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Ghost in the Shell | 2017 | PG-13 | - 4.7.4

ghost in the shell kid

SEX/NUDITY 4 - In many scenes, both close-ups and long shots, a female human-android hybrid appears in a tight, opaque, flesh-colored body suit that is her cybernetic body; it shows buttocks and features transparent covers over the material at the breasts, emphasizing curves creating an illusion of nudity, but no nipples or genitals are exposed or outlined. A female human-android hybrid removes a wet suit and we see lifelike skin on her shoulders, back, and the side of one breast. A female human-android hybrid's legs and thighs are covered in thin tights and are exposed in the slits in a long coat. ►  A club scene features large hologram boxes in which women in android body suits writhe and dance (we see body outlines and the curves of breasts and buttocks); one hologram box shows two shirtless men wrestling, exposing bare backs and thighs in long shorts. A man in a washroom at a urinal that is below the screen looks at the person beside him, who turns, and we see a male android wearing female attire, reaching below the frame and shaking something (we do not hear urination or see flesh). ►  A 40-foot hologram woman wearing a blue bikini lifts a barbell as we see cleavage and midriff. A desk figurine of a nude android woman is seen from the back, with bare buttocks and thighs shown. A nude, genderless android lies in a glass case and the "skin" on thighs and legs is metallic silver; the rest of the body is covered in red artificial muscle. ►  A prostitute on a street corner wears a miniskirt that bares her legs to the tops of the thighs; an android woman takes her home, where we see the prostitute wearing a tank top (we see the outlines of nipples briefly), and her thigh-high hose ends at the top of her thighs, where the skirt is pulled up. ►  A human-android man removes a hooded coat to show a metallic patched-together upper body covered with plates of silver, copper, and gold, with what looks like human skin on one shoulder. Several men are shown shirtless as they sit on the floor of a warehouse. A man lifts his shirt to show a large Y incision on his stomach.

VIOLENCE/GORE 7 - A man rips the eye panel off an android and strangles her as she screams and the scene ends. In an interrogation room, a man with a scarred forehead is tethered to the ceiling by a cable and tied to the floor with a strap; he shouts and cries, then takes on another personality and says that he has been born many times, and then jumps, bends his knees, and hangs himself. A man visits a businessman, tells him that he is being charged with several murders and other crimes, and shoots the criminal in the chest (we see bloody bullet wounds); the criminal crumples and rises again and the other man shoots him in the abdomen twice (we see two bloody holes as the man falls backward into a lily pool, presumably dead). ►  A human-android hybrid woman and a human-android man enter a small brick building and a bomb explodes into flames that fill the screen, throwing them through the air and toward the camera; a second man uses a remote control to activate a large jeep that looks like six legs on a spider a body that has two glowing red lights like eyes, above two machine gun barrels on the body and the jeep fires at the man on the ground, missing, and then extends a robotic arm and grabs him by the face, lifting him off the ground; the woman climbs on a stone bridge that crumbles when the jeep fires at it and she jumps and lands on the jeep, pounding and pulling the top hatch open until the artificial skin on her arms breaks open (we see synthetic muscle-like electronics); she destroys the jeep with a grenade and she lands on the ground, missing ¾ of one arm (red cables hang out), her leg is burned, as is the center of her body and other arm; the human-android hybrid man crawls next to her and we see both lower legs gone, cables exposed and his upper arms and face are charred and he dies. ►  A blurry image shows a body on a gurney, medics wearing rubber suits beside it and a close-up of undulating light-emitting cables shows them reaching up through liquid to attach it to a human brain; the cables flesh out to become a cybernetic female body of red muscle-like electronics and the featureless body floats through light, breaks the surface of the liquid, and we see a face, hand, and arm becoming covered in white plastic. ►  A woman dives backward off a skyscraper and becomes invisible and then appears in a geisha house and shoots an android in the face (it falls on its back, its face plates open to show electronic parts) while other geisha robots shoot and kill four men without blood flow (the robots have white geisha face paint over faces that are made of seamed metal plates); four masked men enter and shoot other men, a geisha robot runs a cable that is her tongue into the back of a man's head and kills him and then carries him away as she crab-walks backwards (like a spider) and a woman kicks and shoots and kills four men (we see no blood); a woman looks at her forearm and sees a black burn and an opening through which we see electrical cables. A hologram platform shows a blurry image of a dead man slumped over a table. ►  A garbage truck runs into a car, flipping it onto its hood as we hear crunching metal and breaking glass that leaves glass bits over the pavement; the truck driver approaches the car with an automatic rifle and threatens a woman who fell out of the car, while his partner shoots and kills the driver, who is upside down in the seat; another man and woman arrive and shoot one of the first shooters while the other shooter runs away and stands in shallow water in a street where the woman, invisible except for a faint partial outline, punches and kicks him several times as we watch him being thrown here and there and then fall; she then picks him up and slams him into the water until a soldier stops her and drags the man away. A soldier shoots and kills three men in a hallway, without blood showing, and an android man fires two automatic pistols at the soldier, missing. ►  A woman sees a hologram of a burning building, shoots at it and it crumbles while elsewhere we hear a beep and a huge explosion with flames that blind a soldier; the camera cuts to him at a clinic, where he has received artificial eyes -- like small binocular lenses -- and when he looks at a woman he sees her skeleton. ►  Anti-terror fighters open a warehouse with a grenade (we see the light flash and hear only a muffled explosion) and the team finds men attached to face masks connected to cables; the team shoots several men, one of whom falls dead into his soup bowl and a short fistfight occurs in a dark hall and we hear more gunshots off-screen. A man pokes a woman in the buttocks with an electric prod five times, making her shout in pain; she swings around a pole, kicking three other men in the face, kicks two more men, and a soldier enters and shoots all five men dead, without blood showing. A fight with electric prods occurs in a completely dark room and we see and hear sparks and see a woman's grimacing face once. ►  A man shoots through a glass wall at a woman, cracking and breaking the glass loudly and killing the woman, who slumps to the floor with two bloody holes in her chest. Four men shoot at a man in his car and he exits the car unharmed and shoots the men (we see no blood). A man shoots and kills three other men in a restaurant (we see no blood). ►  A human-android hybrid woman lies on a table with a cable in the back of her head, allowing her mind to enter the electronics of an inactive android; the woman sees herself floating down to the bottom of a vat of liquid and enter the android, and blurry images of men and women crumble to ash and she sees a man cloaked completely in a hooded coat as hundreds of metal heads, shoulders and arms attack her like bugs; the camera cuts to the table, where the woman convulses and the scene ends. A white cover is pulled back from a human-android's face and she coughs and gags as she shouts, "I can't feel my body" and begins to convulse; men and women hold her down and the scene ends. We see blurry images of two people chained to hospital beds, looking like they are shouting; sounds are distant and muddled. A man gives a woman a large vial of liquid and tells her to kill a human-android hybrid woman with it; the first woman injects liquid into the port on the back of a human-android hybrid woman, who says, "You're killing me." A human-android woman stands on a high rooftop where she falls backward, waves a hand and becomes invisible. ►  A human-android hybrid woman is suspended a foot above a floor by a gripping device around her head and temples while a man speaking in a stilted robot voice explains that scientists tried to combine a human brain with an android body many times before they built her and that he is one of the failures, limping, and finding it hard to speak; he says the scientists dissected his body while he was alive and threw everything away except the brain and that he says he will kill them in self-defense; he hugs her, releases her and she shoots him with a handgun to no effect, except a hole in the throat area (we see some exposed cables). ►  A human-android hybrid woman lies on a gurney as a machine (resembles a sewing machine) works over her electronic forearm, covering it with artificial skin. A machine works over a damaged human-android hybrid repairing her body and arms, covering red electronic parts that look like muscles with white skin from upper chest to lower stomach. A human-android hybrid plugs a long cable into the back of her head to recharge. We see several people with cybernetic parts: A few men and a woman have cables of LED lights flowing into their heads as enhanced hearing; a few men have one cyborg-type arm. A shirtless man displays scars on his shoulders from fights. Several monks meditate with cables from a ceiling stuck into the backs of their heads. Three transparent bags hanging from a ceiling contain dirt and dead men. 20-foot tall guards are shown with large automatic rifles. ►  A human-android hybrid woman startles a human woman at home and questions her about human experiments; we hear that the woman fed false memories to the first woman's brain and that her parents really did not die. A woman's mother says that the government told her that her daughter took her own life. A woman says about a killer, "I will kill him." We hear that doctors and business people have developed a way to join the human brain with a cybernetic body, after failing 98 times that ended in the death of humans. A doctor says that the brain contains a soul and is still a person. A woman says to a human-android hybrid, "You are what everyone will become one day." Two men argue loudly, shouting. ►  A human-android woman speeds to a dark alley on a motorcycle after dragging the owner by the wrist and dropping him by the side of the road in a long shot. A human-android woman has a vision of people being dragged from a building and beaten with clubs by soldiers. A woman visits her own tombstone in a high-rise cemetery. A woman swims underwater among several jellyfish, which are transparent.

