Aeon flux cartoon ending
It was a story joined seemingly in the middle. A lean, mean killing machine in black vinyl and thigh-high boots punched, shot, bit and cut her way through a labyrinthine lab and government complex on her way to kill some creepy James Woods look-alike dictator. She had no past. The story seemed to have no beginning or end, at least the way I experienced it, channel surfing by as another short installment was airing. Nobody talked much.
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Aeon Flux: Episode Reviews
Toggle navigation Menu. Every week this summer, we'll be taking an historical tour of the Hollywood blockbuster by examining an older film that is in some way a spiritual precursor to one of the weekend's wide releases. This week: the makers of Atomic Blonde have decided, correctly I think, that Charlize Theron is due for a hand-to-hand combat action movie.
She's made a few such projects over the years, and I figured, what the hell, it was time to finally catch up with one of the more notoriously bad ones. The production design, by Andrew McAlpine, is just sweller than swell, for starters, certainly good enough that it should be able to compensate for a certain lack of inspiration in the screenplay - just ask Blade Runner , Dark City , or Moulin Rouge!
And director Karyn Kusama's staging is pretty damn nifty, all things considered. Nonetheless, it sucks. There can be no doubt at all that at least some of that sucking can be laid squarely at the feet of the Paramount executives who insisted on rebuilding the film to be more mainstream-friendly than Kusama's original cut: it has the unmistakable hollowed-out, jerkily-paced feel that comes when scenes have been ripped out more for reasons of running time than narrative clarity.
It's not exactly "confusing", as a result, though it's more muddled and aimless than the story in any way justifies. Still, let us not say "corporate interference! The film was released two years after Theron's Oscar win for Monster , and the same season as North Country , for which she nabbed her second Oscar nomination, so we're definitely firmly in "Theron is a respected, established actor" territory, but you'd never know it from the performance she gives her, easily one of her career-worst.
Flux is a member of the Monicans, a rebel group dedicated to overthrowing Trevor Goodchild Marton Csokas , and her political mission becomes personal when government assassins mistakenly kill her sister Una Amelia Warner. It's not necessarily hard to follow, but it assuredly dull to follow, particularly once the inevitable secret of Flux's identity starts to crawl out, and the secrets of Bregna itself. What should be stunning revelations clunk into place with heavy thuds.
It's a pity that the oral history of Bregna should be such a grind, because what we learn about the place from looking at it ought to be the stuff of a really magnificent sci-fi film.
The film is a rarity in that it's a strongly production design-driven story set in a dystopian future that doesn't meaningfully evoke Blade Runner. Instead, the world of the film has a kind of chilly futurist neo-classical vibe, like what you might get if killer robots built a version of 18th Century France. It's all stunning to look at, even if its as simple as the green space cut into small gardens by flowing grey lines where Flux and fellow Monican Sithandra Sophie Okonedo use elaborate martial arts moves to avoid the sentient razor-sharp grass trying to kill them, or as dramatic as the huge ventilation system with Expressionist lines where Flux attempts to sneak into one government building or another.
The whole look of the thing is lifelessly ersatz, huge and pretty and vaguely mechanical, and given what we'll learn to be true of Bregna, this is all exactly as it should be. Kusama's way of placing her actors into this space has a certainly brittle, formalistic quality that matches the feeling of the set design. The way that the action scenes, in particular, ask the actors and stuntpeople to movie and hold their bodies suggest some thoroughly foreign way of inhabiting not just physical spaces but one's own flesh - Sithandra's introduction, sidling into the movie around a wall like she's a fluid substance, is an especially striking example, but examples abound.
The action itself is fairly sedate and ordinary, but the rhythm of the choreography, as much modern dance as action cinema, gives it a unique personality.
It's overly choppy, to be certain; the s did have their mania for cutting action sequences into indiscernible fragments. The clunky delivery of exposition, I've mentioned, is part of it.
The flat, dead tone is also part of it, and probably a much bigger part. The film feels like it ought to be funnier and more fun: it has plenty of quips, and a general sense of being a snappy swashbuckler. The movie is fucking ponderous, and much of the blame for that, I am sorry to say, goes directly to Theron. She is only capable of, or interested in getting at the surface of the character as a glamorous, icy assassin, sleek in her black outfits and hairdo.
The character as played is mirthless and unfeeling, all smirks and snarls without any kind of shading, and all the lines and plot points trying to get at something different fall completely flat. But she's as much a symptom as a cause.
