Aeon Flux is another unfortunate example of a contemporary Science Fiction series poorly adapted to the big screen. Though this one is somewhat unusual, based as it is, upon an animated series created in 1990 by Peter Chung for MTV's late night animated showcase Liquid Television. Way back in the days of Beavis and Butthead.

Charlize Theron is Aeon Flux, the name meaning a large shift in time, and this film presents a distant future set in the city of Bregna, where the inhabitants are descendants of survivors of a super plague dubbed the industrial disease (also a great Dire Straits song) which killed 99% of the earth's population. Aeon is the top assassin for the Monicans (no relation to Lewinsky), a group that opposes the cities totalitarian government. Her prime target is a man named Dr. Goodchild (Martin Csokas) who Aeon may have a past with.

The Monicans also consist of Sithandra (Sophie Okonedo) a fellow assassin with opposable thumbs on her feet and Handler (Frances McDormand) the leader who communicates with Aeon telepathically. Unfortunately Okonedo is used more as an action pawn and McDormand is underused altogether. Even more unfortunate is that the background of the resistance movement is only briefly explained. Which brings me to the film's biggest flaw.

Aeon Flux is written and directed in such a way that it really only accommodates dedicated followers who are already familiar with the backstory. This is particularly problematic in the first half of the film. Considering how long it's been since the series went off the air, there's really a pretty slender demographic of movie-goers who would have even had the chance to become familiar with it - thus anyone going in with no foreknowledge whatsoever is likely to be left wondering just what is going on. There is more exposition in the film's second half, but I can only imagine how lost most newcomers would be at this point.

Then to make matters worse, when the past of the main characters is revealed, it is mainly to flesh out a bogus-feeling romance that develops between Aeon and Trevor Goodchild. Not only are we force-fed this relationship, but it serves to drive the plot in an even weaker direction. Also it must be mentioned that the British actor Pete Postlewhaite is gloriously misused as a records keeper who resembles a living snack bar confection.

In the end, not only is the direction misguided, but the dialogue, the special effects and even the costume design. All of which render Aeon Flux, poorly executed and obtuse to all but Flux fanatics. Too bad coming from Karyn Kusama, who brought us the solid drama Girlfight.