LANGUAGE 4 - 1 obscene hand gesture, 3 scatological terms, 1 mild obscenity, name-calling (company man, violent, unstable), 2 religious exclamations (Oh God, she's a miracle).

SUBSTANCE USE - A human-android hybrid injects yellow memory blocker into two ports on the back of her head on several occasions. Saki bottles are shown in front of men in a restaurant, a man drinks from a can of beer in a few scenes, and a man in a bar picks up a bottle of unknown substance and breaks it on the floor below the frame. A man smokes a hookah and another man holds an unlit cigar, a woman lights and smokes two cigarettes in a laboratory, and an ash tray is filled with cigarette butts.

DISCUSSION TOPICS - Human-robotics hybrids, human experimentation, human rights, murder, greed, power, memories, loss, grief, courage, sacrifice, having a mission, trust, justice, finding missing family.

MESSAGE - Projects in the near future to combine human brains with cybernetic bodies may lead to disaster.

ghost in the shell kid

Be aware that while we do our best to avoid spoilers it is impossible to disguise all details and some may reveal crucial plot elements.

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ghost in the shell kid

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THE ASSIGNED NUMBERS Unlike the MPAA we do not assign one inscrutable rating based on age but 3 objective ratings for SEX/NUDITY , VIOLENCE/GORE & LANGUAGE on a scale of 0 to 10, from lowest to highest depending on quantity & context | more |


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Ghost in the Shell Wiki

Motoko Kusanagi

  • View history

Kusanagi's various incarnations in the manga, movies, and TV series all portray her differently. Since each of these has an independent storyline, Kusanagi's physical and mental characteristics have been modified in different ways.

  • 1 The manga
  • 2.1 Ghost In The Shell
  • 2.2 Ghost In The Shell 2: Innocence
  • 3.1 Stand Alone Complex
  • 3.2 2nd GIG
  • 3.3 Solid State Society
  • 3.4 SAC_2045
  • 5 Ghost in the Shell (2017)
  • 6 Etymology
  • 9 References

The manga [ ]

Motoko sunglasses

Kusanagi in the manga

On assignment, Motoko has a commanding presence, but also trades insults with her troops, like calls Aramaki "Ape Face" as well as other members in Public Security Section 9, or when the Puppetmaster reveals the "Motokos" that exist in the minds of those who know her, Aramaki's "Motoko" is sticking her tongue out. She also smiles frequently, and gives the "V" for victory to her boyfriend. She does, however, discuss seriously whether she is a "real" person with her girlfriend. However, she assumes a "horror movie"-style pose, and they both laugh at the end.

In the sequel, a person known as Motoko Aramaki appears. She identifies herself as containing "Motoko Kusanagi" elements, along with Project 2501, the Puppetmaster. She is also identified as "Motoko 11". It is possible she is one of the "children" Motoko talked of creating along with her opponents.

She has a much more slapstick, vivacious, and sexy personality. She participates in a lesbian sex splash panel and has a boyfriend. The in-universe explanation for the lesbian sex panel seems to be that cyborgs of the same gender are especially compatible. This splash panel is apparently a "side business" for Motoko, as stated by Masamune in the back of the manga collection.

Apparently, "e-sex" (as depicted in the splash panel) is a lucrative but illegal act. This is because it ties together the users' nervous systems to allow shared simultaneous sensations; such intimate connections have the potential for serious complications, as illustrated by the accidental arrival of Batou.

Motoko's body is one of the most advanced models on the market, possessing 16²/cm² skin tactile elements, meaning she has a greatly heightened sense of touch. These nerves render her e-sex acts especially pleasurable; therefore, she makes a good profit from these activities.

Heterosexual e-sex is especially illegal, because such acts entail immense pain, caused by the fact that nerves stimulated by one user are stimulated simultaneously and blindly in another user. Homosexual e-sex is safe because the participants have the same body parts being stimulated (in Motoko's three-way panel, the fondling of a breast). When Batou accidentally crashes Motoko's panel while trying to contact her, he experiences intense pain since he is receiving stimulation for organs and bodily parts which he does not possess.

Whatever the technical rationale for all this, Shirow said in his poster-book, Intron Depot 1, that "I drew an all-girl orgy because I didn't want to draw some guy's butt."

This panel was cut from the original American release of the manga, as it would have entailed giving the book an "adults only" rating. Ultimately, Shirow decided it wasn't important to the plot. In the second edition, released on November 17, 2004, the scene is completely unedited.

Another fact about her sexuality is that she has a boyfriend during a latter story in the manga. He works for Section One, and they have been dating for seven months. Batou considers this "a new record."

The original films [ ]

Motoko Kusanagi's character is distinctly different in the movies because Ghost in the Shell (1995) and Ghost in the Shell 2: Innocence both follow one continuous time-line that is separate from the anime series as well as the original manga from which it is derived.

