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Æon Flux (2005)

5.5
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Ratings: 5.5/10 from 99,152 users   Metascore: 36/100
Reviews: 519 user | 175 critic | 23 from Metacritic.com

Aeon Flux is a mysterious assassin working for the Monicans, a group of rebels trying to overthrow the government. When she is a sent on a mission to kill the Chairman, a whole new mystery is found.

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Cast

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Thomas Huber ...
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Maverick Quek ...
Chemist
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Storyline

400 years in the future, set in the year 2415, Aeon Flux is a mysterious assassin. Four centuries after a virus nearly annihilated the human race, leaving only five million survivors in a utopian city called Bregna. Aeon is struggling to destroy the Goodchild regime led by its namesake, Trevor Goodchild, the ruler of Bregna and a descendant of the man who found a cure for the deadly virus. As instructed by the Handler, Aeon is assigned to assassinate Goodchild, but there are deeper secrets to be discovered, and conspiracies to be foiled. Written by Anthony Pereyra {hypersonic91@yahoo.com}

Plot Summary | Add Synopsis

Taglines:

Perfect Future Shock See more »

Genres:

Action | Sci-Fi

Motion Picture Rating (MPAA)

Rated PG-13 for sequences of violence and sexual content | See all certifications »

Parents Guide:

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Details

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Language:

Release Date:

2 December 2005 (USA)  »

Also Known As:

Aeon Flux  »

Box Office

Budget:

$62,000,000 (estimated)

Opening Weekend:

$678,974 (Australia) (17 March 2006)

Gross:

$1,293,236 (Australia) (24 March 2006)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Paterson Joseph's role had huge chunks cut out of it. See more »

Goofs

In the fight scene with Sithandra and Aeon, the part in Aeon's hair switches from right to left to back to right. See more »

Quotes

[first lines]
Æon Flux: [narrating] Some called Bregna the perfect society. Some call it the height of human civilization. But others know better. The Goodchilds built Bregna to ensure us a future. They built the Relico, a memorial to remind us of what we've survived. They built walls to protect us. They tell us that outside, nature has retaken the world. But the real problems lie within. We are haunted by sorrows we cannot name. People disappear and our government denies these crimes. The Goodchild regime...
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Connections

Spoofed in Robot Chicken: Donkey Punch (2006) See more »

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User Reviews

 
Snatches defeat from the jaws of victory
24 December 2005 | by See all my reviews

It's a bit unnerving when a studio declines to screen a film for the press before it goes into wide release. That many movies suck is no surprise, but when a studio itself admits as much ahead of time, the process of movie-going becomes a passion play of sorts. Consider it an early Christmas gift from Hollywood, then, that "Aeon Flux" isn't nearly the affront to taste and decency one might expect, given the above. Though ultimately overwhelmed by its flaws, it at least has (sort of) an idea with which to toy around. Too bad director Karyn Kusama seems to have little clue how to execute it all.

It's the future. There's been a plague. There is a dictatorship, and there are rebels. The latter are known as the Monicans, and far from being a cult of beret or tennis racket worshipers, they're into attempts to overthrow the former, called the Goodchild regime. The regime is occasionally mean to the citizenry, which is more than Aeon Flux (Charlize Theron) and her pals can stand. Through some sort of biochemical virtual reality technology, the Monicans receive orders from their dear leader (Frances McDormand), a mystical priestess-type who appears to have been cross-bred with a carrot. It falls to Aeon to strap on some form-fitting, futuristic spandex get-ups to carry out the High Carrot's orders, which are of course some version of "destroy the regime." Having years earlier watched her sister get liquidated by the Goodchilds, she needs little convincing.

Not surprisingly, things get complicated. The Goodchilds might not be quite what they seem, and Aeon herself might have an unexpected history with them. Though occasionally muddled, the film's central conceit (of which I won't reveal more) contains some neat notions about the nature of human existence and survival. There's room for much more examination of which the film doesn't take advantage, but the ideas are there, at least. The big problems of "Aeon Flux" are technical. Kusama has made the baffling decision to film nearly all the action so close that we can rarely follow what's going on. To make matters worse, it's edited in a flurry of jump cuts that leave us completely lost. The result is some serious spacial disorientation that takes over the film. "Aeon Flux"'s aesthetic is one of sleek costume, oddly-angled architecture, and nimble characters. Much of the action occurs in minimalist, open spaces that beg for some unbroken long shots that might convey the grace and athleticism implied by the above. Instead, we get split seconds of flying limbs, breaking glass, and accompanying sound effects.

There is a pretty good movie trying to get out of the morass of "Aeon Flux." Put this stuff in the hands of the Wachowski brothers, say, and the results could be quite different. As it is, though, I felt like "Aeon Flux" was willfully pushing me away from a movie I wanted to enjoy. This film is unattuned to its own strengths. Like a novice poker player dealt a royal flush, it somehow finds a way to lose in spite of its potential.


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