Review: "Elysium"

This review was previously published in my column at Towleroad

Matt Damon has a gym membership but no health care in ElysiumIn the future everyone has trouble finding good healthcare, there is no middle class, and Los Angeles is a cesspool. So far, so believable. By the future you mean next week, right? Dystopian fantasies work best when they prey on current fears and exaggerate like a mofo. ELYSIUM knows just where we hurt, aiming squarely for our 'have-not' wounds. Though there is no direct talk of politics in Neill Blomkamp's action flick / sci-fi allegory, this 22nd century Earth is a place where the Right Wing have obviously long since won the political wars. The Koch Brothers and Friends, the "Corporations are People!" set, have vacated the filthy planet altogether to rule from afar and horde their wealth. They orbit the earth in mouthwatering luxury aboard the titular space station Elysium which spins like a pricey slo-mo hamster wheel (think 2001: A Space Odyssey. Add bling, swimming pools and golf courses), though it's undoubtedly the 99% who are powering it with their sweaty manual labor.

One such laborer is Max DaCosta (Matt Damon) who is foolishly hoping to 'work his way up' and buy a ticket to Elysium. He's an ex-con, though, and delusional about his future prospects. Even his childhood love Frey (Alice Braga), a stand-up citizen and steadily employed nurse can't afford to move there. In the future good health care is only available to the 1% despite technology so advanced that anything this side of death is instantaneously curable (think magic not medicine) and Max and Frey are out of luck. Socioeconomic mobility is as extinct as the weird animals that Max and Frey look at in picture books as children in flashbacks -- what the hell is a giraffe?

And also: why is Jodie Foster so pissed off???  

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The summer blockbuster is dying? Thank goodness

Hi, it's Tim. It’s not typically the Done Thing for us members of Team Experience to respond to each other, but Michael C’s Burning Question yesterday got me thinking especially hard, and coupled with Nathaniel’s mention of my own “why did this summer suck so hard?” jeremiad in his link round-up, it seemed impossible not to address what has suddenly become a hot topic: the death of the great American blockbuster, although with Iron Man 3 striding past $400 million, reports of the death of tentpole filmmaking are perhaps exaggerated.

That said, there’s clearly a problem, and as somebody who still hasn’t grown out of the desire to see robots punching explosions into bigger explosions, or what have you, I count myself among the aggrieved that big-budget Hollywood movies have been steadily turning into such paint-by-numbers, flavorless affairs, too finely-tuned for international consumption to have any real personality. But that’s not what I want to talk about – there’s been enough talk about that. I want to talk about the happy flip side of things, which is that for all that the impressive flops and under-performers, it’s hardly been a dolorous wasteland at the multiplex. In fact, I take the story of this summer to be a hopeful one: the future seems to be taking shape right in front of us, and it’s exactly the opposite of the panicked “Cinema is dying!” rants delivered by such men as the Stevens, Soderbergh & Spielberg, recently.

If I were to pick the single most impressive box-office story of the summer, it wouldn’t be Iron Man 3 hitting a figure that is, however large, not that big a deal for a movie with its kind of budget, especially one serving as de facto sequel to a film that destroyed very nearly every record that exists. I’d go with either The Great Gatsby or The Conjuring. [MORE...]

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There are Seven Shots of Julianne Moore in the Seventh Son Trailer. Just Saying.

I don't have the heart to do a "yes no maybe so" on the trailer for The Seventh Son, the latest fantasy epic would be franchise (there are more of them each month) because the movie has been moved to January. But it does co-star Julianne Moore as the sorceress Mother Malkin and the trailer does use her voiceover in a very Queen-Ravenna-in-Snow-White-and-Huntsman-trailer kind of way. So there's that.

Coincidentally (?) there are seven shots of our goddess in the trailer.  

THE SEVEN SHOTS

1. "Did you miss me?".... Mother Malkin materialize from the air and slinks towards Jeff Bridges Vocal Affectation. Oh Juli, in theory we always miss you but since you are one of the hardest working women in showbiz we seldom have to.

six more after the jump

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A Link Odyssey

The Flick Filosopher "my back let me show you it" on the faceless objectification of women in movie posters
Pacific Standard investigates what's going on with all those shlocky monster movies on Netflix Instant Watch. One studio is just churning them out by the dozen!
Splash Page Andrew Garfield wonders why we can't have a gay Spider-Man 

Vulture does some mathematical analysis from 1989-to-Now and, nope, Hollywood just doesn't make movies about women anymore
Deep Dish (site is NSFW) picks the best (& worst) of the season. A lot of Nashville, American Horror Story, and Downton Abbey but Don & Betty win "best sex" for Mad Men. I concur.
Hollywood in this week's Truly Tasteless News, they are already planning a movie about the Boston Marathon Bombing. It might be well-written -- the guys from The Fighter are onboard -- but still... a little time to heal people. 

Finally, Jose from Movies Kick Ass never cared much for Stanley Kubrick while still respecting him (he and I are similar that way) but Jose was finally converted to 2001: A Space Odyssey (1968) by way of this week's big screen viewing at BAM in Brooklyn as part of their Big Screen Epics series. And how!

Coincidentally I was also there and the size of the screen, the beauty of the theater (thanks BAM) and the immersion of the sound also made me a new and real convert. It was as if I'd never seen the film before. Suddenly so many movies... so many movies seem like they owe their best moments and even their existence to it. (Hi, Tree of Life!) I suddenly need to reevaluate every Kubrick on the big screen. In fact, the only film of his I've seen in the size it deserves is Eyes Wide Shut (1999)... though in that case, size didn't matter. I was unmoved. 

Let us now praise Japanese monsters

Hi everybody, it’s Tim, using the impending release of Pacific Rim as a bald-faced excuse to talk about one of the greatest guilty pleasures in the whole of cinema: THE GIANT MONSTER MOVIE.

Guillermo del Toro’s extravagant, costly tentpole picture is, of course, a well-publicized love letter to the Japanese genre known as kaiju eiga: the giant monster movies born from the iconic 1954 Godzilla. These quickly descended from the relative sincerity and social messaging of that film (or the contemporaneous American production Them!) into trashy action films that further descended into silly matinee pictures, borne on the wings of the legendarily awful Baby Godzilla, and his soullessly googly eyes. [more...]

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