Ghost In The Shell [ ]


Kusanagi in the Oshii films

Kusanagi is the main protagonist in the movie Ghost in the Shell , where she is Aramaki's second in command in Section 9. She is a very effective leader and is able to use her wits and cybernetic body in bringing criminals to justice. However, despite the number of cyborgs in Section 9, Kusanagi hand-picks Togusa, who has undergone only minimal brain modification, to balance the roster, an interesting expression of her belief that homogeneity is a weakness and that versatility is a strength. Kusanagi is often contemplative and brooding, whilst her counterpart Batou is more extroverted and lively. She usually wields an M-23 submachine gun that, while fictional, bears a striking resemblance to a P90 - though with the magazine mounted vertically on the underside instead of horizontally as is the case with the P-90.

Since she has a full cybernetic body, she is not certain her ghost - her soul - retains any humanity. In fact, she speculates on the possibility that she's entirely synthetic, with artificially generated memories designed to fool her into thinking she was once human. She goes scuba diving for relaxation, although she is so heavy that she would sink like an anchor if any malfunction in her buoyancy devices were to occur. Her fatalistic attitude towards her diving thoroughly confounds Batou. Throughout the movie, she seeks to find answers to her questions and finally meets the Puppet Master, a rogue AI who became sentient and who is similar to her in its quest for existential meaning. By the end of the movie, Kusanagi and the Puppet Master merge to form a new entity that propagates itself artificially.

Ghost In The Shell 2: Innocence [ ]

In Innocence , the Major's first verifiable appearance occurs in Kim's manor, where she breaks into the hallway component of Kim's looping false memories and inserts herself (represented by the little girl prosthetic body Batou got her at the end of the first movie), a basset hound, and clues to alert Batou to a ghost-hack attempt on him and Togusa (their private code 2501 from the first movie is part of the clues). Later, the Major's ghost returns to help Batou on the Locus Solus' gynoid factory ship. However, only a fragment of her is downloaded as the host gynoid had insufficient memory. Her personality has not changed much from the first movie, except for gaining Project 2501's master-hacking skills. Her mind now operates from a satellite, and is even further detached from humanity.

While her actual appearance is mainly a cameo, she is ever present, and retains her fondness for philosophical musings, saying such things like "We weep for a bird's cry, but not for a fish's blood. Blessed are those with a voice. If the dolls could speak, no doubt they would scream 'I didn't want to become human.'" Before departing, she tells a despondent Batou, who realizes she is going to leave him again, that whenever he connects to the net, "I will be right beside you."

There is, however, a sequence early on in a convenience store in which a voice resembling the Major's voice can be heard warning Batou that he is in danger. Whether the warning genuinely came from her, or was part of the hack attempt, or was perhaps simply a thought of Batou's, is unknown. If it is genuine, it would predate the appearance in the major sequence as the first appearance, but if it is false, then it was simply part of the hack attempt.

The Stand Alone Complex series [ ]

The Major retains much of her personality and spunk from the manga in the anime series Ghost in the Shell: Stand Alone Complex and its followups Ghost in the Shell: S.A.C. 2nd GIG and Ghost in the Shell: SAC_2045 , although she isn't disrespectful toward the Chief like she is in the manga.

Stand Alone Complex [ ]

Major Motoko Kusanagi's formal introduction in the first season comes during the first episode, when Section 9 is called in to resolve a hostage situation at a Geisha house. Throughout the series, The Major maintains her signature commanding presence and authority. Unlike other members of Section 9, The Major could best be described as a lone wolf, relying very little on outside help to accomplish her goals. Among the various members of Section 9, Kusanagi is usually the one Chief Aramaki singles out to accompany him on official and off the record business.

About half-way through the first season, Kusanagi starts having reservations about the use of the Tachikoma sentient tanks, which have begun showing signs of individuality and curiosity not befitting their use as combat weapons. When Batou's Tachikoma escapes Section 9's Tachikoma storage facility and proceeds to go on an unauthorized joy ride through the city and spends the day with a young girl looking for a lost dog, Kusanagi begins to seriously contemplate having them returned to the lab. This feeling is further increased when the tank that was supposed to be watching her back wanders off. Ultimately, she decides to have them stripped of the weaponry and sent back to the lab that manufactured them for analysis and further work.

During the last of the episodes of the first season Kusanagi, like the rest of the members of Section 9, becomes a target of Narcotic Suppression Squad (NSS) agents and the Japanese Maritime Self-Defense Forces (JMSDF) after discovering the truth behind the Laughing Man scandal. She is first targeted by the JMSDF, who damage her prosthetic body, forcing Kusanagi to seek much needed repairs. During her prosthetic body swap, an NSS agent attempts to kill Kusanagi, but fails after the real Laughing Man saves her. After Section 9 is disbanded, its various members are captured by shock troopers of the Umibozu (an unofficial JMSDF special forces unit adept at paramilitary operations) until only Batou and Kusanagi are left. It was only after the three remaining Tachikoma's sacrificed themselves to save Batou that she realises that their individuality made them better weapons. She even speculated that they might have gained ghosts becoming truly alive. As Batou and Kusanagi attempt to leave the city, Umibozu commandos ambush and subsequently arrest Batou, and supposedly assassinate Kusanagi.

After Section 9's fall, Togusa sets out to assassinate the man responsible for its dissolution when he is intercepted by Batou, who brings him back to the team's new headquarters. Here, all members of Section 9 — including Kusanagi — are revealed to be alive and in good health, and the first season concludes with the reinstatement of Section 9.

As in the manga, Kusanagi maintains her unique dress, wearing thigh-length boots, a strapless leotard with no trousers, and a leather jacket, as except in cases where this is inappropriate; during such times she will usually appear either in a tan military officer's uniform with markings that denote her rank as a Major , or in a black and grey tight-fitting combat suit that the team uses on its raids and other paramilitary operations (see picture on the left). In rare cases, Motoko will adopt other styles of dress appropriate to her surroundings, such as a London police officer and a garbage lady. She maintains a dim view of sexism in all forms and methods; even going so far as to empathize with sex robots.

Kusanagi's personal life is not alluded to much in the first season, although the events of the episode "Missing Hearts" suggest that she underwent cyberization at a very early age (approximately age 9), and that she had trouble adapting to the use of the body which resulted in her inadvertently breaking one of her favorite dolls and crying at the same time (which we rarely see - her eyes aren't shedding tears to say the least). Based on the episodes "Decoy" and "Missing Hearts," some people have suggested that Kusanagi may be a lesbian, although a more probable alternative is that such scenes are the result of abnormally high compatibility with cybernetic devices in cyborgs of the same sex. Most fans lean more toward her being bisexual, citing her boyfriend (in the first manga), and (although rarely) she has opened up to Batou, particularly in the episode "Barrage," where The Major brings Batou back to her safe house to hide from the JMSDF and the Niihama City police. The two share a moment of closeness that hints they would like to go further, but don't. The next day as they attempt to flee the city at the airport, Batou notices the laser dot of a sniper rifle aimed at Kusanagi's head. Calling out to warn her, Batou calls her by her first name, Motoko, instead of "Major," before she is decapitated and killed (This indicates that he may have more personal feelings for her than he had ever let on before).

