‘GHOST IN THE SHELL’ (Rated PG-13)

If you accept Scarlett Johannson as a Japanese cyborg, then there’s a good chance that the relevance of “Ghost in the Shell,” derived from its Japanese manga source material, in a post-racial world of artificial intelligence is not constrained by any contemporary preconceptions.

On the other hand, it may be a debatable point as to whether a Nordic beauty, altered as she may be as a robot with a human brain, should be the lead character in an Asian animated-inspired action film where the setting is unmistakably patterned after a futuristic Tokyo.

But then, protests have already been lodged that not only Johannson but other non-Asian actors have been cast in leading roles in this science-fiction action picture. The unsettled view is whether “Ghost in the Shell” merits serious discussion on this argument.

Does Scarlett Johannson bring authenticity as well as depth to the role of the cyborg Major that talented Asian actresses like Michelle Yeoh and Maggie Q could not?    

The answer might be in negative when you later realize that Major’s true identity is Motoko Kusanagi, and her Japanese mom is still alive and residing in a tenement.

I don’t think it’s worth quibbling that much about a character’s ethnicity in a futuristic world that eerily resembles the post-apocalyptic vision of “Blade Runner” in which a dystopian Los Angeles could just as easily been a major metropolis on the Asian continent.

Fans of the manga genre may find that “Ghost in the Shell” has the visually stunning appeal of the Japanese animation made popular with its roots in a science-fiction fantasy world that is now enhanced by the cautionary tale of technology run amok.

Ostensibly saved from a terrible crash, Major’s brain was transplanted into the shell of a robot, thus becoming a cyber-enhanced perfect soldier enlisted by her handlers at the Hanka Corporation to hunt down the world’s most dangerous criminals.

Teamed up with the physically buff Batou (Pilou Asbeck), Major is molded by Hanka scientist Dr. Ouelet (Juliette Binoche) to be the key enforcer in the Section 9 anti-terrorism unit charged with hunting down bad guys.

The number one target is Kuze (Michael Carmen Pitt), the mastermind behind attacks on Hanka executives. Oozing menace and rage, Kuze is the kind of villain who appears like he just escaped from a mental institution. In other words, he’s near perfect for the role.

The most interesting thing about Kuze’s wickedness is that he hacks into the brainwaves of his victims to turn them into killing machines for his evil deeds. Before too long, Major starts to figure that her own past has been distorted.

“Ghost in the Shell” could tap into more cerebral thoughts about the misuse of technology and its dehumanizing power to corrupt individuals into thinking their actions are for the greater good.

Alas, this science-fiction adventure is more about drawing upon the unique visual style of Japanese manga and running with the type of action set-pieces that are the staple of the genre. The results may be fun to watch, but opportunities for more creativity were missed.

TV Corner: ‘BROCKMIRE’ on IFC TV

In case you are not aware, IFC is part of the AMC cable network empire, where the currently best known series is likely the quirky “Portlandia.”

The talented Hank Azaria hopes to change that in his role of outlandish plaid-blazer wearing major league baseball announcer fired years ago during an epic on-air meltdown play-by-play of his then-wife’s adultery.

As the titular character in the sports comedy “Brockmire,” Azaria’s Jim Brockmire is either seeking redemption for his career or looking to hide out in a rust-belt Pennsylvania small town on the verge of financial collapse.

After a decade-long interregnum spent wandering foreign lands, Brockmire is hired by minor league team owner Jules (Amanda Peet) to rescue the fictional Morristown Frackers from the doldrums of apathy and despair.

Jules could be the perfect match for a broadcaster on the rebound. She’s strong-willed and hard-drinking, and Brockmire relates to that as his affinity for top-shelf booze has no bounds.

The borderline suicidal and self-destructive alcoholic Brockmire soon has a sexual relationship with Jules that is invigorated mostly by an apparent connection to the Frackers having a winning streak that fills the stadium with fans eager to have something to cheer.

In the broadcast booth, Brockmire is constantly letting loose with verbal zingers that would probably get him suspended if the Frackers fan base was not equally loopy and unhinged.

There are great scenes between Brockmire and his reluctant whiz kid broadcast partner Charles (Tyrel Jackson Williams), whose limited knowledge of America’s favorite pastime is a source of frustration to the veteran announcer.

Speaking to the nation’s TV critics during the recent winter press tour, Hank Azaria summed up the essence of “Brockmire” by noting that “in its own weird, alcoholic-soaked, soporific, dark, gritty, say way, this is a love letter to baseball.”

Indeed, a fondness for America’s game and the willingness to enjoy the raucous humor, often profane and unsuitable for family viewing, makes the enjoyable sports comedy of “Brockmire” a rare treat for hardcore fans.

Tim Riley writes film and television reviews for Lake County News.