The fact that James Cameron would've just given a project of his to Robert Rodriguez sounded too random to have much confidence that "Alita: Battle Angel" could be a great movie. The successive advances also did not convince us too much and for some time we decided not to take very seriously the first opinions about any great Hollywood production because they are practically always positive or directly enthusiastic, as this was the case.
In the end, what one can ask from a movie like ‘Alita: Battle Angel’ was quite simple: good entertainment in a universe with enough interest to compensate for the limitations of his script and a 3D that really brings some value to the film. Come on, what ‘Avatar’ gave us at the time. What we found was an effective hobby but with ups and downs that works better thinking of it as the pilot episode of a series than as a movie.
The first great success of ‘Alita: Battle Angel’ is its protagonist, since Rosa Salazar fills the screen in all her appearances, and we don't say it thinking about the size of her eyes. At first she feared that this detail would affect her interpretation, but the actress manages to adapt perfectly to the needs of her character, from the initial innocence to the limitless bravery of the final stretch.
That allows the viewer to immerse themselves more in a trip that in itself does not contribute much to distinguish it from other similar stories, something in which one cannot avoid thinking several times throughout its two hours of footage. One of the most important aspects for this to happen is that Rodriguez is concerned with giving some depth to the universe that arises, but the thing is not so successful in relation to the characters.[caption id="attachment_17430" align="alignnone" width="2048"] imagen de engadget.com[/caption]
And Salazar shines and is well supported by a solvent Christoph Waltz, but that changes when it comes to addressing Alita's antagonists. There the film oscillates between the generic, the superficial and the absurd, so it will be better to go in parts. The most annoying thing of it all is the use of Jennifer Connelly and how her character appears here and there randomly to fit the needs of the story, it is also worth noting how badly her character arc is.
Then we have a Mahershala Ali that Rodriguez uses trying to enhance a fearsome presence that never gets to reproduce satisfactorily than to meet the possibility of using his interpretive skills to find his own voice. In addition, it works as an extension of the true villain, that character whose absence removes a lot of brightness to the climax of the film.
Nor should we forget the characters that have fallen in luck to Ed Skrein and Jackie Earle Haley. The first a nuisance without real significance in the story, while the second is imposing less on its successive reappearances, although it does have a very remarkable combat with the protagonist at the visual level, one of the strengths of 'Alita: Battle Angel'.
Rereading these last paragraphs, it'a true that we still might sound too hard with the film by focusing so much on the negative, but that is what prevents ‘Alita: Battle Angel’ from being more than a colorful pastime. It is the failures of his script, co-signed by James Cameron, that prevent Robert Rodriguez from reaching another level.
Particularly, we do not think that its technical invoice has anything revolutionary, but it is remarkable enough to see it in cinemas. In addition, it does not saturate with the use of visual effects although its presence throughout the footage is constant and achieves a fluid rhythm that is only hindered by those problems with the characters that dazzle the set.
Also, the end of the movie feels more like the beginning of something than a true climax. It will work much better if the movie ends up having a sequel as those responsible want, but if it stays on an island it will be more obvious that a complete story has not been told whenever we return to it.
In short, ‘Alita: Battle Angel’ is a good blockbuster and an entertaining movie, but also an incomplete proposal that may never go beyond what is seen here. Its discreet script does not help, but the great work of Rosa Salazar and Rodriguez's solvent staging allow one to at least have a good time with the movie.