Editorial 43: Johnny Mnemonic

At the start of every June is the Electronic Gaming Expo (E3), an event where developers and publishers show off upcoming titles and demos to the public. This year was okay with not many worthwhile announcements other than the Cyberpunk 2077 presentation. While the footage shown was pre-rendered, it revealed that Keanu Reeves would play a character before the man himself appeared on-stage. His presentation became a meme within minutes, but he reminded me of a lesser-known movie from his past. He is best known for Neo in The Matrix, but years before, Reeves was Johnny Mnemonic.

The early 80s and 90s saw an explosion of cyberpunk films. Blade Runner was the first to put the genre to screen and influenced many a prospective director. Hardware, the Nemesis movies, Class of 1999, Cybernator, and Hands of Steel were low budget attempts to capture the essence of Blade Runner. Whether they succeeded or failed is debatable, but because of the volume of such movies, cyberpunk was pigeonholed into B-movie status for years.

By the time Johnny Mnemonic (JM) came out in 1995, many tropes were established in how these movies were supposed to look based on budget limitations. The genre was still in its infancy and I imagine not many producers would take the risk of dumping money into projects about cyborgs. As a result you get a false equivalency: most cyberpunk films are cheap and thrown together, so all cyberpunk movies should be cheap and thrown together.

Rather than begrudgingly accept this fact, JM embraces it. From the very start, the film is proud to be a B movie, and does a great job of appearing professional.

From setting to setting you feel the desolation and decrepitude of the world. The opening hotel scene appears clean and tidy, but it is packed with people and cluttered with stuff that likely does nothing except take up space. Then you get to the truly ruined setting of Newark that is lawless and disgusting with trash piled in corners of run-down buildings. There is this anti-corporate resistance group called Lo-Tek living in this fort built of scrap and garbage on a destroyed bridge with tons of make-shift elements inside.

The costumes leave a bit to be desired. Everything looks mostly thrown together or pulled right out of the closet hours before shooting. Even the borderline homeless Lo-Tek guys look like extras from a Mad Max knock-off. Early on, Dina Meyer’s Jane wears this chainmail top that looks so out of place and uncomfortable that she loses it not long after. All the Yakuza goons wear trench coats that were three sizes too big. Then Dolph Lundgren’s Street Preacher is dressed like a friar that slept in a dumpster for three days straight and somehow he is this powerful cyborg.

However, all the awesome props throughout make up for the lack of better costumes. From mini-cd readers the size of pagers to a giant VR headset made of computer scrap, there are so many little things to admire because the tech in JM is analog. It came from a time when no one knew how advanced wireless would become; hardwire seemed the only way to connect back then. On top of that, it works in favor of the setting because the world is so rundown it has not progressed beyond analog. As a result we get physical, unique props that someone put effort into making appear real.

Good production value can only get you so far without a good story. The titular Mnemonic is a courier that stores information in his brain for delivery. On his latest job, the data Johnny downloads is so overwhelming that it will kill him in a matter of days unless he gets it out. While tracking down a specialist to extract the data to give to the client, Yakuza under contract by a major pharmaceutical company is on the hunt for Mnemonic’s head to take the data.

Given what we know about the storage capacity of the brain today, the story is totally far-fetched. At the start, Reeves plugs a device into his head to give himself extra gigabytes, which does not make sense unless it removed data because the brain retains about 2.5 petabytes. Unless Reeves had a ton of uncompressed crap in his head from other incomplete jobs to the point he deleted parts of his childhood to make room, still nothing makes sense. That being said, the story has stakes and a ticking clock to keep things moving along. Once you divorce logic from the equation it works a lot better and makes for a great cyberpunk adventure.

It also helps that the movie is just about perfectly cast. Actors from a wide variety of fields take up the supporting roles like B-movie veteran Udo Kier, the late voice actor Denis Akiyama, rapper Ice-T, and Takeshi Kitano, a legend in his home country of Japan. The only bad casting choice was Henry Rollins. Whoever thought that was a good idea probably lost their job. Everyone else does very well, but Lundgren had such a tiny part that why he was cast remains a mystery. All he does it show up when the characters need to be in more danger, but he is so non-threatening it does not matter.

