It may sound hard to believe, but the power of social media successfully ensured that AMPAS sees their vigorous hashtag trend: #PresentAll24, which means as of February 15th 2019, the Academy chose not to air four categories during commercial breaks but live with the other twenty. I felt quite inspired by this passion of united Twitter users to guarantee everyone who worked hard in the film industry gets their glorious well-earned moment. As a bonus, it’s proven why Alita: Battle Angel carries no rhythmic impact on filmmakers like that of the 91st Annual Academy Award winners.
We all face decisions similar to what the Academy had to make, some for better, some for worse. Take the blue pill, and you force four categories into commercial break to shorten the show. Take the red pill, and you see equal, nondiscretionary treatment. Which sounds best? Seeing how Alita makes zero character development throughout her adventure, I guess that means she chose the blue pill, preferring what is convenient to gain a wider audience instead of what is best for everybody. Did her plan work though? Let’s take a look…
Alita lives in an Iron City that apparently lacks wealth, which isn’t easy to conclude since this high-tech India-esque area practically resembles a paradise for any sci-fi lover. Right next to Iron City rests a massive junkyard where the scraps of that sky city wind up at the end of the day. That is where Iron City obtains its supplies, and ultimately where a Doctor Frankenstein rip-off found his anime-eyed creation’s scattered parts. This means there’s no real ground to work off of, particularly when struggling to sound heartbroken through pathetic sad scenes with the atrocious actor playing her cheap boyfriend. That actor’s slothful eyes generate just one negative factor as co-writers James Cameron and Robert Rodriguez resort to stupid expository details in their worldbuilding, such as cyborg blood being turquoise for some reason other than to look cool.
As for the bigger actors, Christoph Waltz (Django Unchained, Inglourious Basterds) probably isn’t aware he’s co-leading a futile promotion of Marxism reliant on a self-righteous “chosen one” plot trope. Hence, he must’ve figured, “Why bother trying? The sound editors will improve my voice anyway!” Yes, Waltz’s pathetic accent manages to be weaker than the normalized human-robot love that throws in insincere dialogue such as, “You are the most human person that I have ever met.” (facepalm)
The same issue of acting goes to Oscar winner Jennifer Connelly (A Beautiful Mind, Requiem for a Dream). Here, she does nothing but insult the dedicated actors, actresses, supporting actors, and supporting actresses of Hollywood with her lazy demonic eyes and overly dramatic, shallow laughter from a voice deprived of security.
Now, take a minute to observe the entire Star Wars series before Disney bought them: It was nowhere near perfect (in fact, the original trilogy is just okay), but still attempted decency with its audience… until the prequels attacked. Yes, it’s at least acceptable in the visuals big and small, as the Battle Angel’s almost square jet-black hair matches the Plutocratic sky city; just don’t count on there being any memorability from Alita, even if the cinematic quality leans closer toward the Star Wars originals than the prequels.
Although the setup deserves some praise for sure, as does some awesome fight choreography to appropriately set the numerous emotional roller coaster peaks in a way that allows them all to complement each other. After Alita first comes back to life, without any surviving memories, she disdainfully eats an orange, peel and all, as if it were an apple, but ends up liking the fruit once peeled, and later loves chocolate even more; these moments of revelation prove to be effective in raising your spirits. To contrast that orange color reflected onto the heat-tinted city, she wears a gentle shirt of delicious damson that makes her look alienated on the streets full of roller bladers. It leaves to little surprise why Alita connects easily with a dog, a bond that later breaks your heart.
Too bad though that Alita: Battle Angel remains at the end of the day another mere piece of white noise forgotten amongst the genuinely terrific motion pictures, those that social media users believe are worth speaking up to the Academy about, those that prove unity through a common passion. There’s nothing of significance this movie will do to the personal legacies on Robert Rodriguez or James Cameron beyond what they did in the past, it’s just filler to make time and money for greater projects… such as those numerous Avatar sequels. While we can allow the cinema arts to grow year after year, sadly not every movie can be saved from mediocrity.
If there is a specific movie you’d like to see graded, or if you are interested in guest blogging for my site, please email me at Trevor@TrevorsViewOnHollywood.com for your recommendations.
Have a great weekend, and happy watching!
Alita: Battle Angel. Twentieth Century Fox Film Corporation. Web. <https://www.foxmovies.com/movies/alita-battle-angel>.
Travers, Peter. “Rosa Salazar in Robert Rodriguez's 'Alita: Battle Angel.'.” Digital image. RollingStone. Twentieth Century Fox, 12 Feb 2019. Web. <https://www.rollingstone.com/movies/movie-reviews/alita-battle-angel-movie-review-793129/>.