Set in the year 2154, Los Angeles now resembles a bombed out, decrepit
favela from City of God. The planet raped of its natural resource, what
remains is a withering husk, riddled with so much crime that heavily-armed
robotic cops patrol the streets constantly. Overpopulated, polluted, and
diseased, this ghetto-world is a place of utter hopelessness. The 1% have it
much better in the space station Elysium, breathing clean air, indulging in a
life of complete luxury, and never having to worry about sickness or injury
thanks to amazing technology that can cure or repair any ailment. It's no
wonder that immigrants from below risk all to get up there, crowding in rundown
spaceships and hoping to make it to the Elysium surface.
Right away Blomkamp has set the stage for another brilliant piece of social
and political commentary, similar to his surprise Best Picture nominee, District
9. Elysium has the same intellectual aptitude as that film did, but
is an even greater visual marvel with all of the blockbuster qualities one
could hope for. And a large part of what makes this perfect combination run on
all cylinders is Matt Damon, who plays troubled ex-con Max De Costa. A parolee
with a vast criminal background, we see that he's someone who doesn't really
fit in with the way the world has changed. Cynical and sarcastic about his
current station in life, working in an awful factory job at Armadyne like a
regular working stiff; his attitude gets him in trouble repeatedly with the law
and his employer. When his boss forces him into a dangerous predicament at
work, Max is blasted with a lethal dose of radiation. Coldly informed he has
only five days left to live, by a medical robot with terrible bedside manner,
Max decides it's time to stop trying to be a decent guy and do whatever it
takes to survive.
Although everything about Elysium is fascinating, one of the more
inspired choices Blomkamp makes is in the depiction of Max, and casting Damon
in the role. Far from a traditional hero, Max is a guy with a history of making
irrational, often selfish choices. It's not the typical sort of role we see
from Damon, but as played by him we immediately feel that connection and
understanding of his frustrations. So we understand it when Max tracks down
Spider (Wagner Moura), a barrio kingpin and tech genius whose criminal
activities extend to ferrying illegal immigrants onto Elysium. Max wants in on
the next flight so he can use one of the all-curing medical bays to cure his
cancer. But to get a ticket, he'll need to pull off a risky job for Spider, and
it involves hijacking the brain of Armadyne CEO John Carlyle (William Fitchtner),
who has just struck a secret deal with Elysium's ambitious Secretary Rhodes
(Jodie Foster). A Jan Brewer-esque hardliner with a political agenda, Rhodes
employs a maniacal wildcard in agent Kruger (Sharlto Copley), who stands as the
last line of defense (does that make him her Sheriff Arpaio?) keeping
immigrants off of Elyisum soil. But Max isn't in this to save humanity; he's
looking to save himself first and foremost. It's a critical point that we see
touched on in intriguing ways throughout, especially when he runs across his
childhood friend Frey (Alice Braga), who now has a daughter dying of leukemia.
Mostly free of exposition, Blomkamp trusts his audience to fill in the
blanks on most aspects of the story, and it's a smart decision that keeps
things running at a brisk pace. We never learn how human society ended up in its
current state, perhaps because Blomkamp realizes we're on that path right now.
Nor is there an attempt to explain all of the amazing weapons, gadgets, and
healing technology that make this world so unique. Like District 9,
Blomkamp keeps the science rooted in reality so that no matter how incredible
some of it may be, it's easy to form a connection to. The exo-suit Max is
fitted with (in a rather disgusting Cronenberg-esque sequence) isn't overly
impressive visually, but it makes practical sense. Blomkamp's blending of CGI
and natural, practical effects is masterful, and it's safe to say this is one
the most strikingly gorgeous sci-fi movies ever put together, and all without
leaning on the 3D crutch. While the budget for this one far exceeds his
previous film, you get the sense that Blomkamp only included what was
absolutely necessary. What he probably should have left out are some truly
cheesy flashbacks to Max and Frey's childhood, which have a saccharine quality
that simply doesn't fit. But they're also really badly written and clearly
designed to paint Max as a destined hero. The film is already special, epic,
and sprawling, so adding a bunch of pointed prophecies about Max's fate just
seems gratuitous. 
There will be some who will take issue with the film's politics, which
undoubtedly argue for a more developed healthcare system, smarter immigration
policy, and greater economic equality. While these ideas are obvious, they're
subtle compared to the more overt District 9. It's not like Blomkamp had
each med-bay stamped with an 'ObamaCare' label, although some will no doubt act
as if he did. What Blomkamp really seems to be saying is that if we treat all
people with a measure of kindness, the world will be a much better place for
everyone. It's a simple, humanist message and one that should be universal
rather than the target for partisan attacks. And sure, there will be some who
wish Blomkamp could keep his ideas to himself and just the let the movie be
what it will be, but those folks probably shouldn't be watching a Blomkamp film
to begin with. Nor do they have an understanding of science fiction, perhaps
the greatest cinematic vehicle we have for making social allegory. Agree with him or not, Blomkamp has surpassed the high bar he set for himself. A thrilling, intelligent spectacle that has something to offer for everyone, Elysium stands apart from all of the summer blockbusters as a truly unique film with an uncompromising vision.
