Alita: Battle Angel is a lot like its eponymous character. It consists of many parts and only some of them work. James Cameron and Robert Rodriguez’s adaptation of the graphic novel series Gunnm by Yukito Kishiro creates a tactile future world of cyborgs, bounty hunters, organised crime and a floating city. The film looks great, especially in the rendering of its central character, as Rosa Salazar is converted into the epitome of uncanny valley but in a context that makes sense, so her slightly odd appearance fits rather than being distracting. Unfortunately, the impressive visuals are largely wasted on a mess of plot lines and subtexts. Owing much to Blade Runner, Terminator, A. I., Rollerball, Avatar and Ghost in the Shell but lacking the coherence of any, Alita fails to explore ideas about identity, memory and embodiment and leaves the viewer waiting for inevitable clichés both verbal and physical. In the case of the former, the dialogue and character motivations are unlikely to provide surprises and beg the question why the film didn’t get there sooner. On the physical side, the film does deliver as Rodriguez stages some visceral action sequences that showcase the capabilities of the various cybernetic characters, most spectacularly Alita herself. Combining Rodriguez’s immersive and hyperbolic action with Cameron’s intricate world building, Alita should have been electrifying. Instead, it ends up being less than the sum of its parts, leaving too much to be built on in the potential sequel.