When I’m in a truly bad mood, about the state of the world or just the state of myself, traditionally uplifting movies (or music, or TV) don’t cut it for me. It’s not the movies’ fault, necessarily; it’s the act of pressing play on even a feel-great movie like His Girl Friday or Toy Story 2 that nags at me as overly self-conscious. It’s hard for the movie to have its desired effect when I’m giving it such a personal, specific mandate to make me feel better – a truly impossible form of video on demand. Instead, I need something that activates my lizard brain, something that goes straight to the pleasure center of my imagination, rather than engaging directly with my emotions. In recent years, that movie is Alita: Battle Angel.
Part of it is probably a form of penance for slightly underrating Alita when it came out. I gave this Robert Rodriguez-directed, James Cameron-produced (and co-written!) manga adaptation a measuredly positive review back in early 2019, clearly still processing my surprise, even confusion, that it was so much better than most were expecting. Another half-dozen viewings later, many on sick days, have worn away my initial resistance to the movie’s slightly distended shape, corny dialogue and jostled-together plot. The movie follows the reawakening of Alita (a digitally augmented Rosa Salazar), a cyborg whose body has been trashed and whose memory has been erased. Partially repaired by the kindly but overprotective Dr Ido (Christoph Waltz), Alita eventually explores the dystopian Iron City, takes up a violent cyborg sport called Motorball, becomes a well-paid bounty hunter, falls in love with a human who yearns to escape for a better life, and rediscovers her past as a powerful warrior.
