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Once the terrorist that Section 9 is hunting down, Kuze (a bored Michael Pitt), warns her not to trust Hanka Industries, the Major searches for the truth behind her existence. She’s having “glitches,” visual and auditory hallucinations, with increasing regularity, suggesting that her superiors are lying to her. But there’s something amiss beyond the Major’s poor understanding of her own humanity and place in the world.

Reborn in this new body, the Major works as an efficient if somewhat reckless agent for Section 9, an ill-defined anti-terrorism division led by Aramaki ( Takeshi Kitano). She has the mind and soul (or “ghost”) of a human woman coupled with the astounding advantages of a machine form. The Major, as she’s routinely referred to, is the perfect blend of the organic and the synthetic, man and machine.

As characters repeat ad nauseam, she’s the first of her kind. She was rescued in the wake of an attack on a refugee boat that left her so gravely injured that the government-funded Hanka Industries saves her by placing her mind into a completely artificial body. The latter is the case for Major Mira ( Scarlett Johansson).

Characters outfit themselves with tech that makes alcohol poisoning a thing of the past, gives them great abilities, and allows them to survive harrowing accidents that would have previously left them dead. “Ghost in the Shell” takes place in a future in which cybernetic enhancement isn’t just routine but expected. They take the basic skeleton of the story and some its tantalizing imagery, but strip them of their power. But how they choose to change this material is. Director Rupert Sanders and his collaborators aren’t married to recreating the influential manga or its 1995 anime adaptation wholesale.

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