The way Reeves plays Mnemonic is related to why he picked the roles he did back then. For years he was the Ted-half in the Bill and Ted movies, a skater-punk that travelled back in time for reasons (haven’t seen it). The kiss of death for actors is to become typecast in the same part over and over again because casting directors think you cannot act. Reeves played a pretty convincing skater-punk and signed on to not only a second Bill and Ted movie (soon to be third), but a show as well. To audiences at large that part was him and Reeves knew he had to show off his acting chops elsewhere, lest succumb to slow career death.

And so he branched out after 1990 with Point Break, Bram Stoker’s Dracula, Little Buddha, and did not stop for nearly 24 years. Each new movie he showed off his skills as best as possible with varying degrees of success. The self-imposed demand for diversity shines through in JM where Reeves plays not only an arrogant scoundrel, but also a petty one. Mnemonic’s a morally neutral criminal that takes most dirty jobs and the last thing he wants is complication. When he gets the data uploaded, everything turns upside-down, and he just wants it out of his head. What begins is a cascade of hardships that culminate in a hilarious rant by Reeves that should have been better remembered had people actually seen it.

While JM is not the most remarkable cyberpunk movie, it nonetheless had a look and feel that influenced some, most likely the developers of 2077. Blade Runner may be the grandfather of the visual style of cyberpunk, but it was JM that perfected it if you ask me. Casting Reeves was a no-brainer considering his role as Mnemonic, but after re-familiarizing myself with the movie, I noticed JM had a lot more to do with 2077 than Reeves’ casting.

If you take a scene from the film and put it against any 2077 footage, they almost blend together. The degradation of the setting, rudimentary tech, and clutter are inherent throughout the movie and game. There is some wireless tech, but the hardwire element is still prevalent in 2077 with the characters putting chips in their heads or plugging into each other. It is not a clean setting either with grimy, dirty rooms packed with people. Little things also appear busy and overbearing with oppressive neon advertisements and clothing on the characters that is so complicated I cannot imagine wearing it in public… except the Samurai jacket.

Johnny Mnemonic is based on a story by William Gibson, the father of cyberpunk, and Cyberpunk 2077 is a follow-up to the TTRPG Cyberpunk 2020, which references Gibson’s work as the progenitor of that world’s punk movement. And being the visual realization of a seminal work of cyberpunk, it would be fair to say that Johnny Mnemonic had as much to do with the creation of 2077 as 2020. Casting Keanu Reeves seemed almost necessary. Whether other members of the cast or figures in the cyberpunk genre will also make an appearance remains to be seen.

Obviously I am going to write about 2077 when it comes out next year. Before then I will review the “Cyberpunk Red Jumpstart Kit” in August from the original creators of 2020. As a fan of the genre, the next several months are going to be great. Getting back into writing after an extended hiatus to talk about a cyberpunk movie was a great reminder of why I got into this hobby so many years ago. I apologize for the long wait and it will be a very long time before I leave you guys hanging like that again.

Movie Review: Ghost in the Shell (2017)


I talked about this a while ago, but it bears repeating. It absolutely does not matter that Scarlett Johansson was cast in the role of a Japanese character. Putting aside that we are talking about fictional people that do not exist, looking at the context of the material in question, Major being any color serves no purpose. In all her incarnations (which are remakes of an adaptation of a manga from 1989), her look has remained consistently inconsistent. Sometimes she is an older woman or a lollicon nightmare with equally fluctuating hair colors and styles. Furthermore, in a universe where people change bodies at will, the pigmentation of the bodies’ skin is utterly meaningless. If anyone bothered to actually research the source material, they would know nationality and ideology are the only cultural determinates in Ghost in the Shell. This nonsense about whitewashing could not be more pointless. With that said, was the film worth the wait or another failed adaptation of a beloved anime?

While tracking down a terrorist hacker, Major has an existential crisis. She is a cyborg and struggles with the idea of what she really is. Her questions, however, bring her closer to an answer she may not like.

