Life Redux

“Æon Flux” (2005) – movie review
Today’s review is for the dystopian sci-fi action film “Æon Flux” (2005), starring Charlize Theron as Æon Flux (a lithe, lethal rebel operative with a tragic past and a mission to destabilize a utopian regime), Marton Csokas as Trevor Goodchild (the enigmatic leader of the ruling government and Æon’s conflicted love interest), Jonny Lee Miller as Oren Goodchild (Trevor’s more ruthless brother and political rival / heir), Sophie Okonedo as Sithandra (Æon’s acrobatic ally with hands for feet), and Frances McDormand as The Handler (the Monican leader who issues cryptic orders from a surrealist throne).  Directed by Karyn Kusama and loosely based on Peter Chung’s animated MTV series, the film attempts to translate stylized rebellion and philosophical ambiguity into a live-action narrative of genetic control, memory persistence, and institutional decay.
Background:  I first saw “Æon Flux” several years after its release on DVD, drawn by Theron and the promise of high-concept sci-fi.  I have never seen the original animated series, so all of my comments related to it are from reading / research while drafting this review.  The film was met with critical ambivalence, though it has since (supposedly) earned a modest cult following among fans of stylized dystopia.  Watching it again, I found myself appreciating the ambition more than the end product.  It’s a film that wants to be philosophical but often settles for kinetic.
Plot:  Set 400 years in the future, after a virus has wiped out most of humanity, the surviving population lives in Bregna — a walled city governed by the Goodchild dynasty.  Æon Flux is a top agent of the Monicans, a rebel group seeking to overthrow the regime.  When she’s sent to assassinate Trevor Goodchild, she discovers a deeper truth:  the society is built on cloning, and she herself is a reincarnation of Trevor’s long-dead lover.  As memories resurface and loyalties blur, Æon must decide whether to destroy the system or reshape it.  The film builds toward a climactic confrontation with Oren, revelations about the cloning program, and a final act of destruction that is meant to symbolize rebirth.
So, is this movie any good?  How’s the acting?  The filming / FX?  Any problems?  And, did I enjoy the film?  Short answers:  Sort of;  committed but uneven;  stylized and inventive;  multiple;  yes — with caveats.
Any Good?  Sort of.  “Æon Flux” is a film that struggles to balance action with introspection.  It wants to be a meditation on identity, memory, and control, but often gets distracted by gymnastics, special effects and gunfire.  The script is heavy on explaining and light on emotional resonance.  Still, the film’s ambition — to explore a society built on repetition and repression — is interesting to consider.  It’s not a great film, but it’s trying to be an interesting one.
Acting:  Charlize Theron is physically commanding and emotionally restrained.  Her Æon is more soldier than seductress, and while the performance lacks the anarchic edge of the animated version, it’s grounded in grief and resolve.  I must admit to a certain amount of admiration / respect for Theron – the actress.  I missed much of her early work and am only coming to appreciate her career by viewing her older work retrospectively.  I like that she has been able to alternate between “beauty,” “action hero,” and “serious” roles.  Not many (male or female) can pull off this varied a body of work.  I just hope she doesn’t “jump the shark” by singing in some silly musical.  But, maybe she can sing, too.  LoL.  Marton Csokas brings gravitas to Trevor, though the chemistry between him and Theron feels muted (more like unbelievable).  Jonny Lee Miller’s Oren is suitably sinister, but underwritten.  Sophie Okonedo adds kinetic energy, and Frances McDormand — in a role that feels like a surrealist cameo — delivers cryptic authority with flair.  The ensemble is committed, but the dialogue often works against them.
Filming / FX:  Visually, the film is striking.  The production design blends brutalist architecture with organic surrealism — gardens, corridors, and costumes that evoke a world both sterile and sensual.  The cinematography by Stuart Dryburgh favors symmetry and shadow.  Action sequences are choreographed with balletic precision, though they feel disconnected from narrative stakes.  The film’s aesthetic and its strongest asset is as a blend of other action movies but the action’s not enough to make or carry a story.
Problems:  Multiple.  The script is dense with jargon and light on character development.  The pacing is uneven — slow philosophical stretches punctuated by sudden violence.  The emotional arc between Æon and Trevor is lacking, and the supporting characters feel like mere sketches.  The film’s central concept — cloning as a form of societal stasis — is interesting but poorly explained (probably because it doesn’t work).  And while the visuals are inventive, they often feel like they belong to a better film.
Did I Enjoy the Film?  Yes — with caveats.  “Æon Flux” is a film that rewards visual attention more than deep thought. I found myself admiring the design, the ambition, and Theron’s physicality, even as I questioned the coherence of the plot.  It’s a film that gestures toward depth but rarely dives.  Still, for fans of dystopian aesthetics and speculative fiction, it offers moments of intrigue.
Final Recommendation:  Low Moderate recommendation.  “Æon Flux” is a flawed but visually compelling sci-fi film that explores themes of memory, control, and rebellion.  If you’re a fan of stylized dystopia, philosophical ambition, or Charlize Theron in combat mode, it’s worth a viewing.  It’s rated PG-13 for stylized violence and thematic content.  It didn’t win awards, but it remains a curious attempt to translate animated abstraction into cinematic narrative.  You probably need to watch it — then revisit the original MTV series to see what was lost (and what was never meant to be found).  The movie didn’t impress me enough to do this (view the series) myself…
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Click here (29 November) to see the posts of prior years.  I started this blog in late 2009.  Daily posting began in late January 2011.  Not all of the days in the early years (2009-2010) will have posts.

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