Though hindered by a handful of flaws, Alita: Battle Angel from 2019 is a seriously fun film. Directed by Robert Rodriguez, and produced and co-written by James Cameron, the filmmakers go all in on creating visually dazzling anime-inspired cyberpunk visuals. Based on the manga by Yukito Kishiro, Cameron had wanted to make the film for nearly two decades but his work on his Avatar series took priority. February 14th sees the film celebrate its fifth anniversary, so let’s take a look back!
In the 26th century, humanity is still recovering from an interplanetary war that occurred 300 years ago. After a final battle that nearly ended all of civilization, those who survived flocked to Iron City. Above Iron City is the last of the great floating cities known as Zalem, which is only populated by the wealthy and powerful. One day, in the vast garbage heaps that sit below Zalem, a kindly doctor who specializes in cybernetic enhancements named Dyson Ido (fatherly Christoph Waltz) discovers the still functioning remains of a battle cyborg (spunky Rose Salazar). He takes her home, repairs her, and christens her “Alita” after his late daughter.
Alita initially remembers nothing of her past, but she wonders about the world she has awakened to. Though Ido is highly protective of her, it’s not long before she takes notice of a young man who assists Ido named Hugo (an unfortunately bland Keean Johnson). As they fall in love and Alita begins to remember snippets of her past, she is noticed by Zalem’s malevolent ruler. Cyborg assassins, including the hulking Grewishka (an unrecognizable Jackie Earle Haley), are soon on her tail. Throw in subplots about Ido’s estrangement from ex-wife Chiren (Jennifer Connelly), the popularity and societal significance of a sport called motor ball overseen by the sinister Vector (Mahershala Ali), Hugo’s involvement in stealing cybernetic prosthetics, and the particulars of cybernetic assassin culture filtered through the characterization of Zapan (Ed Skrein), and you have a heady brew of complex interactions and world-building. There are also small roles for Jeff Fahey, Derek Mears, and Casper Van Dien, and uncredited cameos for Michelle Rodriguez, Jai Courtney, and one who should go unnamed as it’s a surprise.
Let’s start with what doesn’t work. The script often feels like a compression of a more sprawling story. It labors at presenting the massive amount of information required to understand the cultural presence of the 26th century. As a result, it feels a bit choppy as it jumps around in an attempt to explain lots of high-concept themes and points. Though it’s not overly expository, the dialog can be cheesy and it may be a chore for those not well versed in genre concepts. I would say it’s a credit to Cameron and co-writer Laeta Kalogridis that it works as well as it does. Thankfully, it leaves some threads for possible sequels, but the film barely broke even at the box office, leaving future installments in limbo. Additionally, Johnson is unable to muster much interest as Alita’s love interest. The script gives him some moral ambiguity and an arc, but he’s too much of a pretty boy white knight. His scenes tend to be a drag on the momentum of the film.
Salazar, on the other hand, is much better, even though she performs under a layer of CGI. Skrein and Haley are also a lot of fun, chewing the scenery. Speaking of CGI, the film is slathered in it. It’s very well done, though, and only occasionally feels cartoonish. Most of it is beautifully rendered, with the futuristic post-apocalyptic melting pot of the grimy Iron City providing a detailed and pleasing backdrop for our characters to inhabit.
Action sequences are clearly composed and thrilling, showcasing Alita’s cybernetically enhanced martial arts abilities, bizarre futuristic weapons, and the violent aspects of motorball. The infusion of elements from the sports film genre adds some nice wrinkles to the storyline. The world-building is engaging and intriguing, even if many aspects are only hinted at. Rodriguez and Cameron’s enthusiasm for the material is evident, as there’s a sense of flat-out fun that’s imbued in every frame.
Robert Rodriguez’s (and James Cameron’s) Alita: Battle Angel is ambitious and only slightly reaches beyond its grasp. It’s too bad that the filmmakers weren’t granted a trilogy off the bat, as that uncertainty hinders the overstuffed screenplay. I really hope we get a sequel one day, as there are obvious unresolved storylines. Visually dazzling and overflowing with cool concepts, the film still seems to be flying under the radar five years later. Recommended, with caveats, for fans of the original Total Recall, the original Ghost in the Shell, and The Fifth Element.
Michael Cavender