2nd GIG [ ]


Kusanagi in a promotional photo for S.A.C. 2nd GIG

The second season begins much like the first, with a hostage situation and Section 9 (unofficially) on the scene. After receiving the permission of Prime Minister Kayabuki , Kusanagi orders Section 9 in to resolve the conflict. The scene climaxes with a shot right out of the original film. In accordance with the deal Prime Minister Kayabuki made with Aramaki before the raid, Kayabuki fully reinstates Section 9 for their success in resolving the situation without losing any of the hostages. In a surprising move, Kusanagi reverses her earlier position on the Tachikoma mini tanks and reinstates them as members of Section 9. This may be due in part to the heroic sacrifice of three of these units to save Batou at the end of the first season. The Tachikomas clearly retain their old impishness, as one plays a 'gotcha' prank on Batou, who had a real soft spot for the blue tanks, when it pretends to be like a normal unsentient robot, using a monotone robotic voice, and laughing when he sees the saddened look on Batou's face.

About a third of the way into the second season, Kusanagi — fed up with the way Section 9 is being used by Kazundo Gouda and his Cabinet Intelligence Service — undertakes a risky sorté to infiltrate the CIS’s computer database. With the aid of the Tachikomas in their new net agent forms, the Major gains access to the central CIS database and learns that the CIS is behind a recent series of terrorist events in Japan, and also confirms that Section 9 is being manipulated in an effort to sway public opinion against the growing refugee population in Japan. This information, along with the other events in the series, leads Kusanagi to suspect that Gouda is attempting to overthrow the Japanese government, or at the very least, shake it up in such a way as to advance his position in it.

Shortly after Kusanagi’s infiltration of the CIS database, the Individual Eleven , a terrorist organization responsible for a violent string of attacks on unsuspecting Japanese citizens and vital government interests, surfaces in Nagasaki. The group makes one short speech atop a skyscraper before committing mass suicide by mutual decapitation with katanas. Aramaki, acting on his suspicion that Gouda had something to do with it, orders Section 9 to launch a full-scale investigation into Gouda in an effort to tie him to the Individual Eleven. The investigation comes to a head when a nuclear bomb is discovered in Nagasaki; Kusanagi, with the aid of other section 9 members, secures the plutonium from the atomic bomb in an effort to tie it to a CIS- run nuclear reactor excavation project, thereby linking Gouda to the nuclear bomb and the Individual Eleven incidents.

During Section 9’s transportation of the plutonium to the SPring-8 synchrotron radiation facility for analysis, the Japanese Self Defense Army and Japanese Maritime Self Defense Force are officially ordered to mobilize and head for Dejima island, where the refugees have declared their independence. In a last ditch effort to prevent the oncoming civil war, Prime Minister Kayabuki publicly announces plans for intervention by the United Nations. Concurrent with this announcement, Aramaki orders Kusanagi to infiltrate Dejima Island and capture Hideo Kuze , leader of the refugee insurgency, hoping that handing both him and the plutonium over to the UN inspectors will defuse the refugee situation. Shortly after this announcement, all communication in the Nagasaki area is disabled, preventing the team and Aramaki from communicating with each other. Kusanagi, realising the seriousness of the situation, assumes command of all Section 9 members — including the Tachikomas — for the upcoming Dejima operation. Upon arriving in Dejima the Major and her team mates become separated after a JMSDF helicopter attack, leaving Kusanagi to pursue Kuze by herself. She succeeds in finding and capturing him, but both Kuze and Kusanagi become trapped in a warehouse after a missile strike- it is during this that both become aware of who the other is, and their hidden history together. Both were rescued by Batou, and were evacuated from Dejima by helicopter.

As Section 9 regroups from the Dejima operation, Kusanagi and Batou receive word that Gouda intends to defect to the American Empire. Kusanagi, angered by the needless loss of life on Dejima and the Tachikoma tanks as a result of the conflict, manages to gain access to the elevator Gouda intends to use to reach the ground floor. When the door opens at the top floor, she fires several rounds of her machine gun into Gouda, killing him instantly; however, she failed to stop the assassination of Kuze at the hands of an American Empire assassin.

In episode 11 of the second season , we learn that Kusanagi underwent full cyberization due to severe injuries she suffered after a plane crash when she was just six years old. Only she and a young boy survived. She was in a coma until it became apparent that she would die without undergoing cyberization. (Both of the children's parents died in the crash.) The boy had lost the use of much of his body except for his left hand, which he used to make origami cranes non-stop. Two years later, the young Kusanagi was brought to see him after receiving her first artificial body to encourage the boy to undergo cyberization. However, the boy, not recognizing her as the same girl who had survived with him, rejected it because he wanted to continue to make paper cranes, and Motoko was unable to do so due to difficulty operating her cyborg body until later in her life. She left him to make paper cranes, saying, "This time I'll practice making paper cranes for you, okay?". But eventually, he relented, and underwent cyberization, later becoming Hideo Kuze .

Season two also serves as a revamp for Kusanagi's attire. She wears the form-fitting black and gray combat uniform much more often, and for street clothing, she wears low-ride blue jeans over a long sleeve leotard. Some fans have also noticed that the Major's bust has been somewhat enhanced with this season. At the end of the 2nd GiG, the major wore instead a gray vest as opposed to the white of her teammates. She is also shown sporting a dark dress with an attached skirt that is considerably more revealing than some of her other outfits.

Solid State Society [ ]

Sac_2045 [ ], ghost in the shell (2017) [ ].

In the 2017 live-action film, Major initially appears as Mira Killian , supposedly the sole survivor of a terrorist attack on a boatload of refugees. Eventually, she learns that her true identity is that of an anti-corporate activist abducted by Hanka Robotics and experimented on. The company altered her genetic makeup to make her appear as a Caucasian woman and implanted false memories to make her loyal. Among the 98 test subjects of the "Project 2571" which successfully melded Kusanagi's brain and Major's body was her former companion Hideo Kuze , who managed to restore Kusanagi's original memories before his death.

