Equilibrium

I think this movie was a good movie, and I also think that most critics were unjustified in their reasoning for panning it. Almost seems like a conspiracy. Anyway, the story was interesting, it set up some kind of a reality where we have this "gun kata", and stuck with it. The "gun kata" never became a deus ex machina, it just drove the action sequences, while staying clear of the actual plot, which had some interesting twists, certainly more than the matrix. I think Christian Bale's character was a kind of clone of keanu reeves in the Matrix, but he is clearly a better actor, and his range was really challenged. The other characters were much less "wooden" and comic book like than the evil characters in the matrix, which ironically made them more human, almost too human for an action movie, and that is probably why the critics were so hard on it. The matrix (at least the first one) didn't take itself too seriously, but this one did...and I think it lived up to the challenge as much as any action movie set in the distant future with some reality bending. I really enjoyed it, and would have liked to see it in the theatre, none the less a great rent if you liked the first matrix, kill bill, or any other film that blends action with choreography and weaves an interesting tale of reality. My suggestion might have been more extreme antagonists, but then, perhaps this movie will help me accept more human-like villains in action movies. Anyway give it a try!

My review is one on Christian Bale rather than the movie per se. His going from stone-cold to an emotional man is simply flawless. He gets to transmit everything the story needs at the right time. Bale is the greatest actor of his generation and never afraid to get his hands REALLY dirty. He's played a highly controversial psycho (in an admittedly light version of a really crude and insightful novel... But you realise after you watch him, every time you read the novel again HE IS Patrick Bateman), a LITERALLY starving and tormented loner (please see The Machinist if only for his PERFECT, ground-breaking work of art, which includes both his acting skills and his beyond-emaciated body), a hopeful gay teenager turned hopeless adult (Velvet Goldmine, where he's amazingly accurate in a minor -as length goes- role and you really believe he's a shy and lively teenager and minutes later you believe he's a weary, melancholy adult), a conflicted superhero (the best Batman by far, followed by Michael Keaton of course) and all sorts of middle-of-the-road characters. He's not your average mainstream star and he'll never be, I hope... He's too much in love with his work to become that. Good for him.

Equilibrium is a very fine movie. Highly entertaining, the score was more than okay, the casting does a really good job (I liked The Matrix -although I prefer Equilibrium's sobriety and rhythm, which many may find boring-, but come on... The actors were inferior and I'm sorry but Keanu Reeves just can't make it. Where Bale is all complex, nuanced and charismatic, Reeves is just handsome wood) and the fight scenes are beautiful to look at. Cons are the Father, who seemed too weak to me, and the ending which doesn't do justice to what comes before. In any case, this is an above-average sci-fi flick. Take a look.

After the third world war had ended, the survivors realised that mankind would not be able to survive much longer if it didn't tackle the thing that makes them fight - emotion. To tackle the drive to hurt and hate, the Government issues drugs to sedate the populace from the highs or lows of feeling. Meanwhile the police round up those who still feel and destroy art, books and anything that would stir feeling. The heads of these police are the elite Clerics. John Preston has always been a Cleric, but the failure of his partner and an encounter with a feeler start him thinking and feeling.

With sighs of `matrix clone' and `cashing in', I, like many viewers overlooked this film in favour of other things that may have come across as more original. However, in the mood for a bit of slick action, I rented this film and was pleasantly surprised by it. The plot may not be original - but what is these days? The film has shades of 1984 and Brave New World about it and it uses these ideas reasonably well. The concept does fall down a little bit with too much thought but on the surface it works well enough to suffice for a sci-fi action movie - the running time doesn't allow for much more than superficial thought here, although there is enough in this future to be thought provoking.

The action is good considering the low budget involved here. Yes, it's all very much thanks to the influence of the Matrix but at least it is quite stylish and exciting in it's own right rather than just being a lazy copy. The action scenes are well spread out over the film and they have good pace despite being very much style over substance. The explanation for all the acrobatics and semi-invincibility here is not as good as the explanation/justification for the same in Matrix, but again it is acceptable for this level of film. If anything, the plot goes too fast and too far - it is difficult to accept that things happen so fast, but generally it works.

The cast is a strange mix but works. The thing that surprised me was the sheer number of British actors in the cast. Bale is good in the lead role despite his American accent, he is pretty cool and manages to do the emotional change required despite the rush enforced on him by the film. Diggs is disappointing - his character doesn't get enough screentime and he doesn't fulfil the role of rival to Bale, he is a good looking guy but that isn't enough here. The support cast features Bean, Pertwee, Connelly, Fincher and McFadyen but really it is totally Bale's movie and he does pretty well to make it together.

Overall this is not a great film but it is an enjoyable action sci-fi that manages to produce an interesting, if unoriginal plot and some slick and fun action that is no less slick or fun for being a low rent version of The Matrix's effects. Well worth a Friday night look!

Set in a future, post-World War III society where emotions have been outlawed, Equilibrium tells the story of John Preston (Christian Bale), a government agent who begins to have doubts about the policy he is enforcing.

