I can understand the speed to compare “Equilibrium” and “The Matrix”. Both films feature shadowy, foreboding cinematography. Both films are about rebellion against a warped reality. Both films feature a reluctant, messianic protagonist. And, finally, both films rely heavily on stylistic, hyper-kinetic combat scenes that can only be described as, well, reverent. That is where the similarity ends because while “Equilibrium” has a few moments of slow-motion it’s action scenes are noteworthy more new than those of “The Matrix Trilogy”. No Wires, unbiased pure crazy choreography which makes the action feel all the more authentic. The environment is also a mammoth deal more organic in dissimilarity to the cryptic automaton of the Matrix.
“Equilibrium”, in short, manages to be entirely its bear movie. Where The Matrix relies on “bending” the rules of physics in an imaginary accomplish of a world, “Equilibrium” goes the other draw and hypothesizes the “Gun-Kata”, a martial arts ballet that allows it’s practitioners to predict and anticipate cessation quarters gun fighting and hand to hand combat. Then, through a series of staunch, dance like movements, a person can occupy on several combatants, using exacting, fluid actions to eliminate his attackers. Given a decidedly artistic presentation within the course of the film, these rapid-fire rhapsodies are exhilarating and oddly comely. They glamorize death as an abstract expression of powder bursts and shrieking projectiles. The film features some of the best choreographed shootouts I have ever seen, and ends up putting anything in The Matrix Trilogy to shame.
“Equilibrium” is a film that explores what it theorizes to be the root of all worldly chaos, human emotion. The movie takes area in the advance future after a third world war that leaves Earth on the verge of total destruction. From the ashes arises a government that regulates everything and everyone through mind control. The drug Prozium is hailed as the elixir to the world’s problems because it suppresses human emotion and thus eliminates the possibility war. All art, music, poetry and any emotion are considered contraband and must be destroyed upon discovery.
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The necessary clash is between individualism and collectivism — the view that each person is an destroy to him or herself and pursues his or her acquire happiness, and the theory that the individual exists only to further the interests of the situation. In “Equilibrium”, the side of “feelings” (the side that promotes painting, music, and literature) is the side of the sovereign individual.
The film clearly suggests that emotions — the ability to “feel” — are what beget life worth living; yet they are also the source of violence and war. At some level, this is clearly fair. The joy of art, the intensity of romantic fancy, the pleasures of a touch or the observe of a sunrise, the fascination of a big belief — these are the things we live for. “Crimes of passion” such as destroy, domestic violence, and assault generally involve uncontrolled emotions.
In “Equilibrium”, cancel and war among the civilian population have been wiped out. Of course, they have been replaced by state-sponsored destroy and horror. Thus, the film points out the accurate purpose of deadening people’s emotions is to perpetuate position oppression.
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This nightmare is presided over by the Expansive Brother-like dictator Father, and enforced by a quasi-religious order of “Clericks,” whose astonishing combat skills are unleashed on “sense offenders” who have gone off the drugs that preserve the populace docile.
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John Preston (Christian Bale) is the perfect Grammaton Clerick (the government is known as the Tetragrammaton) . He kills “sense offenders” without passion or guilt … until he inadvertently fails to hold his prescribed tranquilizer dose and events open to glean up with him. Dinky by microscopic, he finds himself drawn into “sense crime” and then into the resistance. I hesitate to protest worthy more about the station of “Equilibrium”, jammed as it is with surprise and invention — suffice to say, this is an knowing rollercoaster lope, as cerebral as it is visceral; both a bleak peruse into a possible future and a stirring tribute to the indomitable human spirit.
The creators of “Equilibrium” had to bewitch some liberties with the very thought of emotion, of course. The drug really only eliminates the “highs” and “lows,” leaving enough emotive strength for the characters to support ambition and a visceral hatred of their enemies. Status means conflict and human conflict is impossible without emotion.
