Directed By Robert Rodriguez
Starring – Rosa Salazar, Christoph Waltz, Jennifer Connelly
The Plot – Alita (Salazar) is a creation from an age of despair. Found by the mysterious Dr. Ido (Waltz) while trolling for cyborg parts, Alita becomes a lethal, dangerous being. She cannot remember who she is, or where she came from. But to Dr. Ido, the truth is all too clear. She is the one being who can break the cycle of death and destruction left behind from Tiphares. But to accomplish her true purpose, she must fight and kill. And that is where Alita’s true significance comes to bear. She is an angel from heaven. She is an angel of death.
Rated PG-13 for sequences of sci-fi violence and action, and for some adult language
– Flawless special effects pallet. Everything from the seamless stop motion capture used to inspire the movements of the title character, to the barrage of computer generated backdrops and character pixelation, especially that of Alita’s huge eyes that authenticate that Japanese Manga design fluently, screams evolution in the art of film, and just as “Avatar” was for the previous decade, James Cameron once again has his finger in the cookie jar of this evolution, this time as a producer to “Alita”. While we know that what we’re seeing before us is purely illustration, the movements and impacts combine enough weight with impact, as well as exceptional color texture in design, to allow yourself to feel immersed into this far away land of dangerous fantasy.
– The dynamic between Alita and Dr. Ido. Aside from the performances of Salazar and Waltz completely carrying the movie for me, the chemistry and bond between these two characters speaks volumes to the concepts of the father and daughter relationship without the link in DNA to prove it. From the very beginning of the movie, Ido is there every step of the way for Alita’s re-introduction of sorts to the world, and it’s in his most obvious traits of worrying and protecting where we feel a missing desire within himself and his past to be fulfilled by this angel who has given his life purpose again. It’s without question my favorite arc of the screenplay, and etches out a lot of heart and concern for the movie to balance these scenes of terrifying devastation.
– Solid structure in world building. While 2553 looks like anything but a place that I would want to live in for the unpredictable mayhem that floods the streets on the daily, the economical push for a world that lives and breathes around a sporting event, as well a place still on the brink of recovery after a paralyzing war, was something that I found great relatability in with our current social climate, and really made the distance in years feel that much more conjoined when you think about what could be if a couple of wrong decisions were made from our own current day. What’s important too, is that wealth still play a very pivotal role in this economy, and the idea with there being nowhere else but the sky to go for this minimal one percent is touched on more than a few times. This is science fiction at its best because everything feels easy to comprehend, the world is anything but a hopeless one, and the ideas associated with the gadgets inside will give unlimited potential in replay value with the more time that passes after this movie.
– An experienced master behind the lens. If I give Robert Rodriguez credit for doing just one thing effectively in the film, it’s in his caption of action sequences that rumble and rip apart the screen. I can imagine that seeing this film in 3D is probably the one rare chance that you want to take in paying extra money for a theater occasion, because the combination of limbs and velocity that rushes towards the screen fires on every cylinder of adrenaline that you can imagine, and spares no expense in doing so. What’s vitally important is that no sequence’s editing feels choppy, nor does the camera movement ever use the shaky-cam gimmick in translating itself to the audience, allowing us enough focus and detection to stay with these overwhelmingly-fast scenes every step of the way.
– One big surprise. I have my displeasures with the entirety of the supporting cast that I will get into later, but the last second reveal of the film’s REAL antagonist was something that really cements the legacy of what it means to work with someone like James Cameron or Robert Rodriguez. This person is nearly unrecognizable, which is a compliment to the practical make-up, not C.G, that adorn this person, and left me literally scratching my head until I looked it up online as to who this character was played by. I am someone who sees over 200 films a year, and when a movie’s production can conceal and hide away the familiar face of one of my favorite actors going today, I have to commend the designs on a completely different level.
– Sequel shielding. This is another example of a film that feels far too confined in what satisfaction narratively that it can give us in this introductory chapter. While I’m all for leaving audiences on a cliffhanger, the ending of this movie feels downright insulting, ending it during a time when so little has been established or confirmed for the progression of our title character, and it makes me wish that the studio could just make a great movie with the thought process that we might not get another shot at a second one. Because of such limitations, “Alita” loses so much momentum on its way to the finish line, and the film’s final moments are every bit predictable as they are anti-climatic. If you want to hone a ten hour narrative, shop it to Netflix and tell the whole story. Don’t waste the first hour by hinting at the following nine hours to follow.
– Dream team wasted. Mahershala Ali, Jennifer Connelly, Ed Skrein, Jackie Earle Haley, Michelle Rodriguez, Jeff Fahey, Casper Van Dien, and I haven’t even listed all of the big name actors who fill these roles. All of these faces come and go without even the slightest lasting impression of personality or impact upon this jumbled screenplay, and it gives them a flashback presence to a time when none of them could get anything better than a cameo appearance in a movie that was anything but them. With so much talent hanging in the balance, how could Rodriguez not take advantage of these once in a lifetime pairings? Their names are used for nothing more than to draw audiences in, and unfortunately those very same audiences will feel betrayed when they realize that only one of them is in the movie for more than ten combined minutes.
– Huge third act action set piece that is entirely inconsequential. This is one that bothers me from a logic standpoint. Towards the end of the film, there is a sort of alliance to finish of Alita once and for all, complete with thousands in attendance and a broadcast equal to that of the Super Bowl, and the way it ends unceremoniously is astounding when you consider the many in attendance who are going home without a defined conclusion. I can’t say a lot because of spoilers, but imagine if Tom Brady left during the third quarter when the Patriots had the ball, and he never comes back again. It’s baffling that anyone with a pen would write such an expensive and pointless sequence, and it only highlights the many faults of a screenplay riddled with chaos.
– Subplots introduced and never followed through. Dr. Ido’s previous daughter, Alita’s past before she was an android, the decaying relationship of Dr. Ido and his ex-wife, what led to said ex-wife taking a vicious personality change towards shallow lifestyles. These are just a couple of the arcs attached to the film that are never fully elaborated on, and stand as the biggest hurdle to getting any of these characters over for the audience to embrace. This screenplay has Attention Deficit Disorder, in that it can’t stop throwing a handful of subplots at us the audience without addressing and resolving what is front-and-center before us, and it overall gave the movie a very jumbled kind of circumstance that shreaded the pacing in ways that never quite got off of the ground.
– Undercooked romantic subplot. If there’s ever a single instance of this movie slipping away from the grip of the three writers who penned it, it’s in the unraveling of Alita’s romantic interest that burned the kind of kinetic energy below similar to the kind you get eating bad Thai food. The two actors lack even the slightest form of chemistry in capturing the kind of spark that the movie so desperately wants to establish, and the brief stint of time that this film takes place across only further muddles it. I get that Alita is essentially living for the first time, so all experiences are brand new to her, but she has known this kid for days and is quite literally willing to give her heart to him. It makes for some sappy, albeit unintentionally hilarious deliveries of dialogue that will have you either laughing or barfing, depending on how you react to artificial sugar.
My Grade: 5/10 or D