Watch Elysium Online At last, a good big film. The legacy of the summer, thus far, has been jetsam: moribund movies that lie there, bloated and beached, gasping to break even. But here is something angry and alive: “Elysium,” written and directed by Neill Blomkamp, and set in the year 2154. The title refers to a space station, in the shape of a wheel, orbiting just beyond the confines of Earth—less than twenty minutes away, by shuttle. Look up, and you see it hanging in the sky, shiny and unreachable, like a second moon or a vast Mercedes-Benz badge: a fitting likeness, because Elysium is solely for the rich. They dwell in the wheel’s enormous rim, breathing an unfouled atmosphere and sipping drinks beside their private pools.
Watch Elysium Online Free Down below, for the rest of mankind, the news is glum. Our planet is on the dust heap. Everything is parched and frenzied, not least in Los Angeles, where Max (Matt Damon), having done time for numerous crimes, is going straight; he has a factory job, helping to build the clanking, hostile robots that serve as the city’s cops. After an accident at work, he finds himself with radiation sickness and five days to live. At this point, most of us would quit, but not Max. The casting is spot-on here, because something in Damon—in the unsoothable anxiety of his gaze, and in the squat, wrestler’s physique that seems less buffed than primed to explode—suggests an internal drive of high intensity. Projecting not the will to power but a tireless lust to live, he remains likable, and oddly bashful—a regular guy who happens to belong in extremis. Cagney would approve, I reckon, though he never forgot how comic such hardihood can be, and, watching “Elysium,” he would warn Damon not to lose the smile.
Watch Elysium Movie All of which means that we root for Max when he takes on a mission impossible. It’s a breeze: shoot down a shuttle, as it bears a wicked billionaire (William Fichtner) from Earth to Elysium; stick a plug into his skull, whether he likes it or not; and download the corporate information, crucial to the governing of both places, that his brain contains. The master of the plan is a jabbering ne’er-do-well named Spider (Wagner Moura), who has promised Max a trip to Elysium for his pains. Spider and his fellow-renegades want to strike a blow against the vested, and sharp-suited, interests that reign in paradise. Max wants to go there because of the medical pod that, like a toaster, comes with every home. Lie inside it for a few seconds, and all your sufferings—includin g radiation poisoning and leukemia—just melt away.
Watch Elysium Movie Online One thing the pod will not cure, however, is boredom, which must be the most common affliction among Elysians. Disease-free immortality is theirs, but who wants to spend eternity strolling a weedless lawn and picking out sashimi for lunch? From where I was sitting, heaven looked like hell, or, at best, like a long weekend in Bel Air, and the strangest aspect of Blomkamp’s film is his almost complete indifference to the place that bears its title. How come we never meet an Elysian family? Why not introduce an unwashed teen-ager who wants to lurk in his room and listen to old Anthrax LPs, or a wife so refulgent with good fortune, like Catherine Deneuve in “Belle de Jour,” that she can’t wait to nip back to the planet and get nasty with that guy from the tattoo parlor? The truth is that, as with Blomkamp’s previous movie, “District 9,” what stokes the drama is not satirical nicety but political wrath. The mighty should be pulled down from their seats, and that’s that. The only one of them who is allowed to be a major character is Delacourt (Jodie Foster), the Secretary of Defense, with a helmet of white-blond hair and the voice of a strangulated Brit. Foster is not the first actress you would choose to play a bringer of darkness, stripped of all moral intelligence, and you keep waiting for her to see the light, but it never comes to pass.
Watch Elysium Online 2013 Has Blomkamp maintained the promise, and the threat, of “District 9”? Not quite. He remains more gripped by setup than by resolution, and the third act of “Elysium” proceeds by bludgeon and blunder, leaving a wounded logic in its wake. Also, the earlier movie, a fable of violent friction between humans and aliens, had the boon of specificity. Set in the director’s native Johannesburg, it didn’t declare itself an allegory of apartheid, yet it needled away unmistakably at racial injustice. The look of the new film is no less urgent, but the didactic intent feels more basic, and, as for the revenge of the downtrodden, which is meant to be as jubilant as the storming of the Bastille, it leaves you seriously worried about what might ensue: think of Robespierre with a ray gun. On the other hand, “Elysium” does have Sharlto Copley, a friend of Blomkamp’s who took the leading role in “District 9,” and who shows up here as an undercover agent, answering to Delacourt. His devotion to duty—or to sadism—is such that even a grenade blast in his face counts as no more than a hiccup. At moments like that, the movie can be hard to watch, though it also finds an unexpected beauty in scenes of entropy and destruction. When Max blows apart an aggressive robot, everything slips into slow motion, calm and hushed, and, with a flicker of pity in our amazement, we see the machine bloom into a thousand fragments, like the bursting TV set at the end of Antonioni’s “Zabriskie Point.” I have had my fill of bloodshed, many times over, in recent months; could metalshed point a way ahead?