Based on his films District 9 (2009) and this year’s Elysium, writer-director Neill Blomkamp is keen to explore dystopian futures in which much of the world’s population is controlled by a much smaller segment. With lots of action scenes. Indeed, Elysium feels right at home with its counterparts from the 1970s: Logan’s Run, Soylent Green, ZPG, Silent Running and the like. None of those other cinematic prophecies have yet come to pass, but at least Blomkamp had the sense to date his futuristic romp in 2154, which gives him a better shot at Nostradamus-hood.
Like District 9, Elysium is a hybrid of action, science fiction prophecy and social commentary. Elysium is a dire warning regarding social inequalities that, given enough time, could spiral out of control to create such a dystopia. And yet, the film is artificial in key components — from Jodie Foster’s ruthless protector act to the idea that the revolving space station of the rich doesn’t even have its own missile defense — which undermines much of its pointedness. The exo-suit drilled into Matt Damon’s character is interesting conceptually and visually, yet very little is actually done with it, and then Sharlto Copley’s character just straps one on without all the biological fuss. And, of course, all the computer technology is hardly more advanced than what is currently available — in 2154!
The important conflict is between the selfish ultra-rich jerks who run the space station and the starving multitudes on Earth. Blomkamp takes great care to separate them completely, but that simply wouldn’t be the case. The space station people would be utterly dependent on Earth for food and supplies — rich people don’t farm — and the life-saving health technology on Elysium would be a perfect trading tool. But no, instead we are asked to believe that Earth’s teeming billions still see the orbiting platform of the super rich as a symbol worth aspiring toward rather than a fortress of oppression to be torn down and rent asunder. Sorry, I don’t buy this future.
The movie is technically impressive and other than Foster’s, the characters are fully fleshed and involving. Its future is disquieting and depressing, yet its depiction of Elysium as a Utopia is incomplete and unconvincing. Instead of showing both sides of the equation Blomkamp is satisfied to simply rail against the excesses of the super rich without giving them a chance to defend themselves, or prove their generosity (or more likely, their selfishness). The problem is the script, which doesn’t explore the possibilities of the sadly artificial situation. As cool as some of the science fiction aspects are, I cannot recommend this movie. ☆ ☆. 8 September 2013.