And then it’s kick, one, two, kick into Aeon’s adventures through the proverbial looking glass, as her non-rebel sister is snuffed out in her place and Aeon goes on a revenge bender (guided, it must be said, by McDormand’s Handler, who shows up in her noggin every time Aeon ingests a little white capsule and looks altogether too much like the Red Queen on a very bad hair day), seeking to save what little remains of life as we know it. As in all utopian societies, there’s trouble afoot and rebels on the hoof, the former consisting of suddenly missing citizenry and the latter arriving in the form of Theron’s title character, an ultra-chic assassin possessed of an Anna Sui-meets-Richard Kern fashion sense and legs that appear lengthy enough to constitute an entire Rockettes chorus line by themselves. A utopian society headed by Csokas’ Trevor Goodchild and his duplicitous brother Oren (Miller, looking and acting like the evil twin of his now oh-so-quaint Hackers character) has grown up in the shadow of the apocalypse. Based on Peter Chung’s mid-Nineties animated MTV series, the film is set 400 years in the future, after a killer virus has wiped out 99.9% of the world’s population, leaving the remaining five million ensconced in what appears to be a better-irrigated version of Logan’s Run’s backlot.
Like the work of those authors, it doesn’t lack for nifty (and often depressing) ideas of where mankind is currently heading.
#AEON FLUX ANIME LEGS FULL#
Aeon Flux may be a mess, but it’s a beautiful mess, full of the sort of far-futurist thinking that might be mistaken for the extreme edge of Bruce Sterling and William Gibson’s cyberpunk.
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