Etymology [ ]

  • The name Motoko means "elementary, principle, naked, uncovered" (素) ( moto ) and "child" (子) ( ko ).
  • Motoko's surname Kusanagi means "grass, herb, weed" (草) ( kusa ) and "mow" (薙) ( nagi ). Kusanagi-no-Tsurugi (草薙の剣) is a legendary Japanese sword and one of three Imperial Regalia of Japan.
  • Trish from Devil May Cry
  • Bayonetta from Bayonetta
  • Motoko's outfits from various Ghost in The Shell series are used in the live action movie.
  • The Major's name is misspelled as Mokoto in the character dossier in the special features of the Ghost In the Shell Special Edition DVD

Gallery [ ]

Shirow Masamune Illustration for Ghost in the Shell (video game)

References [ ]

This article contains information from some of the following sources:

  • Ghost in the Shell (manga)
  • Ghost in the Shell 1.5: Human Error Processor (manga)
  • Ghost in the Shell 2: Man/Machine Interface (manga)
  • Ghost in the Shell (anime)
  • Ghost in the Shell 2: Innocence (anime)
  • Ghost in the Shell: Stand Alone Complex (anime)
  • Ghost in the Shell: S.A.C 2nd GIG (anime)
  • Ghost in the Shell: S.A.C. Solid State Society (anime)
  • Ghost in the Shell: White Maze (novel)
  • Ghost in the Shell: Revenge of the Cold Machines (novel)
  • Ghost in the Shell: The Lost Memory (novel)
  • Ghost in the Shell: After the Long Goodbye (novel)
  • 1 Motoko Kusanagi
  • 2 Laughing Man
  • 3 Public Security Section 9 (organization)

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Ghost in the Shell

Ghost in the Shell

  • A cyborg policewoman and her partner hunt a mysterious and powerful hacker called the Puppet Master.
  • It is the year 2029. Technology has advanced so far that cyborgs are commonplace. In addition, human brains can connect to the internet directly. Major Motoko Kusanagi is an officer in Section 9, an elite, secretive police division that deals with special operations, including counter terrorism and cyber crime. She is currently on the trail of the Puppet Master, a cyber criminal who hacks into the brains of cyborgs in order to obtain information and to commit other crimes. — grantss
  • The year is 2029. The world has become intensively information oriented and humans are well-connected to the network. Crime has developed into a sophisticated stage by hacking into the interactive network. To prevent this, Section 9 is formed. These are cyborgs with incredible strengths and abilities that can access any network on Earth. — L.H. Wong <[email protected]>
  • A police bulletin reports a 208 is in progress in the C13 area of New Port City. A figure studies a night-scope green image of men talking about programming bugs and Project 2501. A voice reports Section 6 is ready to move in. Major Motoko Kusanagi disconnects wires from the back of her neck and stands up, takes off her overcoat. She does a back layout fall from the top of a tall building. A group of armed and helmeted police enter a building. Inside a room four men are surprised that the police have arrived and two draw their weapons and go to the door to start firing. The older man of the group tells the others to stop shooting and as the police storm the room he claims diplomatic immunity. Nakamura, the head of Section 6 enters to say that taking a programmer out of the country is an offense. However, the young programmer has signed a request for asylum. Suddenly a voice speaks out and assaults the foreigner, an invisible attacker rips the man apart. The police fire at the windows, Nakamura goes to a smashed window to see Major Kusanagi falling and becoming invisible as her thermoptic camoflage turns on again. Title sequence begins showing a cyborg female body undergoing a genesis. Major Kusanagi ascends from a pool of liquid. She awakens from sleep in a dark room, looks pensively out the window then gets dressed in a combat suit and leaves her apartment. A VTOL twin-rotor craft lands on the roof of a tall building. The Japanese Foreign Minister leaves the aircraft and begins talking to the waiting Aramaki, the head of Section 9. They discuss a secret meeting with the Gavel Republic planned for the next day. Gavel has a new revolutionary government and the leader of the old ruling junta is seeking asylum in Japan. The Foreign Minister admits he'd like to deport Col. Maless if he had a good political excuse. He also thanks Section 9 for helping with the programmer defection, as this way the diplomatic corps was able to keep their hands clean. In a lab a group of red-suited techs and Major Kusanagi are studying an unconscious woman, trying to access her brain. She is the Foreign Minister's Interpreter, and has been cyber-brain hacked since 23 minutes earlier while on the phone. Aramaki suggests someone called the Puppetmaster is trying to disrupt the talks with Gavel by turning her into an assassin. Batou and Ishikawa are in a car tracing the signal, the Major goes to rendezvous with them. In their van, the Major dresses in armour as Togusa drives, they discuss the Puppetmaster. He is believed to be an American but nothing else is known about him. He has been active around the world conducting cyber terrorism and ghost-hacking people's brains. This is the first time he has appeared in Japan. They consider it may all be disinformation, then the Major chides Togusa for still using an old style handgun, as she loads and locks a large automatic rifle. Togusa is curious on why he was recruited into Section 9, the Major replies it is because he is still mainly human and so can be an unpredictable non-specialized asset on the team. On an inner city street two garbage collectors are at work. One urges the other to hurry up as the partner is busy at a public access computer terminal. The computer user explains a guy in a bar gave him some software so he could ghost hack his estranged wife. As they drive off Batou and Ishikawa arrive in a hurry and realize they just missed their target, yet again. They talk to a local and begin to suspect the garbagemen. Kusanagi plugs into the net and with Section 9 HQ quickly determines the trash route coincides with hacking locations. She takes over driving the van and issues orders to Batou and Ishikawa. The garbagemen are alerted the police are investigating and the hacker husband decides to go to his programmer friend. Togusa and the Major get close. The vehicles arrive together near a man wearing sunglasses at another 'net station. He fires a submachine gun and takes out the Section 9 van. The Major and Togusa scramble out of the wreck as the shooter continues to riddle the van with armour piercing shells. Batou arrives on the scene and the shooter cloaks himself with thermoptic camoflage and tries to escape. Batou notices the blurry camo and fires back. The Major goes to the rooftops to scan. The man enters a crowded street market area. A wild gunfight continues as Batou gives chase. The Major tries also but the man seems to escape and stands in a shallow waterfront. An invisible Major Kusanagi proceeds to kick the man senseless. On questioning Batou and the Major realize the man was also a hacked puppet. Outside a large estate house Aramaki and Section 9 prepare to assault. A helicopter lands on the lawn and a man they believe to be the Puppetmaster disembarks. Further questioning of the garbageman reveals he has been hacked also and given false family memories. Major Kusanagi floats from the depths of the harbour. Batou greets her onboard a boat and asks why she dives. They drink beer and reflect on being high maintenance supercyborgs. The Major speaks briefly in a different voice. In a grimy cityscape the Major rides a water ferry and gazes at the city around her. A sad eyed beagle stares back. On a roadway at night a blonde woman is hit by a car. In the Section 9 lab she is a cyborg wired up and is electro-shocked. She had been built two hours earlier at Megatech and escaped. The body has no organic brain but does have semblance of a ghost. The Major decides to dive into the brain to investigate and pauses to reflect on her own existence. Nakamura from Section 6 Treaties Section of the MFA arrives with an associate. Nakamura shows a card signed by the Foreign Minister and demands the cyborg body. In the parking garage Togusa is suspicious and checks the video of the Section 6 arrival. He reports the men may have come in with thermoptic camoflaged cyborgs. In the lab Aramaki and Nakamura view the partially dissembled torso of the mystery cyborg. The other Section 6 man, Dr. Willis, starts keyboarding and confirms the the cyborg is the Puppetmaster. Section 6 has also been chasing him and they lured him into the cyborg body. The torso comes alive and states it's name is Project 2501, a self aware computer program and requests political asylum. The camoflaged Section 6 cyborgs attack and grab the torso. Before driving away Togusa manages to hit the car with a tracking device bullet. Aramaki authorizes Section 9 to retake Project 2501, but to destroy it if they can't recover it. Meanwhile Ishikawa reports on his investigation. Dr. Willis and the defecting programmer from earlier developed Project 2501 for Japanese Foreign Ministry diplomatic dirty tricks, but somehow they lost control of it. Section 6 is trying to cover it all up. Out in the city Batou realizes there is a decoy car, The cars split up. The one Batou is chasing hits a roadblock and the two men inside are killed by sniper fire. Kusanagi in a helicopter overlooks the other car. She rappels down with her warbag then realizes the car is protected by a large cloaked walking tank. The Major loads up with heavy ammo as Batou rushes to help. After a hot and heavy firefight The Major gets on top of the tank and tries to lift the hatch. Her arms tear off and the tank grappels her head and shakes her like a doll. Batou arrives with an anti-tank weapon and takes out the armoured vehicle. He takes the Project 2501 torso from the car and places it beside the wounded Motoko. In the skies above two Section 6 helos observe and prepare. Batou wires up the Major to the torso. Project 2501 speaks through the Major and explains himself. He states he learned of Section 9 on the 'net and planned this joining up. Project 2501 wants to experience real life and death and proposes a merger with the Major. Batou is unable to disconnect the wires as the Section 6 targeting lasers rove over the female bodies. Section 6 is hacked to give the merger more time. As the Major sees the light the blond torso is destroyed with a headshot. Batou manages to partially cover the Major's face with his arm as another Section 6 shot seems to destroy Kusanagi. In an apartment a young girl with blank eyes sits in a armchair. The girl stirs and is greeted by Batou, it is Kusanagi in the only body Batou could find. 20 hours have passed since the shooting, the Foreign Minister has resigned but the incident will be covered up. The girl gets up to leave and tells Batou she is neither the Puppetmaster nor Major Kusanagi, rather a new being. The newborn states "the 'net is vast and infinite" as she leaves the safe house.

