elysium

One of the most artistically satisfying aspects of the science-fiction genre is its ability to tackle contemporary issues effecting us in the “here and now” through a disguised crystal ball. Think Avatar and its blue-skinned eco-warriors. Or Planet of the Apes reverse take on racism. At its best sci-fi works on both levels: social criticism and plain ‘ol escapist entertainment.

Director Neill Blomkamp did just that with District 9, constructing a brilliant critique of the immigration problem in the form of thousands of alien refugees stranded in a man-made South African slum. The film’s financial success however, was more likely due to the Halo-like weaponry used in the violently exciting finale. Either way, it was clever enough to earn itself a Best Picture nomination; no small feat for a genre that rarely achieves that sort of critical recognition.

So anticipation was high for Blomkamp’s sci-fi follow-up starring Matt Damon as an honorable worker-bee living on a polluted, diseased future-earth which the “elite” class has abandoned in favor of a luxury space station called Elysium. All disease, including old age, can now be cured with just a short nap in a souped-up tanning bed. But the dirty riff-raff of old-Earth simply isn’t welcome. Jodie Foster, who plays a straight-up bitch for a change, makes sure of that.

But when Damon’s character is exposed to a lethal dose of radiation, he suddenly has nothing left to lose and accepts a suicide mission to download important data into his head and deliver the destructive payload to Elysium. That his girlfriend has a terminally ill daughter who can be cured is just icing on the cake for his planned revenge against the establishment.

With better actors and more money, Blomkamp’s film should have been an easy improvement on the “found footage” style employed by District 9. But more resources do not always make for a better film. And that’s certainly the case here. Elysium swings too far to the left, pushing its social agenda so far into the forefront that characters become almost comical black-and-white stereotypes. All the “haves” in Elysium are selfish evil bastards, while the “have-nots” are portrayed as noble savages. And perhaps more damaging, these social issues become the meat and potatoes of the film, not just a flavorful side dish.

District 9’s Sharto Copley returns as a loony professional assassin. And his orbital showdown with Damon attempts to replicate that films’ third act concession to videogame-style mass destruction and gee-whiz gadgetry. But this time the structure is so transparent that the impact is more Atari than XBox. The effects work is all top-notch, creating a nice contrast between the crusty, filth of future-LA and the sculpted Star Trek gardens of Elysium. And Damon, miscast here, still manages to account well for himself. It’s the simplistic politics of the film itself that lets everyone down.

Sony’s blu-ray presentation is pretty much flawless, though. The movie’s high-tech esthetic transfers well to hi-def and a copious amount of extras (six separate featurettes and an extended scene) go along with a DVD and digital copy.