Even less explained is the sudden appearance of Pete Postlethwaite as someone who resides in a giant floating thingy far above the city, kind of like the man in the moon in the midst of chemotherapy. There’s plenty of inventive future-world action, including a neat sequence where Aeon sends in wicked fast micro-bot marbles to blast through a door, and interesting aerobics courtesy of a character played by Sophie Okenodo, who has hands instead of feet, an anomaly the film finds little time to coherently explain. Of course nothing is as it seems and when she gets to the man behind the group (Marton Csokas) she discovers all kinds of secrets.
Theron is Aeon, a powerful assassin working for the Handler (Frances Mcdormand), assigned to bring down a dangerous regime in a utopian city where humanity’s last vestige of populace exists following some viral plague decades before. Charlize Theron can practically carry any material on her own, she’s just that dynamic, and when supported by an impressive vessel of visual effects and a clinical, sleek stylistic palette she’s even better, but this beast has no heart beating at the centre of all that, and it shows. You’d think they would have learned with this one, but nope.
Before Ghost In The Shell, Dragonball (fucking shudder) and a host of other attempts at making anime content work as a live action film, there was Aeon Flux, a supremely weird dystopian Sci-Fi palooza that should have just been the first and last of it’s kind, ground zero for moving forward, lesson learned in terms of knowing that such specifically artistic material just *doesn’t* translate at all beyond the original animation versions.
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