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“Ghost in the Shell” is full of dazzling images that suggest a rich, profound narrative the film is never able to achieve. A young woman brutally rips the hatch off a tank. Her skin and bones crack, revealing mechanical sinew underneath her human exterior. Holographic advertisements the size of skyscrapers glitter across the city’s landscape. Surgeons wear uniforms the color of fresh blood. A robot fashioned in the form of a geisha bends her appendages, crawling up the wall like a frightened spider. These visual delights may provoke momentary awe but they have little impact.

Director Rupert Sanders and his collaborators aren’t married to recreating the influential manga or its 1995 anime adaptation wholesale. This isn’t inherently a problem. But how they choose to change this material is. They take the basic skeleton of the story and some its tantalizing imagery, but strip them of their power.

“Ghost in the Shell” takes place in a future in which cybernetic enhancement isn’t just routine but expected. 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. The latter is the case for Major Mira ( Scarlett Johansson ). 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. As characters repeat ad nauseam, she’s the first of her kind. The Major, as she’s routinely referred to, is the perfect blend of the organic and the synthetic, man and machine. She has the mind and soul (or “ghost”) of a human woman coupled with the astounding advantages of a machine form. 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 ). But there’s something amiss beyond the Major’s poor understanding of her own humanity and place in the world. She’s having “glitches,” visual and auditory hallucinations, with increasing regularity, suggesting that her superiors are lying to her. 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.

“Ghost in the Shell” jettisons the complex preoccupations of the source material in order to traffic in a distinctly American story about heroic individualism. There’s also an interest in exploring corporate resistance, which is a bit hypocritical considering the behemoth behind this film, and that the narrative rests these problems on individuals rather than dissecting the systematic forces that make their actions possible. For this approach to the material to work, the characters and the world they inhabit need to feel distinct. Unfortunately, one of the most damning faults of this adaptation is that its world building, while having the appearance of intricacy, proves to be as hollow as the rest of the film upon closer examination.

The visual landscape of “Ghost in the Shell” suggests a host of fascinating questions. What does the chance of being hacked suggest about the quicksilver nature of identity in this world? If you don’t have cybernetic upgrades what does that mean for your life personally and professionally? The team members of Section 9 seem to be diverse—has technology affected the way people relate to their own race and gender? Unfortunately, these questions are only momentarily considered or blithely ignored in order to reiterate just how special the Major is, in case you forgot from the twenty other times characters mention it.

This lack of detailing extends to the characters themselves. The Major spends a considerable amount of time with her Section 9 teammates but I honestly couldn’t name one single personality trait for any of them beyond being dedicated to their work. The only one who gets enough focus to rise above being completely forgettable is Batou ( Pilou Asbæk ). He has a comfortable rapport with the Major that causes her to crack a smile and some occasional jokes, suggesting she has more humanity than she gives herself credit for. As Dr. Ouelet, the Major’s chief creator, Juliette Binoche imbues a warmth and nearly neurotic sense of overprotection that suggests an interesting mother/daughter dynamic. This isn’t enough. The lightning pace of the film means that just when a scene is about to touch a nerve it moves on to the next. The score buzzes and swells with intrigue that the action on-screen doesn’t communicate. Typically, a strong lead performance can make even the most cumbersome film have charm and merit, but Johansson struggles to create a meaningful emotional through line for the Major.

In recent years, Johansson has proven to be a mesmerizing actress who brings an intelligence and fearsome quality to her work. “Ghost in the Shell” is a continuation of the roles she’s excelled at playing in “ Under the Skin ,” “ Her ,” and various turns as super-spy Black Widow in Marvel’s Cinematic Universe. It marries her impressive physicality as an action star, emotional vulnerability, and steely determinism. Yet, even she isn’t skilled enough to imbue the Major with the depth necessary for her arc to feel moving and profound. She also can’t sell me on the ridiculous philosophy the film peddles about how memories are inconsequential to human identity; apparently, only our actions matter.

All these issues—poorly thought out moral quandaries, surface level world building, scant character development—come to a head in the film’s queasy racial politics. A dark cloud has hung over “Ghost in the Shell” since Johansson’s casting was announced. The debate over whether her character, who in the source material had the name Motoko Kusanagi, should reflect the racial origins of the manga and subsequent anime films was intelligently explored in an essay for The Verge by Emily Yoshida . No matter where you come down in the debate over this, it becomes hard to ignore when you notice how the most important characters are white or that every time Aramaki speaks Japanese the Major only replies in English. “Ghost in the Shell” makes the troubling decision to use Japanese culture, visual flourishes, and source material but decides that a Japanese actress as the lead would be a step too far. At times, “Ghost in the Shell” is beautiful, even stunning. But these visual pleasures can’t mask the narrative emptiness. Never has there been a film so obsessed with the human soul that proves soulless itself. 