The film is too mechanically talky to be thought-provoking, despite an at least somewhat brainy backstory; it is too fragmentary and addicted to close-ups to be exciting, despite its balletic action choreography. The sets look nice, and nothing can stop them; but when a movie is this sour and grim, beautiful sets can't do much, and while it's hardly a gruesome train-wreck like critics at the time seemed to think, it's no shame at all that this one is well on the way to being lost to time.
Categories: action , blockbuster history , joyless mediocrity , production design-o-rama , science fiction. The Amityville Haunting Twin Peaks: The Return - Part 7.
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Aeon Flux (U.S. TV)
Post a Comment. July 14, As Aeon makes her way up the ladder and we see her approach the window with the blaring light that she has been trying to get to this whole time we are given one of the strangest yet climatic endings Ive seen in a show. Its typical of Aeon Flux to have episodes where she dies at the end, but what makes this ending special is although her death almost feels like our expectations are being shattered and at the sametime anticlimactic. But Peter Chang the director did such a good job with this that he was able to take this death of Aeon and spin it into a satisfyingly odd conclusion.
Peter Chung
Log In Sign Up. Keep me logged in on this device Forgot your username or password? Don't have an account? Sign up for free! Topic Archived Page 1 of 2 Last. Sign Up for free or Log In if you already have an account to be able to post messages, change how messages are displayed, and view media in posts. When I first saw the trailers for each, I thought they looked very similar.
AEON FLUX (2005) (***)
Girlfight helmer Karyn Kusama took most of the punches though and the film took a dive at the box office. While the story is flat, the visuals hit you right between the eyes. The Locations Of Aeon Flux reveals that Kusama initially wanted to shoot the film in Brasilia, Brazil, which was built in the 50s as a model of the future. We hear a little more about this vision in Creating A World, but mostly this featurette delves into the peripheral issues of designing a post-apocalyptic future.
The BEST episodes of Æon Flux
What is the aesthetic of Aeon Flux? On a friend's recommendation, I rented the first two volumes of the Aeon Flux. I was assured that I'd love it. I don't hate it, but they're doing something with their story that I just don't get. Even the commentary isn't helping much.
‘Aeon Flux’ an empty-headed sci-fi failure
These were produced in an era of MTV when innovation and being different counted for a lot. Short Episodes — Aeon Dies! She then learns that Trevor has killed a senior politician before she falls to her death! She steels some eggs and attempts to escape before one of the creatures finds and kills her. Tide The strange tale of a key to a plunger that will save a large building from sinking. Aeon is accompanied by a doomed prisoner Trevor and a treacherous accomplice. War A gory and magical episode about the futility and inevitability of war. We see Bregna and Monica battle it out with no apparent regard for the loss of life, all to save one person.
Aeon Flux, Page 2: More Screencaps
Follow the deftly skilled Aeon on her adventures through a futuristic world brimming with chaos and corruption. Experience every gripping episode of this cutting edge animated series like never before, as each episode has been digitally restored and has been bolstered with a 5. Every aspect in the creation of The Complete Aeon Flux has been overseen and endorsed by original creator Peter Chung making this the definitive Aeon Flux collection. Utopia or Deuteranopia Trevor has an obsession with Aeon and tries to create a space in the ambassador's body whose gone missing for several days now.
I just wanted to discuss the new release a bit, particularly the extra bonuses. Best Buy's release well have a special on-pack music CD with selections from the show's soundtrack, not bad. Peter mentioned earlier than the Musicland stores Suncoast, Sam Goody, Media Play will have production model sheets he personally selected. Are there any other special bonuses out there not mentioned above? Unfortunately I'm having the DVD set ordered and delivered to my address in the US, and won't get to see it till the end of next summer.
Hushidor Mortezaie is bored with being human. He's ready to mutate. He's had a nose job, some lipo. His close-cropped hair changes color like a mood ring. Even among the freaky salesclerks he works with at Patricia Field--a store servicing the fashion fetishes of New York's downtown club scene-Hushi sticks out. In his Japanese clogs and plaid Bermudas, he doesn't just look like a cartoon.
Have you ever wondered what would happen if zombies and '90s sci-fi nostalgia collided in one TV show? No, us neither to be honest, but that doesn't mean it's not happening. In quite a move from pre-, post- and mid-apocalyptic drama, Deadline is reporting that Gale Anne Hurd is developing a reboot of the animated sci-fi series Aeon Flux. Davis will write the re-imagined, live-action take on the cult series, which is set in a future dystopian state.
Bombay!
Yes all this imaginary
the excellent thought
What a rare chance! What happiness!