Æon Flux

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.

When I originally heard of Aeon Flux, it sounded absolutely terrible. The posters looked even worse. However, after seeing a trailer somewhere, I loved the look and bright colours (being easily pleased) and decided to give the movie a chance.

Aeon Flux is the story of a female, barely clothed rebel sent in to assassinate the ruler of a dystopian isolated city, which contains the entire remainder of mankind. Let's just say the plot is entirely unoriginal, a derivative of many other Sci-Fi movies and stories.

Charlieze Theron gets to prance around with an insect-like walk (her first appearance strongly reminded me of a praying mantis), salamander-like crawls, and other, animal-inspired, ballet-like movements. The world of Aeon Flux is drawn in bright, almost psychedelic colours, and it feels as if we glimpse only the tiniest part of this strange place. A lake of tears acts as CCTV for the entire city, pills exchanged in French kisses are used for telepathy, little pellets of liquid metal have a will of their own... A good chunk of the film is dazzling to watch, without any explanation behind it. Strictly speaking, Aeon Flux is about 80% futuristic fantasy, with very little science fiction in it. In fact, it sometimes feels as if the strangely organic gadgets of the rebels do not fit in this world - as the authorities seem to have more conventional technology and weapons.

What Aeon Flux succeeds at the most is dazzling the audience. Visually, stylistically, and with its energy and futuristic fantasy (and constantly underdressed heroine). In that, it reminds me strongly of Fifth Element - another film where we feel as if we only get a glimpse of a futuristic, colourful world full of strangely dressed people, without the need to explain or expose every aspect of it. However, Aeon Flux is less satisfying than Luc Besson's classic - because it lacks a sense of humour and takes itself too seriously (which, given the plot, is a bad move).

All in all, I would recommend the film to people who enjoy Fifth Element, bright colours, a sense of visual alienation, and unoriginal science fiction dressed up in a bright, original and almost unique coating.

Charlize Theron cuts an exceptionally striking presence as the heroine of this smashing action-oriented fantasy involving a rebel fighter in 2415 whose assignment is to kill the leader of a totalitarian regime; turns out, she recognizes him as a man who once meant a great deal to her and finds she can't eliminate him (nor vice-versa), precipitating a coupe amongst his people. Though exceptionally flashy, this MTV production (based upon their animated series) has its roots steeped in the past, with a plot that admittedly recalls dozens of enemy-for-the-people adventures. Despite some intentionally amusing asides, the dialogue is fairly stilted (though there isn't much of it, which is ultimately a plus) and the editing is occasionally sharp though it eliminates things we should be seeing to clarify the narrative (like how Æon Flux manages to climb aboard and exit a flying monument). Frances McDormand's role as Theron's boss is left a bit sketchy (who does she get her orders from?) and her reluctance to give Æon even the slightest benefit of the doubt is perplexing. The action sequences are elaborately, entertainingly staged, and the crisp, expensive-seeming production gives us a glittering vision of the future (think "Logan's Run" on a modern budget). In the end, the film is more a tasty morsel than a satisfying meal--it may slip right out of your consciousness a day after you've seen it--but the misfits-as-rebels angle and the suave star-turns by Theron, Sophie Okonedo (as ever-faithful Sithandra, who has hands for feet) and handsome Marton Csokas (as Trevor Goodchild, who puts all the pieces in place) help make this an enjoyable ride. **1/2 from ****

Aeon Flux takes place in the last city on Earth, Bregna, 400 years after a deadly virus wipes out 99% of the population. Dr. Trevor Goodchild (Marton Csokas) eventually found a cure and treated those that were left. Along with his brother, Oren (Jonny Lee Miller), the Goodchilds ruled over Bregna the entire 400 years in what had become a dictatorship.

A rebel group named the Monicans soon rose up and challenged the Goodchilds authority. Their goal is to assassinate the Goodchild family and win back their freedom. Their top assassin, Aeon Flux (Charlize Theron), is assigned to assassinate Trevor Goodchild and after making her way through a booby trapped field, makes her way to Goodchild. She gets him in her sights and has every intention of going through with it until Trevor notices her and gives her a look like he knows her.

I can not go much further without spoiling the story for some but needless to say, I think this movie has some nice surprises and twists and ties together nicely in the end.

The movie begins in a very weird manner, similar to The Fifth Element in regards to the special effects and overall feel of the movie. I also have to say that I love the fact that Aeon had to wear tight spandex throughout the entire movie. They could not have chosen a sexier woman than Charlize Theron to play this part and she does not disappoint, not even in the action scenes.

Some of the action scenes show a large amount of creativity while others seem to have been somewhat influenced by The Matrix trilogy. There is nothing wrong with that and Flux ends up with a style that is pretty much it's own.

Overall, I thought this was going to be a confusing and possibly boring movie. However, once sitting through it and giving it a chance, the story turned out to be just as good as the action. I never watched the cartoon series so I am walking into this movie cold and furthermore, I can not tell you whether the movie retains the same story but I can state that I did enjoy this movie. If you liked Elektra (and I know many of you did), then you should enjoy Aeon Flux as well. 7.5/10

Aeon Flux gets a bum rap from the critics due primarily to the politics of the studio / critic relationship; the studio's decision not to preview the film got the critic's undies in a bunch. But Aeon Flux turns out to be a solid B+ grade SciFi flick that is inventive, stylistic, coherent and just plain fun to watch, particularly if you are partial to an athletic incarnation of Charlize Theron in Spandex. The film is well-paced. The main characters have depth and there is "real emotion" evident in the acting, always a plus for a SciFi film. There are a few things to complain about to be sure, but they're not crucial to the plot. I enjoyed the "existential dilemma" and "identity crisis" elements that made the story interesting. I'll look forward to watching this one again in a year or two.