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Film credits.

Ghost in the Shell movie poster

Ghost in the Shell (2017)

Rated PG-13 for intense sequences of sci-fi violence, suggestive content and some disturbing images.

100 minutes

Scarlett Johansson as "Major" Motoko Kusanagi

Pilou Asbæk as Batou

Michael Pitt as The Laughing Man

Takeshi Kitano as Daisuke Aramaki

Juliette Binoche as Dr. Ouelet

Chin Han as Togusa

Lasarus Ratuere as Ishikawa

Tawanda Manyimo as Roma

Yutaka Izumihara as Saito

  • Rupert Sanders

Writer (based on the comic 'The Ghost in the Shell' by)

  • Masamune Shirow
  • William Wheeler


  • Lorne Balfe
  • Clint Mansell

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Ghost in the Shell

2017, Sci-fi/Action, 1h 47m

What to know

Critics Consensus

Ghost in the Shell boasts cool visuals and a compelling central performance from Scarlett Johansson, but the end result lacks the magic of the movie's classic source material. Read critic reviews

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In the near future, Major is the first of her kind: a human who is cyber-enhanced to be a perfect soldier devoted to stopping the world's most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people's minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major discovers that her life was stolen instead of saved. Now, she will stop at nothing to recover her past while punishing those who did this to her.

Rating: PG-13 (Some Disturbing Images|Intense Sci-Fi Violence|Suggestive Content)

Genre: Sci-fi, Action, Adventure

Original Language: English

Director: Rupert Sanders

Producer: Avi Arad , Ari Arad , Steven Paul , Michael Costigan

Writer: Jamie Moss , William Wheeler , Ehren Kruger

Release Date (Theaters): Mar 31, 2017  wide

Release Date (Streaming): Jul 7, 2018

Box Office (Gross USA): $40.5M

Runtime: 1h 47m

Distributor: Paramount Pictures

Production Co: Paramount Pictures, Reliance Entertainment, Crystal Sky Entertainment

Sound Mix: DTS, Dolby Digital, Dolby Atmos

Aspect Ratio: Flat (1.85:1)

Cast & Crew

Scarlett Johansson

Pilou Asbæk

Takeshi Kitano

Michael Pitt

Juliette Binoche

Danusia Samal

Peter Ferdinando

Kaori Momoi

Anamaria Marinca

Daniel Henshall

Lasarus Ratuere

Yutaka Izumihara

Tawanda Manyimo

Adwoa Aboah

Rupert Sanders


William Wheeler

Ehren Kruger

Steven Paul

Michael Costigan

Jeffrey Silver

Executive Producer

Tetsu Fujimura

Yoshinobu Noma

Mitsuhisa Ishikawa


Film Editing

Lorne Balfe

Original Music

Clint Mansell

Production Design

Kurt & Bart

Costume Design

News & Interviews for Ghost in the Shell

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Critic Reviews for Ghost in the Shell

Audience reviews for ghost in the shell.

The real life version of the classic anime film can rely on a pretty neat production design and decent enough effects. The action works too, but it's getting rare at some point throughout the film. Instead it is trying to raise supposedly philosophical questions about identity and what makes us human. That's neither particularly new nor ground breaking. In the end that makes for a rather mediocre experience that can't entirely satisfy on any level.

ghost in the shell kid

Scarlett Johansson stars in the sci-fi techno-thriller Ghost in the Shell. The story follows a cyborg named Major Mira who works for an elite police task force that's tracking a cyber terrorist, but the investigation takes a strange turn when Mira starts experiencing glitches and begins to question her memories. Unfortunately Johansson gives a rather lackluster performance, and the rest of the cast pretty weak. Also, the plot is convoluted and drops the audience into a strange dystopic future without taking the time to explain any of it. However, the film has an incredibly rich and stylistic visual aesthetic. The costume and set designs, along with the special effects, make for a remarkably interesting futuristic look. And the action scenes are dynamic and well-choreographed. Yet while it's entertaining and a marvel to look at, Ghost in the Shell is a mess of a film that's formulaic and full of stereotypical sci-fi tropes.

Not amazing but far from disappointing.

Rupert Sanders spends a lot of time on the visuals, both painstakingly recreating images from the '95 film and creating new ones . . . unfortunately everything else suffers, from the lackluster script to the lifeless performances this mostly seems like a missed opportunity.

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Ghost in the shell.

Product Description

Set in the year 2029 and following World Wars III and IV, a Japanese-led Asian block dominates world affairs. The alliance maintains its international supremacy through its elite security force whose cybernetically enhanced operatives tackle an array of hi-tech terrorists and other threats to international security. These augmented agents can "ghost hack" (i.e., download their consciousness) via the now omnipresent internet into other machines and human/machine cross breeds. Major Motoko Kusanagi, a cybernetically augmented female agent, has been tracking a virtual entity known as the Puppet Master with her crack squad of security agents. The shape-shifting Puppet Master, a rogue creation of a rival agency of the security apparatus, has concluded that it is a life form in its own right, "born in sea of information," and requested political asylum and true physical existence in defiance of its creators.

Product details

  • Aspect Ratio ‏ : ‎ 1.78:1
  • MPAA rating ‏ : ‎ NR (Not Rated)
  • Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 0.02 Ounces
  • Director ‏ : ‎ Mamoru Oshii
  • Media Format ‏ : ‎ 4K
  • Run time ‏ : ‎ 1 hour and 23 minutes
  • Release date ‏ : ‎ September 8, 2020
  • Subtitles: ‏ : ‎ English, Spanish
  • Producers ‏ : ‎ Yoshimasa Mizou, Shigeru Watanabe, Ken Iyadomi, Mitsuhisa Ishikawa
  • Language ‏ : ‎ English (DTS 5.1), English (Dolby Digital 5.1)
  • Studio ‏ : ‎ Lionsgate
  • ASIN ‏ : ‎ B08CJTQ91J
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 2
  • #33 in Blu-ray

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Ghost in the shell (1996).

Ghost in the Shell (1996) Poster Image

  • Parents say (20)
  • Kids say (18)

Based on 18 kid reviews

Great Movie

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A good movie that is hard to do a simple age/tv rating on., action/crime film in a sci-fi world with a matrix feel to it has awesome moments, intelligent and thought-provoking, though not for younger audiences, introspective movie with partial nudity, my favorite movie ever, it’s art, not porn, amazing film.


