Elysium opens this friday in the US. Here’s the Review from IGN:
SCI-FI WITH SMARTS
In 2009 Neill Blomkamp exploded onto the film scene with District 9, a stunning slice of celluloid sci-fi that somehow took the issue of apartheid and turned it into an action-packed summer blockbuster, earning a Best Picture Oscar nomination in the process.
This year he returns with Elysium, an equally intelligent science-fiction flick that replaces the issue of racism with concerns about poverty, immigration and overpopulation, but yet again delivers in terms of spectacle and jaw-dropping entertainment.
The year is 2154, and the world has been divided into two very distinct groups: the poor, who live on the diseased and overcrowded earth, and the wealthy, who have fled to a man-made space station called ‘Elysium’ in order to preserve their privileged way of life.
Via flashbacks we are introduced to Max (Matt Damon), an orphan struggling to comprehend the injustices of the world he has been born into. Max’s ambition is to one day make it onto Elysium, but when we encounter him as an adult in the dilapidated future Los Angeles, he couldn’t be further from fulfilling that dream.
Serving parole and labouring on an assembly line, it’s a grim existence, the people of earth kept in line by nameless, faceless robots who wrap them in reams of red tape. Max’s existence is made all the more terrible when he suffers an accident at work which has devastating consequences on his health, making his need to reach Elysium all the more pressing.
Meanwhile up on the space station Secretary Delacourt (Jodie Foster) – responsible for the defense of Elysium – is finding herself frustrated by a newly liberal administration, and identifying the opportunity for a coup, she makes a grab for power.
Delacourt activates Kruger (Sharlto Copley), a sleeper agent who revels in death and destruction, and who is charged with the task of doing her bidding on earth. Meanwhile Max becomes embroiled in a hair-brained scheme to save his own skin, and through a somewhat convoluted chain of events, the three of them are set on a collision course that could change the course of the future for mankind.
It’s gripping stuff, made all the more chilling by the fact that in spite of the film’s many flights of fancy, the premise is all-too-believable. Indeed Blomkamp seems to be very good at this brand of high-concept sci-fi, the film’s narrative similar to District 9 in that it sets up a credible future-world, takes an ordinary man, places him in extraordinary circumstances, gives him near superhuman powers (alien DNA in D9, a mech-suit here) and follows his efforts to smash the system.
And Matt Damon is the ideal man for that job, being an actor who can take morally ambiguous men and make them instantly sympathetic. Max is a complicated character whose motivations shift throughout the movie, and Damon’s nuanced performance makes him a complex and wholly compelling anti-hero.
Aesthetically Elysium is also similar to District 9, all metallic surfaces and muted colours, although the visuals are much more sophisticated this time around, the technological advancements made in the last four years plastered all over the screen so that Elysium is a constant feast for the eyes, most notably during the film’s spectacular final third.
But the film’s greatest ‘special effect’ is Sharlto Copley, so good as ‘racist-with-a-heart-of-gold’ Wikus in District 9. A mystery man of few words when we first meet his character in Elysium, Kruger gradually starts to dominate proceedings as the film progresses, so much so that you hardly notice the presence of Damon when the two stars share the screen.
And while there’s a degree of scenery-chewing to his work here, it matches the crescendo of the film’s finale, with Copley delivering what may be the performance of the summer.
He’s well supported by the always-reliable Foster as the manipulative Delacourt, and William Fichtner as the equally deceitful businessman John Carlyle.
Ultimately Elysium is Neill Blomkamp’s film however, and yet again he’s hit one out of the park. If we’re going to be critical of the movie, it follows the conventions of the sci-fi action genre a little too closely, so while the visuals are singular and innovative, the story itself smacks of the familiar.
Equally, while the film is full of gravitas and packs a serious emotional punch in the final few scenes, the sobriety is somewhat relentless, and could have been punctuated with the odd joke or light moment beyond Copley’s over-the-top posturing.
