Alita: Angel of the Battle-Robert Rodriguez | Review


Published on Feb 15, 2019


If it is true that the eyes are the mirror of the soul, then the soul of Alita: Angel of the Battle is a big one, so much to shine and capture you: but the soul is something immaterial, that even humans could not have, let alone the cyborgs (Blade Runner, Ghost in the Shell), and in its place what really makes us unique are two things, the memories, and the heart.

The first is the protagonist Alita (Rosa Salazar) will have to try to get it back, because he has lost (where is it from? what is his name? how old is he?), however, she remained certain the mind and heart, the last even so overflowing that at a certain point the take in hand with sincerity, and gave it as a sign of love; and it is definitely a film of mind and heart to Robert Rodriguez, who not only from episode to producer James Cameron, but something about her puts us, especially in the action sequences, going with the wisdom of the PG-13 to show us his much loved violence both on and off the field, playing on the bodies in relation to cyber character to avoid throwing each other in the grotesque tones in the gut that dangle or hands that pierce the enormous skulls (there is also a bar brawl, a must in the filmography of mexican director).

But what is commendable the jump to the cinema blockbuster science-fiction (anticipation of upcoming games buddy Quentin Tarantino, who was engaged in the writing of the script of an upcoming Star Trek) is clear that it is first and foremost a film of mr Cameron, this Alita: Angel of the Battlefield.

Not only the manufacturer but also a screenwriter (this is the first film that the director writes to someone else by the time of the wonderful masterpiece which is still the Strange Days of Kathryn Bigelow, James Cameron writes a script that is so inconsistent and hasty as the summary of his entire philosophy of cinema: it Breathes is the missing link of a philosophy, the engineering of movie magic, a thesis that the canadian author brings forward always, and of which it is the absolute supporter: that of the improvement of the human body through bioengineering.

And it is not a coincidence that Cameron has started to fantasize of bringing the manga to confession, but her own Kishiro on the screen, back in 2000, namely in the phase of his career that was both post-Titanic and post-Strange Days that especially pre-Avatar, because after having shown the use of prosthesis to defeat the alien in Aliens: the Ultimate Fight, the collaboration with the cyborg needed for the survival in the Terminator and Terminator 2, and the will to build new memories – to change your I – in Strange Days, to improve your body of mortal flesh with the parts cyber-replaceable (and thus, theoretically, can lead to immortality) is a fundamental stage and then the replacement of a whole body, or the dream of that replacement, which as we know showed us in Avatar.

In theory, this Alita: Angel of the Battlefield, and especially in the context of the filmography of its author, and of the evolution of the film, is a film not to be missed. In the context of a history of sci-fi cinema that speaks to us about these issues since 1982 and is a little less, especially considering that in the build (visually amazing) world of Alita, Cameron and Rodriguez pull us in dozens of other films, more or less recent, from Elysium to Wall-E, Ex-Machina to A. I.: Artificial Intelligence (which in turn already was inspired by Pinocchio, thing that Breathes, and believes to do it in an original way), doing the same sum-total of an entire genre that already Blade Runner 2049 had made it to the end of 2017.

But here there is the preciousness and art-house that characterised the films of Denis Villeneuve (and that was also the downfall, to a certain extent, especially in the last act), here we want to reflect the spirit of the teen protagonists, and to donate (more than) thirty years of science fiction to the new generations, that with these protagonists can be reflected best of all: it is a movie for guys Alita: Angel of the Battlefield, will appeal to those who watch cinema from 2000 onwards, and completely ignores what has come before, as a strange line of demarcation that claims to go forward without ever looking back, even at the cost of sounding unscrupulous, even at the cost of smell of already seen in those who has a few more years on the identity card. It is a film that speaks to the person who is born in the 21st century, trying to summarize the film genre of the 20th in 122 minutes.

A move is ambitious in both good and bad, deserves a resonance search, and that surely will find it in the first time.

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