REVIEWED - AEON FLUX: THIS fascinatingly rubbery sci-fi oddity from the director of Girlfight offers any number of targets for ridicule, writes Donald Clarke
The exteriors, decorated with the kind of rectilinear shrubs one so frequently finds in films set in the 25th century, appear to have been shot in UCD. The body of the plot, which has something to do with a killer virus annihilating 90 per cent of the earth's population and a subsequent, inevitable descent into plate-glass university dystopia, is related in two hilariously lengthy speeches. Pete Postlethwaite gets to dress in a huge pipe. Sophie Okonedo has hands where others have feet.
But, strange to relate, none of the above absurdities constitutes the most risible aspect of the film. That honour goes to the grim mastermind who - or so we are, at first, led to believe - has dedicated his time to the enslavement of the masses. Marton Csokas, who offered similarly charismatic support in Asylum and Kingdom of Heaven, plays the role perfectly adequately. The problem is simply as follows: this terrifyingly grim entity's name is Trevor.
No disrespect to readers who share that handle, but Trevor is not an evil genius from the year 2415. He is a man in a cravat from 1974 who really wanted to be a racing driver but ended up working as a commercial traveller for SodaStream. He is not played by Marton Csokas. He is played by Martin Jarvis. Or, more likely, nobody.
Anyway, for those who can set the comical dramatis personae aside, Aeon Flux, which is based on a defunct MTV animated series, does offer a few yuks. There are some nicely freaky design flourishes and Charlize Theron, who plays a nimble rebel, looks impressive in the outrageous costumes. Come prepared for a rip-off of Barbarella rather than a rip-off of The Matrix and you should find it bearable enough.
