The wanted criminal Riddick arrives on a planet called Helion Prime, and finds himself up against an invading empire called the Necromongers, an army that plans to convert or kill all humans in the universe.
Left for dead on a sun-scorched planet, Riddick finds himself up against an alien race of predators. Activating an emergency beacon alerts two ships: one carrying a new breed of mercenary, the other captained by a man from Riddick's past.
Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
In a futuristic world, a strict regime has eliminated war by suppressing emotions: books, art and music are strictly forbidden and feeling is a crime punishable by death. Cleric John Preston (Bale) is a top ranking government agent responsible for destroying those who resist the rules. When he misses a dose of Prozium, a mind-altering drug that hinders emotion, Preston, who has been trained to enforce the strict laws of the new regime, suddenly becomes the only person capable of overthrowing it.Written by
Two hundred people were interviewed for the role of Partridge and filming had already started when Lucas Foster brought Sean Bean in, having convinced him to take the role. See more »
During the scene in which Brandt picks up Preston at the distribution center, the wheels on the Seville change from the custom five spoke alloys to the standard Cadillac wheel for that particular model, and then back again. See more »
In the first years of the 21st century, a third World War broke out. Those of us who survived knew mankind could never survive a fourth; that our own volatile natures could simply no longer be risked. So we have created a new arm of the law: The Grammaton Cleric, whose sole task it is to seek out and eradicate the true source of man's inhumanity to man - his ability to feel.
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If there is one complaint about the Hollywood system that rings true, it is that Hollywood seems quite bereft of ideas. Then films like Equilibrium come out and remind us that it's not that we're out of ideas so much as we're just not trying hard enough. Not that Equilibrium is inherently new - it borrows a fair few plot concepts from Farenheit 451 and Nineteen Eighty-Four, to name the most prominent examples. It is the way in which the old ideas are combined with the new that makes Equilibrium a fun and underrated experience.
The premise is simple enough. In a kneejerk reaction to the horrors of World War Three, the survivors outlaw what they blame the chaos upon. Their own emotions, in other words. As the lead character has a series of revelations, we begin to understand that in so doing, they have also outlawed much of what gives our existence a point. In the bland, lifeless world that the law-abiding citizens inhabit, everything that the audience takes for granted to make their lives worthwhile is being systematically destroyed. Shades of the America of today, the whole principle of throwing the baby out with the bathwater, are shown in a stark horror show.
I've read people comparing this film to The Matrix or its sequels. Where The Matrix series' fights were overlong, and often with no payoff, Equilibrium's fights are short and to the point. The difference this makes is, needless to say, as uplifting as Preston's fight to regain the humanity he stripped so many others of. Instead of having fights with no emotional connection to the characters, the story is given sufficient development to make the audience care what happens.
The film is not entirely without flaws. The Prozium element seems to have been written with no regard for the facts about psychiatric medicines. Their purpose is not to suppress emotion at all, but to balance the chemical system of the brain in order to give the patient better control of them. Sure, they're not without problems of their own, but exaggerating them like this does not do the portion of the community that needs them any favours. That aside, however, the on-camera struggle is one of the most intriguing I've viewed for some time. Ergo, this minor plot problem is made up for. The only other real complaint I have is that the film could have done with a little more footage to give some characters more of a chance to develop.
I gave Equilibrium an eight out of ten. It's not the best negative science fiction you'll ever see, but it is enough of a breath of fresh air that this won't entirely matter. If the MPAA made more films like this, it wouldn't be suffering the constant financial dire straits that it so loves to blame everyone else for.
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