When confronted with something as difficult as an adaption, it is important to understand that not everything will translate to the new medium. Game of Thrones had to fill a 10-episode quota with one hour of content each. Obviously you are going to lose a lot of what made A Song of Ice and Fire great in the process. I had the same realization with Walking Dead, but it is still baffling how hard the show runners screwed up. Rather than remove bullshit from the comics, they added more. Seriously, does anyone really care about Morgan, the Priest, or What’s-Her-Face? They get more attention in the show because AMC wanted 16 episodes per-season at 44 minutes each. If they had to meet a quota, then the writers could have, you know, actually tried instead of add more padding than an adult diaper.

Going into Shell (2017) I knew it would not be the same animal as the anime(s). With cartoons, especially those from Japan, there is a lot you cannot do in live-action. You have 90 minutes to entertain an audience and make spending their time and money feel worth it. With the Shell live action movie, there was no way we would get the same glorious violence, long digressions on philosophy and politics, or the same complex crime-drama narrative with many layers and details. Anime itself is not your typical medium and especially difficult to translate into live-action. I cannot fathom what Gurren Lagann or Kill la Kill would look like with real people.

Ignoring the source material completely, Shell (2017) is just fine. It is not terrible or mediocre, but it is not good either. Honestly, the only reason to see it is if you are a fan or you want to see Johansson in a latex body condom. There are not enough good things to make it worth the full price of admission.

Let us start with the good.

The film looks great. Every scene is full of cool stuff that was also very well shot. Even the cheap CG was tolerable because there are plenty of real things that you can almost reach out and touch. Batou’s eyes, the anachronistic cars, and make-up on a lot of the actors were such a breath of fresh air. The sets were also exemplary where they seemed lived in and fit the world. You could believe such a place exists and the advanced technology was a part of it despite the overwhelming squalor. Thanks to the directing, the aesthetics are not just background details. You are meant to see everything and immerse yourself rather than overlook them as simple visuals. It is a shame the set pieces have more substance than the rest of the film.

Story moments, scenes, and the dialog just happen. There is no real feeling or life behind it. A character will say something and it does not mean anything beyond the obvious. Then a scene pops up that does not serve much of a purpose before the start of the next. The same can be said for certain plot points like Major coming to terms with who and what she is. Unlike Suicide Squad, there is at least more to the movie, but the idea that the protagonist having an existential crisis felt meaningless is not good. If you want to feel invested, you need substance and Shell (2017) has none.

This is likely a side effect of the adaptation process, which took the Walking Dead route. Rather than build up worthless crap, the movie takes from every version of Shell and mashes it together. Not only does it adapt the movie from ’95, it takes from all the other incarnations except Arise. Kuze from 2nd Gig was the villain, Coroner Haraway and the killer gynoids from Innocence show up, and the shut down of Section 9 from the first season for Stand Alone Complex happens at the climax. There are also scenes from the ’95 movie that are straight up live action reshoots.

I imagine the point was to adapt the Shell property as a whole instead of a fraction. For whatever reason I cannot discern and it negatively affects the film. Instead of making the iconic spider-tank feel like another part of the world, it is a prop that was set up in the beginning before it comes back in the end. About two minutes later it is gone after a lackluster action scene. The sniper helicopter from the original comes in shortly thereafter, followed by Saito, who never got an introduction. Both of these elements simply appear, but instead of feeling natural, they come in at the very end because it happened in the first movie.

By trying to appeal to fans that have been waiting a decade for a live action adaptation (I wasn’t), Shell (2017) tries too hard. Yes, we fans like all the cool stuff in the shows and films, but it had meaning and a point. It was done with finesse because the shows and movies were simply being themselves. That cool stuff we liked only became cool because we said it was afterward. Rather than become its own animal, Shell (2017) willingly tethers itself to the source material without regard for its own identity. It is exactly what happened to Rogue One.

I could go on about the flaws in the adaptation process, but as I said before, Ghost in the Shell (2017) was just fine for what it is. There is certainly a chuck of good to be had, but not enough that I would give a full recommendation. It is worth a watch for the price of a matinee or a rental when the time comes. However, if you want too see a better version of the film, the original ’95 one is perfect.