Spandau Belly wrote:I know I've seen the original anime a couple of times, and I know it's held in very high regard among anime lovers, but I never remember much about it. I think a cyborg cop gets hacked and turned evil or something?
Al Shut wrote:Shirley, your memories must have been hacked.
Al Shut wrote:Musings about being human and /or a cyborg ensue.
Al Shut wrote:Musings about being human and /or a cyborg ensue.
Anthony D'Alessandro wrote:Walt Disney Pictures has moved up the release of DreamWorks’ feature adaptation of Japanese manga comic Ghost In The Shell from Easter weekend — April 14, 2017 — to March 31, 2017. The pic will be released in 3D. The film, directed by Rupert Sanders and starring Scarlett Johansson will go up against Sony’s untitled Smurfs animation film.
Created by Masamune Shirow, Ghost In The Shell was first published in 1989 by Kodansha, one of the largest publishing companies in Japan. It went on to generate two additional manga editions, three anime film adaptations, an anime TV series and three video games. DreamWorks released the second anime film. Ghost In The Shell follows the exploits of a member of a covert ops unit of the Japanese National Public Safety Commission that specializes in fighting technology-related crime.
Deadline overheard that Johansson was offered $10M for the lead in Ghost In The Shell, given her success at the B.O. as Black Widow in the Marvel canon as well as last summer’s hit Lucy. Johansson took over after Margot Robbie left negotiations to join Warner Bros’ Suicide Squad.
Fievel wrote:I don't know if it makes me racist or just a dumb American.......
Anthony D'Alessandro wrote:Once again we have a situation where Paramount has a very expensive picture on their hands, and it’s not opening. “When Jim Gianopulos settles in, this type of thing isn’t going to happen!” roared one rival distribution executive today. Talk about deja vu. It was only two months ago when xXx: Return of Xander Cage with a reported production cost of $85M and the social media star power of Vin Diesel made zero impact stateside with a $20.1M opening/$45M final domestic, but all the difference overseas with a $301M take. Hopefully, Ghost will have the same luck abroad.
Frankly, it’s baffling to see Ghost in the Shell going to hell: The visuals rival Blade Runner and it wasn’t too long ago that we saw Scarlett Johnasson opening movies (original IP no less!) on her own with Lucy ($43.9M opening, $126.7M domestic take off a $40m cost) sans the Avengers gang. Furthermore, Paramount was very passionate about this movie, and made waves during the Mr. Robot finale back in September with enigmatic glitch commercial interstitials (pieces from the film). Online it was revealed that the glitches were in fact related to an early brilliant promo for Ghost. In November, Johansson traveled to Tokyo for a massive Ghost in the Shell event where the global trailer was first dropped ultimately earning 1.2M views. Currently, LAX is blitzkrieged with Ghost one-sheets and banners. There’s an even an Osculus Rift virtual experience that was produced for the film, putting users into the shoes of Johansson’s Major character whereby she swan dives from the rooftop and battles geisha robots.
But somewhere along the way, Ghost fell apart whether it was in the marketing or the film itself. Some might point to the white-washing controversy that bubbled on the internet in casting Johansson in a Japanese anime feature adaptation. But really, that type of thing doesn’t weigh heavily on average moviegoers’ minds. Despite the uber-cool, visual trailers that were cut for Ghost, rivals believe it was all eye-candy with zero substance. “You don’t know what the storyline was. Is Scarlett’s character good, or is she bad?” assessed one marketing maven who added the look of Ghost was “too Wachowski-esque.”
RelishMix sharply observed that the film was challenged by an overall non-social and inactive cast. Even though Johansson doesn’t shy away from PR when it comes to her movies, there’s a wasted opportunity here in regards to her absence from social. This is an actress who is a millennial pin-up girl, beloved by males and she’s not meeting that audience head-on with a Dwayne Johnson promo sensibility. The proof of her fanbase resides in the audience polls: On CinemaScore, 39% came out to Ghost because of Johansson with 61% males attending, 76% over 25. Meanwhile, Screen Engine/ComScore’s Posttrak showed 62% males buying tickets with the pic’s largest demo being guys over 25 at 42%. Now a studio will always make-up for a star who is personally non-social by doing other social media stunts with them, but this movie (and Johansson’s career here) could have benefited from her own personal tubthumping, and igniting even more fans to attend. Six years ago, in an Interview with Arianna Huffington, Johansson dissed social media: “I can’t think of anything I’d rather do less than have to continuously share details of my everyday life. I’m always surprised that certain actors have Twitter accounts. I guess they use it in a way that works for them. But I’d rather that people had less access to my personal life.” However, social media is whatever you make it, and it’s certainly the best currency for a star and a wannabe tentpole nowadays (duh). But another reveal here is that despite the box office-to-production cost fail here with Ghost, if a Johansson film is made for the right price ala a Resident Evil, a fanbase will show up and shell out a certain amount of cash.
Lastly, in regards to Ghost, whenever a studio hides a movie from the press, you know something is up. Here in L.A., Paramount scheduled an all-media screening last Wednesday when the bulk of the industry’s vital press corps were covering CinemaCon. Well, there’s no such thing as a coincidence, and Paramount didn’t offer up any earlier screenings for those journalists wanting to see the film ahead of the exhibitor confab. The studio also didn’t screen the movie at CinemaCon because they were holding their exhibitor screenings ahead of time. All of this was odd given the Melrose Lot’s mojo for selling Ghost back in the fall. But then it was clear: Ghost logged a 41% Rotten Tomatoes score with high brow critics declaring “It gets bogged down in aesthetics that are stimulating only for the sake of stimulation, seemingly without a flicker of thought behind them. Shell indeed, but there’s no ghost at home.” (Tribune News’ Katie Walsh).
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