The LGNN discussion (which I contributed to at the margins) did a good job of exploring the whitewashing controversy. Perversely, it made me want to watch the film more, to get a sense of exactly how it dealt with the idea of Scarlett Johansson playing a Japanese woman. Turns out that you can excuse that decision in the same way that you might excuse the gratuitous nudity in the manga and anime – the Major is designed by a heartless corporation according to its (patriarchal, white supremacist) whims.
There's a strange auto-criticism in so blatantly placing a Japanese ghost in a white American shell, given that it is done at the behest of the villains of the film. The evil corporation kidnap Mokoto Kusanagi (a rebellious teen) and wipe her memories, and I find it impossible to tell whether this is a sly nod to how Dreamworks and the filmmakers have treated the original property. Not least because the CEO who is responsible for the nefarious plot is dispatched in fine style by none other than 'Beat' Takeshi Kitano, an acclaimed Japanese comedian, actor and film director in his own right. You could read it as the return of the repressed, or the revenge of the colonised on their imperial masters.
The film is at its least interesting when it indulges in shot-for-shot recreations of the anime (which I love). The rather generous Observer review is on point in so far as it identifies the sordid world as the main distinguishing feature of the remake. In the (unspecified) city of the future, giant holograms tower over buildings advertising brands both real and imaginary, adding their own sinister comment on the film's mercenary nature.