Movie Review – ‘Alita: Battle Angel’ – I Can See For Miles

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Actual runtime: about two hours.

Directed by Robert Rodriguez
Written by James Cameron, Laeta Kalogridis, and
Robert Rodriguez, based on the manga series “Gunnm” created by Yukito Kishiro
Cast: Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Ed Skrein, Jackie Earle Haley, Keean Johnson, Michelle Rodriguez, Eiza González, Lana Condor, Jorge Lendeborg Jr., Idara Victor, Marko Zaror, Elle LaMont, Leonard Wu, Jeff Fahey, Rick Yune, Casper Van Dien
Soundtrack: Junkie XL

Like so many people over the age of thirty, I have something of a complicated relationship with James Cameron (“Jim” to his friends).

Terminator? Aliens? True Lies? All very good to great films (I’m afraid I can’t comment on The Abyss, as I’ve never seen it, but it has a good reputation).

Titanic? Avatar? Well, that’s precisely where things get complicated, but there’s no need for a dissertation on that, as it’s ground well-covered.

Point is, I had concerns going into Alita, and I know I’m not alone. A lot of what was portrayed in the trailers was off-putting and weird, and now that I’ve seen the movie I understand why, because it’s not the kind of film that’s easily put into a box and sold (I feel like we’ve been discussing that a lot lately), but I can also tell you that it doesn’t deserve to be another $200 million flop like John Carter (which I actually liked, but would not have greenlit at that cost).

It has discernible flaws, to be sure, but, on the whole, Alita is entertaining, heartfelt, and interesting; certainly more accessible to general audiences than John Carter (especially given the source material), but nowhere near the realm of dumb that your average Transformers sequel resides in (though I will take this opportunity to recommend BumbleBee).

In fact, one of the more compelling aspects of the film is that the main characters all have their own issues and ethical questions to deal with, which is not to say that the movie tries to espouse some morally gray philosophic nonsense (*COUGH*TheLastJedi*COUGH*), but it’s admirable that it attempts to maintain a level of complexity that could have easily been jettisoned for a more black and white (aka more bland) story.

Speaking of choices though (and black and white), I’d be remiss if I didn’t give credit to the film’s director, Robert Rodriguez. As much as Alita is James Cameron’s baby, to the point that Rodriguez is on record as wanting to make it as close to Cameron’s style as possible, I think there were certain choices made by Rodriguez that Cameron might not have gone with, and for the better. Most notably, as much CGI as there is in the film, there’s also a whole lot shot on real [big] sets with real props, which helps give the movie at least some grounding in reality. In fact, there were a few moments that gave me some Matrix-y vibes, which makes some sense given that cinematographer Bill Pope shot all of those movies in addition to Alita.

As I mentioned before though, it’s not entirely perfect. As much as I admire the film for sticking true to its manga roots, certain things just don’t quite translate to live-action performance, and certain elements just feel downright silly, and, well, I won’t say anything more as it would get into spoilers.

All-in-all though, I have to hand it to Cameron, Rodriguez, and lead actress Rosa Salazar for trying to break new ground (a la the Jaffa/Silver Planet of the Apes trilogy). Even if it’s not always 100% successful, for me, the flaws are small enough to look past and give the movie a strong recommendation. As I said before, it doesn’t deserve to be another $200 million bomb, and I hope (admittedly selfishly) enough people discover that for themselves.

And, you know what? It might actually be worth seeing in 3-D (which I rarely ever say).

Rating: ★★★★☆


P.S.

Since we’re here talking about James Cameron hand-off projects, allow me to also recommend 1995’s Strange Days, written by Cameron and directed by Kathryn Bigelow. Despite the fact that it takes place in the far distant future of December 1999, it somehow is extraordinarily prescient on the endorphin releases we all find ourselves chasing on social media, among other things.

Check it out.

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Brendan Jones

I like movies and talking about movies, so here I am.