Alita: Battle Angel

Still, Alita sports some good sequences here and there (a well-choreographed bar fight, complete with some much-needed levity, and all of the Motorball scenes are potentially worth the price of the IMAX ticket), but as with many VFX-forward films, the narrative eventually becomes a liability.

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It’s mostly a vehicle for tremendous fights and disappointing sequel setup

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It's a sports movie?

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'Alita: Battle Angel' offers a visually stunning action heroine and not much else

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The film’s action boasts some of the most sturdy, coherent direction to mark a giant-scale blockbuster in some time.

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Although Alita is built with some feminist empowerment in mind, some of the messaging malfunctions against old world patriarchy.

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In the year 2563, cybernetics expert Dr Dyson Ido (Christoph Waltz) discovers a 300-year-old trash-heap treasure: the “core” of a highly advanced, full-body cyborg with a surviving teenage-girl brain. He rebuilds her and names her after his dead daughter, Alita. But, it turns out, he can’t protect his new Alita (Rosa Salazar) from her own warrior instincts, or from the shady characters out to scrap her.

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Rosa Salazar stars as a cyborg killing machine brought back to life in Robert Rodriguez’s oddly tame postapocalyptic future

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Robert Rodriguez’s film about a fighting cyborg with an invincible body develops weakness in the head.

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Robert Rodriguez and James Cameron worked with Peter Jackson's visual effects wizards on this long-gestating manga-based action thriller.

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James Cameron and Robert Rodriguez’s long-in-the-making adaptation of a popular manga is all bells and whistles

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Robert Rodriguez makes an effort, but this muddled cyberpunk adventure can't help feeling like writer-producer James Cameron's cold leftovers.

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Alita: Battle Angel wants to frame its futuristic Pinocchio narrative around a story of teenage romance, but the end result is a bunch of pixels falling in love with the first boy they meet. Next time, stick to the parts where you punch.

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James Cameron's manga heroine not a girl, not yet a living, breathing, thinking woman

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Robert Rodriguez gives us a heroine who doesn’t care about her past — so why should we? — in the cleanest post-apocalypse ever

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Robert Rodriguez's cyborg blockbuster is a bolted-together mess

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The character of Hugo is written and directed with an aw-shucksiness that wouldn’t have been out of place in a Mickey Rooney musical, and his romance with Alita has a simple and absolute purity that’s as sentimentally drubbing as it is devoid of substance.

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A pileup of clichés in service to technological whiz-bangery, “Alita” is one more story of the not quite human brought to life with hubris and bleeding-edge science

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At the start of “Alita: Battle Angel,” a scientist fishes a robot head out of a trash heap, slaps on a body and treats it like a daughter. By the end of this derivative, heartless mess, you’ll conclude that a garbage dump is exactly where writer-producer James Cameron’s new project belongs.

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