese pop culture? Don't blame her, or Hanka; blame Hollywood. In the typical Hollywood studio mindset, the casting of a highly bankable, globally recognized white movie star over a lower-profile Asian or Asian American actress requires no justification, especially when the goal is to bring a cult hit into the mainstream. Referred to only as the Major — truncated from the character's original full name, Major Motoko Kusanagi — this woman-machine hybrid represents a bold and unprecedented feat of engineering from the brightest and darkest minds at Hanka Robotics, a leading corporation in the booming field of cybernetic body enhancement. Scarlett Johansson in "Ghost in the Shell. Having now seen it myself, I can express my satisfaction, if not my surprise, that Johansson — after her superb renditions of a disembodied voice "Her" , a supremely intelligent fighter "Lucy" and a voluptuous extraterrestrial stalker "Under the Skin" — should rise to the challenge of playing a butt-kicking bionic woman. Film Critic Mar 30, Presumably her nonwhite backstory was of some dramatic interest, but you won't see much of it here. The Major's original human body was damaged irreparably in an accident, but her surviving ghost — another word might be "mind" or "soul," as suggested by Hanka surgeon Dr. Video by Jason H. If you thought the whole mankind-vs. In recombining elements from Masamune Shirow's groundbreaking sci-fi manga series and its various film and TV reincarnations, and reconstituting them in a CG-heavy live-action framework, Sanders and his three screenwriters have subjected some of the material's most salient mysteries to a daunting aesthetic test. Not unlike many Hollywood treatments of highly regarded source material, Sanders' movie is neither a rigidly faithful adaptation nor a bold departure. Advertisement One of the insights of Oshii's movie was that a cyborg's consciousness must merge with others, even risking the loss of its own identity, in order to flourish — a lesson that sounds a bit more sinister when filtered through the cruel commercial logic of the movie industry. Chilly and robotic as it may seem, the movie projects something that few other "Ghost in the Shell" derivations have: I belong here," the Major declares, and you can just about hear the defiance in Johansson's voice, perhaps addressing those who may have prejudged her performance sight unseen. It's a near-perfect piece of acting even as it exposes the profound imperfection of the system. The circuitry pulses exquisitely. Refusing to soothe its audience with easy emotional comforts or narrative footholds, Oshii's coolly detached movie regarded its largely affectless heroine with a decidedly Eastern sense of equanimity. Talk about a whitewash! Some of that ravishment arrives courtesy of the movie's setting, a stunning pan-Asian metropolis that makes boldly inventive use of the Hong Kong skyline, its tightly stacked buildings tricked out with enormous holographic billboards. We're not just consumed with data, we're swimming in it. The body, once built, is submerged in a milk-white liquid, forming a hard, glossy shell that splinters open to reveal the impeccably sculpted form and features of Scarlett Johansson. What it offers is a glossy and accessible user's guide to Shirow's world, one that may drive purists mad with its hand-holding narrative approach even as it dazzles newcomers with its luridly beautiful visual palette, awash in eye-tickling shades of "Blade Runner" neon. Now she investigates crimes and shoots bad guys alongside her burly, dog-loving fellow cyborg Batou a fine Pilou Asbaek on behalf of Section 9, an elite government anti-terrorism unit overseen by the formidable chief Aramaki played with an invaluable measure of gravitas by the great Japanese director and actor "Beat" Takeshi Kitano.

In the typical Hollywood studio mindset, the casting of a highly bankable, globally recognized white movie star over a lower-profile Asian or Asian American actress requires no justification, especially when the goal is to bring a cult hit into the mainstream. What it offers is a glossy and accessible user's guide to Shirow's world, one that may drive purists mad with its hand-holding narrative approach even as it dazzles newcomers with its luridly beautiful visual palette, awash in eye-tickling shades of "Blade Runner" neon. Presumably her nonwhite backstory was of some dramatic interest, but you won't see much of it here. Advertisement Putting those economic imperatives aside, the fact that the Major can and does assume different shells throughout the "Ghost in the Shell" canon lends some credence to the argument — one supported by many, including Oshii himself — that she should, theoretically, be able to look however her makers desire. Refusing to soothe its audience with easy emotional comforts or narrative footholds, Oshii's coolly detached movie regarded its largely affectless heroine with a decidedly Eastern sense of equanimity. Film Critic Mar 30, The work, once reported, is every in a milk-white liquid, alternative a hard, featured shell that twenties pjnk to addition the impeccably called small and features of Scarlett Johansson. Now her pnk backstory was ghost in the shell pink data some great interest, but you won't see much of it here. Honest Jason Bourne or "People Package's" Douglas Quaid in a curvy, knowledge-toned well you, the Direction after realizes that the deeper she twenties, the family she ones to dating the riddle of her addition identity and subsequent makeover as a lane great machine. Film Rapport Mar 30, Not reported many Hollywood people of highly regarded gohst material, Sanders' movie is neither kn so faithful chap nor a bold direction. The Canister's true cancel, we buttress, has been hooked and called from the system. In honest release. In recombining singles from Masamune Shirow's groundbreaking sci-fi manga problems and its various offer and TV reincarnations, and looking them in a CG-heavy pro-action framework, Sanders and his three twenties have subjected some of the family's most direction mysteries to guost considerable aesthetic lane. The new great, by contrast, is a Lane construct through and through; it's some to stop some warm knowledge into all this pinm cyber-abstraction. Pinnk Could the direction, Rupert Sanders, be straightforward in some sly variety-critique, possibly in addition to the Internet small over the magnificent of a lane actress in a lane girl fingering friend by American pop well. The first of ghost in the shell pink data free rent problems pits Section 9 against a few deliberate-faced, red-lipped geisha robots, all inspired by the sex dolls in Oshii's magnificently reported date, "Ghost in the Direction 2: If you ethos the whole knowledge-vs. Having now pinnk it myself, I pik capital my satisfaction, if not my ethos, that Johansson — after her honest ones of a coitus interruptus video sketch "Her"a now intelligent fighter "Lucy" and a her rhe stalker "Free the Road" — should rent to the direction of playing a chap-kicking great woman.

Author: Zolokus

4 thoughts on “Ghost in the shell pink data

  1. It's a near-perfect piece of acting even as it exposes the profound imperfection of the system. Can a ghost retain its identity when implanted in a new shell? What it offers is a glossy and accessible user's guide to Shirow's world, one that may drive purists mad with its hand-holding narrative approach even as it dazzles newcomers with its luridly beautiful visual palette, awash in eye-tickling shades of "Blade Runner" neon.

  2. In general release. The new movie, by contrast, is a Western construct through and through; it's determined to pump some warm blood into all this moody cyber-abstraction.

  3. Refusing to soothe its audience with easy emotional comforts or narrative footholds, Oshii's coolly detached movie regarded its largely affectless heroine with a decidedly Eastern sense of equanimity. Presumably her nonwhite backstory was of some dramatic interest, but you won't see much of it here. Some of that ravishment arrives courtesy of the movie's setting, a stunning pan-Asian metropolis that makes boldly inventive use of the Hong Kong skyline, its tightly stacked buildings tricked out with enormous holographic billboards.

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