Aeon Flux

I struggle a little bit with high-concept, arty sci-fi. They always present a very cool looking future, I appreciate that. I liked the aesthetic of Aeon Flux a lot. But the same emphasis on cool future things looking all cool and future is that it presents a world where considerations of form override considerations of function every single time. It’s almost like technology hasn’t increased evenly, and has only advanced in areas where application of it can look cool.

For example, in Aeon Flux, there is a death garden. Plants that shoot you, grass that turns into blades, the whole shebang. As a first line of defense that is hidden and looks good, I love it. It was a nice set piece. But this death garden doesn’t alert any other aspect of the security for the building that there are intruders. It strains my disbelief that seemingly nobody was informed that the death garden tried to kill a couple people, but failed.

This might seem nitpicky, but films that don’t seem to have an internal logic bother me.

I’m not sure I enjoyed Aeon Flux. I had fun watching it, but I think what enjoyment I did get out of it was visual. It was an interesting setting, even if every single character beat did bore me near to tears and the movement in the action scenes made me laugh out loud once or twice. There was a lot of potential for an excellent movie here, but instead we got Aeon Flux.



  • Ms Frizzle, Rebellion Leader
  • Death garden
  • Assassin’s Creed tower climb, synchronize viewpoint, leap of faith sequence
  • Future guns don’t recoil


  • Bypassing the death garden and then just hanging around by the side of the building
  • Underground maze with built-in voice activated navigation system
  • Rope burn (or lack thereof)
  • If you’ve been alive for 400 years, why is everyone else clones?
  • Nature ex-machina

In Bruges

In Bruges is a movie about a couple of Irish hitmen who are sent to hide out in Bruges after a job goes wrong. One of them is determined to play the tourist, and the other is bored out of his goddamn mind. Hilarity ensues.

Most of the humor in the movie comes from having rough, low class folks in a very historically rich setting and them arguing about if its any good or not. And while that isn’t a particularly flatting description, it was actually pretty funny, in a shock value sort of way. Not really my cup of tea, but its the sort of levity that fits well with the grimmer turns later in the movie.

It’s all fairytale and shit.



  • Establishing that neither of the main characters are tactful, at the expense of American tourists
  • I legitimately cannot tell if he is trying to tank this date or if it comes naturally. Or both.
  • ‘How can fucking swans not be someone’s fucking thing?!’
  • ‘You’re an inanimate fucking object!’
  • Boat driver don’t give a fuck
  • Maybe thats what hell is. The entire rest of eternity spent in Bruges.


  • ‘I hope your midget doesn’t kill himself’ seems like a bad pickup line, but it worked
  • I don’t care if its in a painting, I still don’t like goddamn body horror
  • I refuse to believe any cops, even Belgian cops, are that efficient in responding to a punch up