Elysium: hit or miss?

So-called dystopian thriller not particularly thrilling

South African sleeper hit District 9 turned a thrilling sci-fi story about segregated space aliens into a parable about South African apartheid. Similarly to District 9, Neill Blomkamp’s sophomore film Elysium aims to explore contemporary economic and social injustice issues to no avail. Blomkamp has predicted a future Earth that is ghastly over-populated and polluted where citizens who are struggling to meet ends meet are policed by ruthless androids. Meanwhile, the very wealthy humans live in security on Elysium, a man-made space station, surrounded by robotic servants and med-bay devices in the comfort of their own homes that keep them from disease.

As a young orphan boy, Max dreams of one day taking his girlfriend to Elysium, the ultimate Paradise where together they can be healthy and happy. Flash-forward to 2154 in Los Angeles where an adult Max played by Matt Damon works on the assembly line in one of the robotics factories of Armadyne Corp. He soon receives a fatal dose of radiation in an industrial accident and is given only five days to live. He confides in his old childhood sweetheart Frey (Alice Braga), now a nurse, with a daughter Matilda dying of leukemia. In liaison with the criminal underworld, Max attempts to secure them passage to Elysium only to find themselves hunted by the cold Secretary of Defense Ms. Delacourt (played by Jodie Foster).

While the dystopian setting is a fascinating one and there are several interesting ideas at play, the film is a colossal storytelling disaster. At no point whatsoever are we drawn into the narrative, but rather kept at an arms length by means of boring and bland characters with very slight expressions of humanity. Backstories are not evident and thinly developed plot lines give a great sense of contrivance to the overall narrative.

The editing of scenes, which all seem to last less than 2 minutes each, are as flippant and shady as the political landscape on Elysium. Spectacular special effects and set design are spurned by cheap editing that is reminiscent of a hasty draft cut.  Within the first half hour we have travelled far into the depths of space and back again.  Due to imprecise camera work, the action is almost impossible to comprehend.

As a lead action hero, Max gives you nothing to go for. While Jodie Foster’s Ms. Delacourt may be the most interesting figure onscreen, she manages to make a series of faux pas so desperate it makes you wonder how she got her job as Secretary at all.

Most unsettling however is the over-simplistic and downright absurd conclusion to the film, which is such a cop-out that the audience is dumber for having witnessed it.

Elysium isn’t nearly as gritty or edgy as it hopes to be.  In the cinema I kept thinking that the disturbing imagery should be affecting me far greater than it actually was. Yes, a few people’s heads get blown off and a character or two dies but it remains insignificant, especially given the unrealistic ending. Flaws such as these may be overlooked had we cared about these characters to begin with.

Fan Art Poster for Darren Aronofsky's Noah: Poster Justification

The biblical tale of Noah is so well known that audiences already have a relationship with the story. Rather than meeting those expectations by picturing a flood or a grand ark full of farm animals, the poster evokes a more dreamlike, enigmatic Noah. There is a definite heroism to the image that displays a concerned Russell Crowe looking over his shoulder at the oncoming storm. Over his head grey clouds are rolling in, veiling the sun’s amber rays. Wispy rain falls while birds flee behind his shoulders sensing unrest in the atmosphere.

As with any good film poster the title is easy to identify; a simple font presented in bold grey lettering. Also included is the date of the cinema release, a credits tag and a tagline: a storm is coming (all text aligns evenly in the centre of the page). Director Darren Aronofsky, renowned for Pi, The Wrestler and Black Swan (all of which reviewed critical and commercial acclaim), also gets a mention. Those familiar with his work will be attracted by his name.

The overall graphic is visceral and epic, engaging the audience’s emotions and even possible memories of nostalgia. The original unfiltered image, a behind the scenes set photo, places a strong emphasis upon the star quality of Russell Crowe to gain a wide audience, teenagers and adults alike. While the contrasting hues of blue and yellow is bright and sunny, there remains an earnest and sincere quality represented in the earthy clothes that Noah wears. A pillar of honour and manliness, he is the balance between humanity and inhumanity. Integrity is imbedded in the furrowed wrinkles of his face.

The Way Way Back is the feel good comedy of the year

Funny, charming and surprisingly poignant

 

Shy 14-year-old Duncan rides in the back of a car with his family on their way to his mother's boyfriend's beach house for the summer. While his mother sleeps in the passenger seat, her boyfriend Trent asks Duncan to rate himself on a scale of 1 to 10. After replying with a 6, Trent insists "I think you’re a 3”. Ironically these cruel words are spoken by Steve Carell. Previously known for playing lovable and funny characters, Carell is neatly cast against type in this zany coming of age tale about a boy who has a rough time fitting in. The introverted Duncan soon finds an unexpected friend in a carefree manager of a waterpark, and slowly opens up and sheds his skin (figuratively of course). As the premise suggests, this story doesn't stray away from the clichés but rather indulges in them. A finely tuned script and an abundance of charm marks the movie the most enjoyable comedy experience of the year.

The Way Way Back is one of those unexpected sleeper hits in the same vein of Little Miss Sunshine that you didn’t know you really wanted to watch. The film’s quirky 80s vibe, impressive cast and zany sense of humour instantaneously grabs you in and doesn’t let go. Director debutants Nat Faxon and Jim Rash - who won an Oscar in 2011 for their adapted screenplay of The Descendants – have assembled a magnetic company of both new and old faces including Toni Collette, Allison Janney, Sam Rockwell and newcomer Liam James just to name a few.

Sam Rockwell is particularly refreshing and genuinely hilarious in the role of Owen who becomes a comical father figure of sorts to Duncan. The setting of the water park is a sanctuary for the pair as an escape from the lousiness of reality. Other big laughs come from Betty, played by the hilarious and ever-dependable Allison Janney, who is the zealous and painfully honest neighbor of Steve Carell's character. She has a socially deprived son with a lazy eye (for which she constantly berates him). She steals every scene she’s in and provides much light comic relief. Additionally, Liam James is thoroughly believable in his first lead film role, displaying real credibility as an excruciatingly shy and often awkward kid.

Undeniably charming and surprisingly poignant, The Way Way Back truly is this year’s Little Miss Sunshine. You can’t help leaving the cinema smiling broadly.