The acting is advantageous, and if you like Christian Bale as mighty as I do, he shines above all else. Bale is truly exceptional in bringing a exact sense of emotional conflict to the character of Preston, and as the film moves on he gradually brings that emotion to the forefront. At the commence of the film, and in it’s many flashbacks, Preston is supposed to be this emotionless killer that doesn’t realize he’s actually feeling subtle emotions. Bale’s performance keeps the perfect monotone order of an emotionless character, but in his eyes shows the doubt, remorse and madden. Then as the films moves on he gradually starts changing his tone of thunder, allowing the monotone to falter in key moments, until in the slay he completely releases all of his emotions.
As you can command, Equilibrium’s station draws from a rich variety of sources. There’s a lot of Orwell’s “1984″ and Aldous Huxley’s “Valiant Unique World”.
True, there are a few minor status problems, but any movie that treats ideas and symbols seriously these days is a get, and one that pulls off a serious treatment of life’s most fundamental questions in the context of a interesting anecdote is a rare jewel.
“Equilibrium” is not science fiction so remarkable as political speculation. It’s that mainstay of movies, the cautionary yarn, curved into a decidedly dense and counterfeit action thriller. While it may not always mutter in the conception department, we determined acquire some astonishing visual flourishes. And if a sci-fi film can gallop your imagination, it’s won most of the battle.
The creation of the enigmatic weapons battle dance, “Gun-Kata”, makes the movie a witness at least once expend in speculative movie making.
Sci-fi flick with glorious visuals, “Equilibrium” deserves great more attention not only from fans of genre, but also from general audiences. Certain, its flaws are too visible, borrowing Orwellian ideas from other films like, say, “Brazil,” but it is not that ideas themselves but the plot they are effect into practice that really counts, and on that glean “Equiliburium” is a winner. (And critics, please let me know, why do you all praise Steven’s “Minority Portray” which actually borrows ideas from other films of this genre? So, why not give this one a due respect? )
Well, I admit the opening chapter of “Equilibrium” is a bit feeble, introducing us to the dystopia world after the WW3, but soon you will forget that. The totalitarian government established after the war decided to eliminate anything that might possibly obtain humans emotional, forcing the people to inject a positive doze of [chemical substance] to be unemotional every day. Moreover, it decrees there should be no more music (not only hip-hops, but classic music), no more motion pitures, and no more decorated interiors. Those who care for them camouflage underground, becoming rebels while the authroity site up a super-cop troop called “Grammaton Clerics.”
Christian Bale (”American Psyco”) is John Preston the best of the Clerics, and dedicates himself to the job until he arrests a woman Mary O’Brien who possessd illegal stuffs. But her strong creed and perhaps beauty execute their plot into the sleeping heart of Preston, who has been long fighting for his cause.
The film’s philosophical messages are in themselves not modern at all, and director Kurt Wimmer might have kept his notion a shrimp too long. I say so, because today, in the 21st century, it is not this Orwellian society that we are unnerved of most. The chronicle has enough twists to surprise us, but maybe one too many, I assume, and the wrap-up fragment of the film feels a bit hurriedly done.
However, those are noting before the film’s sensational action scenes, which can get up for any flawed share of the film. The “Gun-Kata” fighting deserves special mention, using [weapons] like Japanese swords, and its hyper-kinetic movement is very violent and very fair at the same time. Astounding it might sound, but Christian Bale shows satisfactory action star quality here, displaying the beauty of “Kata”s — and “kata” means in Japanese “style.” Yes, there are lots of styles in “Equilibrium.”
Other plsyers are also effectively cast, and most unexpected is Emily Watson, who quite naturally becomes the Joan D’Arc-like character. Taye Diggs is expedient as Preston’s partner, and though short time, Sean Bean, cast against type, is also perfect as Partridge who plays a key role in the chronicle.
I was quite surprised and cheerful, and even thrilled to sight this neglected film, which should have been more pushed. Again I say, its actions are sensational. Not that this is “Matrix”; rather, it is more original and has its gain “kata” = style, which means a lot these days.
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