Elysium (Blomkamp, 2013)

Class struggle has remained a popular theme among cinematic allegories. The classic good vs. evil moral themes and the similarities to the problems of today make it an easily accessible backdrop. From The Tale of Two Cities to The Dark Knight Rises, each new reflection of class differences tries to add something new to the genre. On the outside, Neill Blomkamp's Elysium seems to be a creative new look on these overdone themes. But what viewers get instead is one shrug after another, leaving them empty and none the better because of it.

While it's not nearly as inventive as it boasts, Elysium nevertheless remains a visually spectacular action film. It features multiple small-scale fighting sequences that keep moviegoers entranced during the initial viewing. The problem with Elysium is not the movie itself, but rather it's aftermath; once viewers start to talk and think about it, they will realize that there's really not much to this picture. Neill Blomkamp's District 9 (2009), on the other hand, is a highly thought-provoking sci-fi piece. This clearly talented filmmaker could have done so much more to make Elysium an entertaining art film.

Set in a dystopian future where overpopulation and disease has shaken Earth, the upper class moves into a large space station orbiting the planet. The station, Elysium (which means "paradise" in some cultures), is a fully-functioning atmospheric habitat, allowing the rich to live in peace and preserve their way of life with the best technology at their disposal. Earth, on the other hand, is a crumbling nightmare, controlled by abusive robots and unsympathetic corporations.

Max (Matt Damon) dreams of one day living on Elysium, but due to his troubled past, cannot find a stable job to earn the money necessary to purchase a ticket. He's trapped in a parole system that treats him as a public menace. But after an radiation-fueled accident, Max learns that he only has days to live. Seeking help from a shady technophile eager to start a revolution, he dons a robotic suit that makes him stronger and faster, keeping the fatal radiation at bay. Now, Max must steal vital information that could be the turning point in Earth's future. But, he must contend with Defense Secretary Delacourt (Jodie Foster) and her lethal assassin Kruger (Sharlto Copey), who desperately want the information for themselves.

The casting in Elysium is one of the weak points. Matt Damon is the wrong choice for Max, and he just feels awkward in this role. His potential as an action and/or dramatic star is not in contention, but he tries just a little too hard here. Jodie Foster's cold and calculating femme fatale is highly interesting, but she is not given enough screen time to take any real notice. On the other extreme, Sharlto Copey, as the mindless killer, is seen WAY too much; his cool novelties wear off after the first hour, and he's in the second half twice as much. William Fichtner, Alice Braga, and the other supporting roles do not perform particularly well, either.

The dialogue is atrocious, with one cliche-riddled line after another. The premise itself is fascinating, and there's no denying Blomkamp's capacity as a storyteller. But the "one day you'll make a huge difference" garbage is old and never satisfactory writing. In addition, as entertaining as it is to see someone blow up into a million little pieces, seeing it with every single death is palm-in-head worthy by the end.

Elysium remains visually stunning, with awesome special effects and well-developed production designs. On Earth, every scene is crowded with people, a little detail of overpopulation that most directors seem to forget. The robots are very life-like and fulfill their CGI purpose nicely. Someone pointed out to me that everyone on Earth speaks Spanish, and those on Elysium speak French, which is another well-integrated and thought out detail.

Science fiction at it's best serves as a social allegory, masked behind a seemingly-fantastical universe; District 9, for example, dealt with the apartheid of South Africa through aliens that crash land on Earth. That film in particular harkens back to the glory days of highly creative science fiction writing that is not seen as much today. Elysium and it's director should have stuck with the formula they knew worked for District 9, and applied it to a more entertaining story with bigger thrills. Instead, they crafted an empty picture masked behind a visual sleight-of-hand.

Two and a half out of five stars.

The Way Way Back (Faxon and Rash, 2013)

Remember those dreaded summer-long family vacations? The ones where mom and dad would claim the kids would enjoy themselves, but the children just feel miserable the entire time? Well, Duncan (Liam James) knows the feeling, stuck on a beach-town filled with negligent, childish adults and bratty teenagers. For a kid who already feels lonely, this trip could have been a nightmarish and never-ending struggle. However, Duncan forms a friendship and a capacity for fun in ways he never could have imagined.

Thanks to a bravura performance from Sam Rockwell, and a likable lead in Liam James, The Way Way Back is an entertaining and mostly lighthearted coming-of-age film. The writing is sharp, and the direction is impeccable (probably because Nat Faxon and Jim Rash did both). The entire cast gives surprisingly effective performances, allowing the actors to immersive themselves in roles that usually play against their personal stereotypes. It's a refreshing and original comedy drama.

Liam James stars as Duncan, a teenager who has had to deal with the divorce of his parents and his mother's (Toni Collette) douche of a new boyfriend, Trent (Steve Carell). In the movie's most disturbing sequence, the opening scene depicts Trent rating Duncan a three out of ten, calling him a lazy and friendless boy who needs to leave the house more. Duncan despises Trent, but is too weak to do anything about it.

Duncan, his mom, Trent, and Trent's daughter (Zoe Levin) go together on a trip to a beach-house Trent grew up in. There, they find Trent's old friends, who are nothing but childish adults hoping to get away from life over the summer. They virtually ignore and abuse their children, who respond by acting childish in return. Duncan is left alone, and the only contact he has is nothing but harassment.

He tries to go out on his own, having trouble meeting new people until he encounters Owen (Sam Rockwell), the free-spirted manager of the Water Wizz amusement park. Owen takes Duncan under his wing, showing him how to have fun with the help of the other employees (which include Maya Rudolph, as well as writers/directors Nat Faxon and Jim Rash). Duncan's increasing confidence is also mirrored in his growing friendship with love interest Susanna (AnnaSophia Robb). But Duncan is still troubled at home, and has to deal with the increasing separation from his mother before he loses her forever to Trent.

The actors do a marvelous job here, and each performance, no matter how major, is committed 100%. Steve Carell has played bad guys before, but none are as despicable as Trent. Behind the seemingly innocent facade lies a man who cares only for himself, psychologically tormenting Duncan in unimaginable ways. Carell really does a great job here. Toni Collette is equally brilliant as Duncan's mother; she plays the defenseless and tired woman with world-weary heaviness, felt in her performance by each sigh and constant need to hold back tears.

However, it's Sam Rockwell's multi-layered role that leads the ensemble cast. He's funny, charming, kind, rude, and protective all at the same time. Audiences will cheer each time he comes on screen, and will be eagerly awaiting his next return. From pop culture references to a constant concern for the people around him, Owen is the best character in this picture.

The screenplay is particularly intelligent, handling multiple issues, story-lines, and character arcs with clarity and grace. Audiences will feel for these characters, and can relate to one or all of them in some unique way. Each line of dialogue seems real, and remains a refreshing change of pace from a lot of cinematic writers.

While most other modern coming-of-age films are dark and angsty (see Juno or the near-perfect The Perks of Being a Wallflower), The Way Way Back is much more comforting and lighthearted. Even though the film lacks in the style or innovation department, it's still a life-affirming picture with a ton of heart.

Unlike Trent, I would rate Duncan a ten.

Four out of five stars.