Ultraviolet

"My name is Violet; I was born into a world you may not understand," muses Violet, the titular character of Ultraviolet. And its a completely foreign world, one of zero-space devices and entire medical facilities in shipping container section of a semi truck. Of soldiers who launch into buildings as giant ball bearings, and of clothing that changes colors based on the mood of the wearer. Of zero-gravity car chases and of photography belonging on the television during the Tank Girl days. And this one's dazzling.

The story is dystopian in nature: a virus is created in a government lab to accelerate the abilities of soldiers. It mutates and causes its subjects to develop heightened senses, sensitivity to light and a shortened lifespan; the infected are called hemophages, the disease is vampirism. Shunned by the public and hunted by the government, the hemophages fight a revolution they cannot win. When the resistance intercepts the government's latest weapon against them, their courier, Violet (Milla Jovovich), discovers it's not a piece of machinery, but a boy who calls himself Six (Cameron Bright). Unable to bring herself to kill him, she goes on the run from both the government and her own kind in order to save him and redeem herself before she dies from the disease she carries.

Eye candy describes this film the best. It's visuals are comprehensively spectacular. From the fighting style, a rendition of the gun-kata from Equilibrium, Director Kurt Wimmer's cult classic, which we'll cover at a later date, to the costuming: ever changing, ever dynamic. The richness of the comic-book style photography, combined with the set design and color schemes gives birth to a world complete and real, no discredit can befall the production design.

The story needed more time, at least another half an hour and perhaps another rewrite. The realism of our main character's anger is credible, however, her interpersonal performance lacked smooth edges. Granted, her character is not that smooth, outside of the battlefield; however, it feels as flat as the pages of the comic-book it should have come from. The character that is the better written one, along with a seamless and rock-solid performance, is Garth (WIlliam Fichtner). His love for Violet, compassion for Six's condition and his passion for the work he is doing comes across as the only relatable aspect of the piece. I feel for Garth; therefore, Mr. Fichtner did his job well.

Klaud Badlet's score is stunning, particularly the final dual between Daxus (Nick Chinlund) and Violet. The cross between choral descants and a tango brilliantly enhances the dance between these titans. The emotional level rises to the action and highlights the themes of the piece so beautifully, it's hard not to become emotionally attached or to be enhanced with the adrenaline needed to keep up with the action and the processes needed to consume the eye candy.

Every once an a while, I need to unplug and this is the perfect film to facilitate that; as the package is presented generally well making it genuinely relaxing to take in.

****

In: Milla Jovovich

Out: William Fichtner

Coming Soon: Black Hawk Down