‘Aeon’ sheds secrets, still thrills

Adapting a work to the big screen often poses many challenges, not the least of which is keeping true to what made the source material so popular. In the case of “Aeon Flux,” what made the original so popular was its send-up of contemporary Hollywood cinema. As you can see, this poses a few problems.

The original “Aeon Flux” animated show, a groundbreaking embodiment of many postmodern ideas, killed Aeon in nearly half the episodes and was, according to creator Peter Chung, a sort of answer to the invincible, unkillable action film hero ideal.

So now, Paramount Studios has taken the beloved cult classic anti-hero and ... made her into an invincible action movie hero. And the film cost $60 million to make. Oops.

With budget problems, script problems and a highly publicized injury to star Charlize Theron, “Aeon Flux” has had a bad rap since it’s been in production. To make matters worse, the film wasn’t screened for critics, putting it in that ultimate pantheon of embarrassing movies with “Alien Vs. Predator” and “The Avengers.”

Many devoted fans (read: lonely nerds) cried foul at even the idea of a film based on a work so dependent on the viewer’s own interpretation of the themes.

Even with all this working against the big screen “Flux,” I’m finding it hard to hate the film. I’d even go so far as to see it again.

The story takes place in Bregna, the last city on Earth, 400 years after a global contagion wipes out nearly all of the world’s population. The walled-in city operates with a military efficiency. On the surface, Bregna looks happy, but a group of resistance fighters (dressed in bondage gear) questions the disappearances of citizens and totalitarian control exercised by the government.

The Monicans (bondage rebels) send Aeon Flux to kill Bregnan leader Trevor Goodchild (Martin Csokas). However, Trevor and Aeon seem to recognize something intangible in each other, and her mission goes awry.

Without giving too much away, it suffices to say that there’s more to Aeon and Trevor’s relationship, as well as the foundation of Bregna, than meets the eye. Things will be blown up, backflips will be done and Theron will look alluring in black spandex.

“Aeon Flux” is most effective when it isn’t explaining everything to the audience. At first, the constant espionage and violence keeps Aeon from questioning too much. The unanswered questions about Aeon, Trevor and Bregna tantalize, and would probably better be left to interpretation. When they’re all answered — explicitly — all you have to fall back upon is the action.

With more posing and fighting than acting to do, Theron makes Flux into a brooding and sexy female lead. Csokas is also competent as Goodchild, who is never shown to be the megalomaniac dictator that the Monicans see him as. “Hotel Rwanda” actress Sophie Okenedo appears in a small role as Aeon’s protégé — and she has hands for feet.

The art direction is phenomenal, as the architecture and interiors of Bregna are stark and modern without being the usual tacky sci-fi fare.

So the filmmakers spent too much, snubbed the critics and gave away too many secrets. It’s still a good-looking movie with exciting action and decent acting. There aren’t any big surprises here, save that you may want to see it again.

Grade: B