  1. Mother and Child

    ghost in the shell kid

  2. Episode 79: Akira and Ghost In The Shell

    ghost in the shell kid

  3. Mother and Child

    ghost in the shell kid

  4. Ghost in the Shell Super Bowl Commercial Arrives Early

    ghost in the shell kid

  5. 'Ghost in the Shell': A Beginner's Guide to the Anime Series

    ghost in the shell kid

  6. 'Ghost in the Shell': A Beginner's Guide to the Anime Series

    ghost in the shell kid


  1. Mother and Child

    17 Director Itsuro Kawasaki Writer Shōtarō Suga Transcript Transcript:Mother and Child Original Air Dates Japanese September 4, 2004 English March 25, 2006 Episode Guide Previous The Fact of Being There Next

  2. Characters

    It should be noted that in order to list all characters and their positions or roles in the universe, it is necessary to include information that is very relevant to the plots of the various Ghost in the Shell media, information which can be considered as spoilers. Contents 1 Public Security Section 9 1.1 Daisuke Aramaki 1.2 Motoko Kusanagi

  3. Ghost in the Shell Wiki

    Japanese language wiki. Other language wikis. Ask and answer questions. Featured Episode: Runaway Evidence - TESTATION A heavy-assault multi-ped tank runs amok, under the control of an unknown hijacker using the "recognition code" of the tank's designer, Kago Takeshi, who died a week earlier.

  4. Motoko Kusanagi

    Conception and creation Motoko Kusanagi's body was designed by the manga author and artist Masamune Shirow to be a mass production model so she would not be conspicuous. Her electrical and mechanical system within is special and features parts unavailable on the civilian market.

  5. Ghost in the Shell

    Original manga The original Ghost in the Shell manga ran in Japan from April 1989 to November 1990 in Kodansha 's manga anthology Young Magazine, and was released in a tankōbon volume on October 5, 1991. [2]

  6. Ghost in the Shell [2017] [PG-13]

    A hologram platform shows a blurry image of a dead man slumped over a table.

  7. Ghost in the Shell (1995)

    Ghost in the Shell: Directed by Mizuho Nishikubo, Mamoru Oshii. With Atsuko Tanaka, Akio Ôtsuka, Kôichi Yamadera, Yutaka Nakano. A cyborg policewoman and her partner hunt a mysterious and powerful hacker called the Puppet Master.

  8. Ghost in the Shell (2017)

    Ghost in the Shell: Directed by Rupert Sanders. With Scarlett Johansson, Pilou Asbæk, Takeshi Kitano, Juliette Binoche. In the near future, Major Mira Killian is the first of her kind: A human saved from a terrible crash, who is cyber-enhanced to be a perfect soldier devoted to stopping the world's most dangerous criminals.

  9. Kid reviews for Ghost in the Shell

    Great messages Great role models Too much violence Helpful Pongball Kid, 11 years old February 5, 2019 age 14+ Visually stunning,futuristic thriller has violence, some dark moments. This film is definitely enjoyable, with its visuals and its action. It is good for anyone who likes a thrill ride.

  10. Ghost in the Shell (1996) Movie Review

    Official trailer See all Parents say (20) Kids say (18)

  11. Ghost in the Shell

    With her partner (Richard George), she corners the hacker, but her curiosity about her identity sends the case in an unforeseen direction. Genre: Action, Sci-fi, Anime. Original Language: Japanese ...

  12. Ghost in the Shell: Extended 8 Minute Clip

    $49.99 IGN Store $179.99 IGN Store $70.99 IGN Store $57.99 IGN Store Watch on YouTube It's cable reimagined Ghost in the Shell is directed by Rupert Sanders, stars Scarlett Johansson, Takeshi...

  13. Ghost in the Shell (1995 film)

    Ghost in the Shell [a] is a 1995 adult animated neo-noir cyberpunk thriller film [8] [9] directed by Mamoru Oshii and adapted by frequent Oshii collaborator Kazunori Itō. The film is based on the manga of the same name by Masamune Shirow. It stars the voices of Atsuko Tanaka, Akio Ōtsuka, and Iemasa Kayumi.

  14. Motoko Kusanagi

    Major Motoko Kusanagi (草薙 素子, Kusanagi Motoko) is the main protagonist in Masamune Shirow's anime and manga series. She is a cyborg employed as the squad leader of Public Security Section 9, a fictional division of the real Japanese National Public Safety Commission, and earned her rank of major during her service in the Japan Ground Self Defense Force. She is voiced by Atsuko Tanaka ...

  15. Ghost in the Shell Movie Review

    1:05 Ghost in the Shell Official trailer See all

  16. Ghost in the Shell films and series in chronological order

    Motoko and Batou work to try to stop a terrorist organization whose symbol is the Scylla. Meanwhile, Togusa investigates a murder of a man who possessed a prosthetic leg manufactured by the Mermaid's Leg corporation. Director: Kazuchika Kise | Stars: Maaya Sakamoto, Ikkyû Jaku, Ken'ichirô Matsuda, Tarusuke Shingaki Votes: 2,883

  17. Ghost in the Shell (1995 Movie) Official IMAX Trailer

    Tickets On Sale Now: it only in IMAX beginning on 9/17. Advance previews in select theatres on ...

  18. Ghost In The Shell

    August 28, 2023. Ghost in the Shell is one of those 1990s memories that are not worth revisiting. Visually and aurally less interesting than Akira, the storyline covered by the movie, to my almost-mid-forties self, feels shallow, contrived, and uninteresting. I fell asleep by the 45 minutes mark and forgot I had it on my Google library.

  19. Ghost in the Shell (1996)

    Kids say (18) age 15+ Based on 20 parent reviews Add your rating Sort by: Most Helpful Shawshank Dufresne Parent of 5 and 17-year-old June 21, 2021 age 8+ My favorite anime & one of my favorite movies of all time!

  20. Ghost in the Shell (1995)

    Summaries. A cyborg policewoman and her partner hunt a mysterious and powerful hacker called the Puppet Master. It is the year 2029. Technology has advanced so far that cyborgs are commonplace. In addition, human brains can connect to the internet directly. Major Motoko Kusanagi is an officer in Section 9, an elite, secretive police division ...

  21. Ghost in the Shell movie review (2017)

    "Ghost in the Shell" is full of dazzling images that suggest a rich, profound narrative the film is never able to achieve. A young woman brutally rips the hatch off a tank. Her skin and bones crack, revealing mechanical sinew underneath her human exterior. Holographic advertisements the size of skyscrapers glitter across the city's landscape.

  22. Ghost in the Shell

    What to know Critics Consensus Ghost in the Shell boasts cool visuals and a compelling central performance from Scarlett Johansson, but the end result lacks the magic of the movie's classic...

  23. Ghost in the Shell [4k + Blu-ray + Digital] [4K UHD]

    Experience the stunning visuals and action-packed story of Ghost in the Shell in 4K UHD + Blu-ray + Digital format. This edition includes exclusive bonus features and subtitles in multiple languages. Don't miss this sci-fi masterpiece starring Scarlett Johansson.

  24. Kid reviews for Ghost in the Shell (1996)

    English EnglishEspañol Search Or browse by category: Movies TV Shows Books Apps Games Parenting Sign in Donate Movies Movie Reviews and Lists Movie Reviews Best Movie Lists Best Movies on Netflix, Disney+, and More Common Sense Selections for Movies Marketing Campaign 50 Modern Movies All Kids Should Watch Before They're 12