‘Elysium’s script makes a virtue of the ‘haves’ and ‘have nots’-motif. This shouldn’t be too surprising given it’s directed by Neill Blomkamp helmed the similarly themed ‘District 9’. Exploring the right of privilege within a science-fiction setting, it makes for a stirring and visually amazing social commentary. Anchored by a strong cast, its topicality and CGI give it an edge missing over other unmemorable productions.
Max (Matt Damon) is a factory worker living on a ravaged Earth in 2154. When he discovers he has cancer, he determines to find the cure in Elysium - a space station inhabited by the wealthy Elysium hovers above Earth where society’s poor live. Forging a new identity and aiming to hijack his way there, Max comes up against a formidable opponent in Elysium’s Defence Secretary Delacourt (Jodie Foster). On the run from her savage police unit, Max’s desperation for survival gives him the fuel needed to overcome any potential barriers.
‘Elysium’ is reminiscent of 1970’s science fiction movies. Taking their cue in actually being about something than a throwaway robot-fest like recent productions, its substance is a major plus. It draws you into its story of privilege versus poverty without seeming too clichéd or forced. Aided by some wonderful special effects, the screenplay is filled with solid characters and interesting ideas.
Damon and cast perform their roles with ease. Foster is especially good as an all too real villain with her character exuding a believable menace. This ties in well with ‘Elysium’s efforts in making the overall story relatable despite futuristic trappings. That it also manages to be highly entertaining is a credit to Blomkamp’s fine directorial skills. There’s plenty of well-staged action with tension continually mounting until the gripping finale.
It isn’t often a really good science fiction film comes along. ‘Elysium’ is one. Thoughtful, exciting and captivating, it wouldn’t surprise if this made to any genre fan’s ‘all-time favourite’ lists.
Movie Review Rating out of 10: 9
Movie Review by Patrick Moore
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