Equilibrium is the perfect example why I do not rate lower for derivativeness or unoriginality. The film is basically high-concept combination of Fahrenheit 451 (1966), George Orwell's novel Nineteen Eighty-Four (original published in 1949, film versions appeared in 1954, 1956 and 1984), The Matrix (1999) and a bit of The Wizard of Oz (1939) thrown in for good measure. What matters is not how original the ideas are (assuming it's not a case of plagiarism), as whether something is original or not is an epistemological problem that tells us more about our own familiarity with other material rather than the precedent status of the artwork we're questioning, but how well the material is handled. The high-concept material in Equilibrium is handled brilliantly.

On its surface, after a brief action-oriented beginning, Equilibrium is basically a progression from a fairly complex sci-fi film (meaning simply that it takes a lot of exposition to get up to speed) to a thriller to a "gun fu"-styled actioner. The progression is carried out deftly by writer/director Kurt Wimmer (who unfortunately hasn't shown the same level of elegant panache in other films I've seen from him, including Sphere (1998) and The Recruit (2003)), with all of the genres somewhat present throughout the film. Wimmer is so austerely slick here that Equilibrium sometimes resembles a postmodernist automobile commercial. The transition from genre to genre is incredibly smooth.

The most impressive material on this surface level is the gun fu action stuff, which almost "out-Matrixes" The Matrix in style, if not volume. Preston is so skilled to be an almost invincible opponent. His solitary misstep as a fighter occurs once he gives himself over to emotion. This is nicely related to the common advice from kung fu senseis that emotion lessens one's effectiveness in combat.

Of course a big part of Equilibrium is the set of philosophical points it has to make about emotion. There are sections of the film that are appropriately dialogue-heavy, and Wimmer is more than conspicuous with this (one of two) primary theme(s). Just as important as dialogue for Wimmer's commentary on man's emotions are body language and behavior. Some viewers might see it as a flaw that characters frequently show what they consider to be signs of emotions in their comments or behavior, but that's part of Wimmer's agenda. Because it's difficult to even say just what counts as an emotion, and emotions are so wrapped-up with being sentient beings, it would be difficult if not impossible to fully eliminate them, and it's certainly not recommendable. The cast does an excellent job of portraying characters who are supposed to be mostly emotionless but with cracks in the stoic armor continually poking through.

Wimmer has a harsh view of our society's self-medication epidemic--even the title of the film seems to be a stab at the common claim that drugs like Prozac and Xanax are taken to help one "smooth out", or "equalize", extremes of mood, or extreme dispositions. The Equilibrium government extends this agenda into the tangible material realm as they also attempt to "smooth out" mood swings by eliminating any cultural artifacts that might promote varied moods/emotions. Wimmer seems to see it as a not-too-exaggerated extension of the modus operandi behind Prozac-like drugs.

The other primary theme is one of institutional control. Wimmer has a lot to say about unquestioningly following authorities, and he's careful to show that it's not just governmental authorities that can be a problem. He does this by tightly wrapping religious allegory with his depiction of Equilibrium's government. The leader is known as "Father", and the government secret service members are "clerics". Those outside of this control are shown as authentic, free, individualistic and happy despite the hardships involved with their embrace of forbidden thought/items.

More subtly, Wimmer employs the now overused washed out blue-gray cinematography of late 1990s/early 2000s genre films towards an unusual end. It's not just a stylistic device here, but represents a particular kind of reality. Under the purview of the fascistic government, blue-gray predominates. When glimpses of freedom/authenticity enter the film, the blue-gray look is gone, replaced with strongly saturated warm colors, and occasionally a more nostalgic subdued tone. This is one of the film's similarities to The Wizard of Oz, although maybe not the most significant one.

If you're someone who cherishes originality for its own sake, you might not like Equilibrium as much, but you have much more serious epistemological problems to sort out. Otherwise, this is a film worth watching and thinking about.

A strong film with plenty to recommend it, EQUILIBRIUM was released to the noise of "not another MATRIX rip-off" and similar sentiments. This instant decision is a little unfair, because – although obviously inspired by the Keanu Reeves blockbuster in places – EQUILIBRIUM is a decent and intelligent science fiction thriller with a pleasing change of pace. Once again we're in an Orwellian style future of grab greys and mundane apartment-block buildings, where emotion is suppressed and evil henchmen in motorbike helmets go around shooting little dogs. In this world we meet Christian Bale, a martial arts superhero who goes around murdering all those emotional and artistic folks.

Sure, it's an old story, but it works well here. CGI cityscapes aside, there are no fancy special effects robots or monsters; instead the basis is on good old-fashioned characters, and with a supporting cast that includes Sean Pertwee, Sean Bean, Taye Diggs, William Fichtner, and Emily Watson; you can't go wrong. Much of the story is predictable and there are a couple of sappy moments, but for the most part this is suspenseful, exciting stuff. A handful of violent, ultra-stylish action sequences (displaying originality, even in this day and age) add to the impact and help make the underlying dreariness rather enjoyable. Very entertaining viewing that deserves to be given a chance. A lot of this works thanks to Bale; once again, he's excellent in the part. I'd go so far as to say that this is actually better than THE MATRIX; whereas that film was all action, this one makes you think in a moral sense, and the action supports the story – rather than the action being the story.