★★★ / ★★★★
Exposed to a lethal dose of radiation while at work, Max (Matt Damon) is informed that he has about five days to live. Although his condition can be cured, it is available only to the wealthiest and they reside not on Earth—since it has become overpopulated, polluted, and diseased—but on a space station called Elysium led by President Patel (Faran Tahir) and run by Defense Secretary Delacourt (Jodie Foster). People on Earth know that the panacea comes in a form of a med bay and it is available to every home in Elysium. However, every time non-Elysium citizens try to breach the space station, they are killed without a moment’s hesitation.
I am not convinced that the concepts tackled by “Elysium”—the division between developed and developing countries, illegal immigration, the gap when it comes to healthcare between the rich and the poor—are fully developed. However, writer-director Neill Blomkamp sure knows how to construct a thrilling action sequence. As a social critique, it did not inspire me to think much but as a sci-fi action, I was entertained.
The look of the picture is quite beautiful. The slums of Los Angeles in 2154 look very lived-in but not so much that they look like an utter wasteland. Though Damon’s physicality, especially when his character is eventually fused with an exo-suit designed to enhance Max’ strength, dominates just about every frame, there is always something worth noticing in the background: children playing, vendors selling fruit, the way the heat rests on men hanging out under the sun. We can almost feel the dust being inhaled and tasted.
Conversely, the interiors and exteriors of Elysium look very polished. The trees look almost like plastic or genetically engineered to perfection. The floors are so white, one wonders if there is such a thing as mud or grime in the sheltered world. The extras are mostly white, happy, and wearing clothing that seem to come right off Ralph Lauren ads. The availability of space between them are also noticeable. There is room to move around and breathe air without dust. On Earth, just about everyone is only an arm’s length away.
The film excels in showcasing adrenaline-fueled action. I liked the build-up between characters using mostly guns initially and then eventually utilizing knives, swords, and fists to render or pummel an opponent into submission. Sharlto Copley, playing a psychopathic sleeper agent named Kruger who takes orders from the cold and calculating Delacourt, exudes a gruff menace so potent, I believed him as a formidable villain seconds after he first appears on screen. Kruger and Max are well-matched. Though the former has more experience and considers the hunt as a game, the other is fueled by desperation.
Perhaps the greatest limitation of “Elysium” is its less than subtle commentary on what is wrong with America today. Images involving the system imposing its power on those with little or without means made me look back on real-life footages shown in the news or documentaries. By comparison, it is a level of irony because even though what is shown here is more dramatized, it is less powerful than actuality. If the approach has been less forceful, maybe a challenge for comparison would not have been as recurrent.