But if you are looking for serious science-fiction, bursting with allegory and social commentary, you need look no further than Elysium. Blomkamp’s vision of the future is a grim one, but in using the genre as a prism through which to tackle the many serious issues currently facing the planet, he’s yet again made the smartest blockbuster of the year. What’s more impressive still is that it’s so damn entertaining, and that deadly combination of crowd-pleasing and smarts marks him out as one of the most exciting filmmakers working today.
Neill Blomkamp’s sophmore effort proves that District 9 was no fluke, with Elysium the kind of exciting and intelligent entertainment that’s been sorely missing from the summer movie season.
Hello everyone! I come with Magazine scans from all over, mostly with articles about Elysium, which opens on the next Friday in the US (I have to wait until September to see it), and some older mags. Enjoy!
Some previews and full list of updates below:
One week until Elysium premieres in US. (I’ll have to wait until September >.>). Matt attended a photocall today:
Matt was on Despierta America (Wake Up America) earlier this week to promote Elysium, which opens next week.
Here are some pictures and you can view the video on their website entretenimiento.univision.com:
Matt is once more featured on Entertainment Weekly, this time to promote Elysium. The cover and excerpt article from EW.com are below. I’ll post scans if/when I get them.
Matt Damon may be at the top of the A-list, but he had to persuade writer-director Neill Blomkamp (District 9) to cast him in his new sci-fi film, Elysium, opening Aug. 9. “I think he was even reluctant to meet me,” Damon says, laughing, from his apartment in Manhattan. “He kept saying, ‘I’m not doing anything Hollywood,’ and I was like, ‘Dude, I live in New York.’ We ended up meeting in a diner and he was kind of giving me the one-eye for the first 10 minutes or so.” That wasn’t just in Damon’s head. “I was doing that,” Blomkamp says, smiling. “I was just trying to figure out what was going on, you know?”
In this week’s cover story, Entertainment Weekly goes inside the making of Elysium, this summer’s most provocative (and political) action film. The year is 2154 and Earth has become a Third World slum. The wealthy have long since departed, inhabiting an exclusive satellite paradise where advanced medical technology heals any ailment, from a hangnail to terminal cancer, in seconds. Damon plays Max, an orphan who dreams of the Eden in the sky, but is stuck slaving at a Los Angeles factory that manufactures droids. When he is accidentally irradiated, Silkwood-style, and told he has five days to live, Max hatches a plan to save himself. To do that, though, he’ll have to team up with a band of revolutionaries determined to make Elysium accessible to all. Standing in his way are Secretary Delacourt (Jodie Foster), head of Elysium’s Civil Cooperation Bureau, who guns down any illegal spaceship attempting to enter the satellite’s orbit, and her psychotic henchman (District 9‘s Sharlto Copley), dispatched to take Max and his crew out.
So: Health care. Immigration. Economic disparities. Environmental degradation. Any of this sound familiar? “Everybody wants to ask me lately about my prediction for the future, whether I think this is what will happen in 140 years,” Blomkamp says, riding shotgun in a red Prius amid the soft green lawns and swaying palm trees of Beverly Hills. “No, no, no. This isn’t science fiction. This is today. This is now.”
Blomkamp, 33, had made the Oscar-nominated District 9 for $30 million, completely under the Hollywood radar. But for Elysium he needed a big budget ($100 million), which meant he needed to make a studio film, and cast A-list stars. This made him nervous. He didn’t want some Hollywood ego derailing his vision, which is why he was keeping Damon at arm’s length at first. “High-level actors can be these razor-sharp tools that help you tell the story,” Blomkamp says. “But they can also be all about their close-ups and the size of their trailers. I was very apprehensive. You just hear all these horror stories.”
Matt Damon has gotten an nomination for this year’s Emmy Awards for his role in Behind The Candelabra, in the category Outstanding Lead Actor in Miniseries or Movie. Michael Douglas, who also starred in the movie, has also got an nomination.
Behind The Candelabra got nominated for Outstanding Miniseries or Movie, Outstanding Writing for Miniseries, Movie or Dramatic Special and Directing for Miniseries, Movie or Dramatic Special
The Emmy Awards will air on September 22nd, on CBS.
Congratulations and good luck!