January 16, 2018


Friday, October 4, 2013

Elysium: futuristic allegory is on point

Matt Damon becoming a cynical anti-hero in Elysium.
Matt Damon becoming a cynical anti-hero in Elysium.
Matt Damon becoming a cynical anti-hero in Elysium.
By Ann Hornaday
The Washington Post

Matt Damon transforms to play cynical anti-hero from apocalyptic future

With Elysium, a nightmarish action thriller set in an apocalyptic future, South African filmmaker Neill Blomkamp proves that he’s the reigning master of dystopian political allegory. In his stunning 2009 debut, District 9, he used a similarly downbeat sci-fi story as a wildly imaginative allegory for his country’s apartheid past and its present-day artifacts.

Elysium doesn’t pack nearly the same startling punch, and its political agenda is far more ham-handed, but Blomkamp shows that, along with such contemporaries as Rian Johnson (Looper) and Duncan Jones (Moon, Source Code), he’s part of an innovative generation breathing new life into a time-honoured genre.

Set in 2154, Elysium takes place in Los Angeles, a polluted, overpopulated, chaotic police state run by greedy corporate interests and ruthless robo-cops, and where an ex-convict named Max (Matt Damon) works in a factory making the armed metallic thugs who routinely oppress him. With his head shaven to a cue-ball sheen, his body covered in tattoos and his ankle encased in a low-jack, Damon all but abandons his clean-cut image to play a buff, cynical anti-hero. When Max is sent on a mission to Elysium, an elite satellite compound that whirls like a seductive giant hood ornament hundreds of miles from ravaged Earth, it’s not to save mankind but to save himself.

Not surprisingly, Max’s tough-guy reserve cracks in this instance after an encounter with his childhood love, played by Alice Braga. And, once he’s outfitted with a set of computerized armour in a gruesomely graphic sequence set in a human chop shop, Max becomes something of a super-anti-hero — a one-man intra-galactic Dream Act who promises to open up the wealth, serenity and cure-all health-care system of the ultimate gated community for the huddled masses teeming below its airspace.

To do that, he must conquer Elysium’s ice queen of a defence secretary, played by Jodie Foster with an indeterminate accent and stylish cool worthy of Christine Lagarde (even Foster’s wrist communicator is by Bulgari). And he must overpower her most deranged minion, a mercenary monster named Kruger, played by District 9 star Sharlto Copley with manic touches of mean-spirited wit.

As a commentary on contemporary wealth disparities, environmental degradation and immigration issues, Elysium is arguably too on-the-nose. Blomkamp’s admirable if obvious egalitarianism too often devolves into simplistic wish-fulfilment. Still, his formidable visual imagination is on full display in a movie that has spared nothing in persuasively bringing to life both an inhumane terrestrial world and the whirling gyre of protection and privilege above it. (Like Pacific Rim earlier this summer, Elysium features a distressed, scuffed-up version of the future, in which once-shiny machines are now rusty and covered with graffiti.)

And, as in District 9, the filmmaker exhibits a strong penchant for blowing people’s heads off in liquid, Ralph Steadman-like blurs. A high-low tension runs through Elysium, not only in the narrative, but in Blom-kamp’s cinematic language, which can be lofty one moment and gleefully pulpy the next. If that juxtaposition isn’t quite as bracing as it was in District 9, Blomkamp is clearly on his own mission: to bring new intelligence and even principles to a genre too often dominated by banal cyborgs and recycled plots. The future he imagines may be grim but the one he represents is full of promise.

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