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Armitage III: Dual Matrix

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★★★
“Oppressed robots = clumsy social metaphors, despite some very cool fights.”

It’d probably be best to watch the original film, Poly Matrix, immediately before this, as otherwise, you’ll be kinda hitting the ground running. After those events, Ross Syllabus and “Third” [a model of android which can reproduce] Armitage have set up home with their daughter, who doesn’t know her mother is anything by human; meanwhile Ross operates under an assumed name as a security guard. However, an incident turns him into an unwilling spokesman for robot rights once again, and when he is sent to Earth as a Martian delegate, his daughter Yoko is kidnapped by a faction seeking to reverse his vote. It’s time for Armitage to put aside her chores and kick butt.

If I’m flaky on details, it’s because chapters 10+11 on the DVD were faulty and refused to play. But I don’t think it made much difference. This improves slightly over the original, since it doesn’t get bogged down in android angst, and the action scenes are lengthy and largely entertaining, particularly a finale in which Armitage takes on two relentless, giggling android killers (whose teamwork reminded me of Bambi + Thumper from Diamonds are Forever!). However, despite flashes of brilliance, the coherence of the story, and occasionally the animation, leaves a lot to be desired; too often, you’re left going “Eh?”, in the dark about what’s happening, and why.

For example, the climax takes place on a space elevator, a concept familiar in SF – but there’s no-one at all around. No security, customers, or staff. And Yoko’s kidnapping seems due to sloppy parenting as much as anything. Similarly to the first, there’s little original thought here, though in its defense, the recent release of I, Robot may make this seem less novel than it was on its 2002 release. In the English dub, Armitage is this time voiced by Juliette Lewis, but we stuck to the Japanese track, so can’t comment on her animation debut.

Dir: Katsuhito Akiyama
Star (voice): Ryôka Yuzuki, Hikaru Hanada, Kazuhiro Yamaji, Yuka Imai

Annie Oakley (TV series)

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★★★
“One of the first TV action heroines; for 50 years old, better than you might expect.”

This TV series was Gene Autry’s idea; he wanted to give little girls a western star of their own, and created a show based on the character of Oakley, the most famous sharpshooter of all time. In his version, she lives in Diablo with her brother Tagg (Hawkins) and keeps the town safe along with deputy Lofty Craig (Johnson) – the sheriff, Annie’s uncle Luke, was somehow very rarely around… It ran for 81 episodes from January 1954 to February 1957; two DVDs, with five first season stories on each, have been released by Platinum –  you can get the box set of both for $5.99, which is a steal.

Given its age, it’s no surprise that this is certainly a little hokey, but is by no means unwatchable. The writers cram a lot into each 25-minute episode, and Oakley is a sharp-witted heroine, in most ways years ahead of the usual portrayal of women (though still afraid of mice!) – she’d probably be a better deputy than Lofty! It certainly helped that Davis, a mere 5’2″, was a skilled rider herself, and did most of her own stunts. However, this being a 50’s TV show, there are limits. Annie never kills anyone, preferring to shoot the gun from their hand, while fisticuffs are left to Lofty, though at least one ep (Annie and the Lily Maid) has an unexpected mini-catfight.

Perhaps the best episode on the DVDs is Justice Guns, where an ex-marshal with failing sight seeks revenge on the man who shot his brother. Annie has to try and solve the situation, and while you know she will survive, the lawman’s fate is much less certain as the four o’clock shootout approaches. In a series that is, even I will admit, often sugary and predictable, this has genuine tension, and that’s something which five decades haven’t changed one bit.

Star: Gail Davis, Brad Johnson, Jimmy Hawkins

Alias: season three

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★★★
“…In Which Sydney Experiences The Mother of all Hangovers.”

Where is Sydney, and what have you done with her? We might have been forgiven for uttering this cry at the end of season three, which exited not with a bang, but a whimper. “We need to talk.” That’s pretty much what Jack said to Sydney after she discovered, apparently, that her entire life had been a CIA operation. This was hardly a surprise, if you remembered Project Christmas from earlier on, Jack’s plan which tested first-graders – including his own daughter – for spyworthy attributes. The news that the show wouldn’t restart until January 2005 thus provoked little more than mild disappointment.

The deficiencies this time were particularly obvious when viewed alongside the first on DVD. The twists and turns back then were far superior; in series 3, the main ‘surprise’ was Vaughn’s wife being a Covenant agent. Again, this was no shock once we realised nothing would be allowed to get permanently in the way of the Vaughn-Sidney relationship. That this over-extended soap-opera plot thread was allowed to be the focus of the third series (along with everyone bar Sidney appearing to know where her missing two years went) is evidence of shortcomings in the writing department.

Can I also make a plea for Rambaldi to be retired honourably? He’s been rolling along for three seasons now, and any surprise value long since evaporated. We have become jaded by stories involving Rambaldi’s shopping list or whatever, which absolutely must be located by the good guys before SD-6/K Directorate/The Covenant get their hands on it. This is beginning to feel like The X Files, where Chris Carter never did provide “the truth” which was supposedly out there.

alias3Moving away from the storylines, also apparent is a big drop in the quality – and quantity – of the action. The battle between Sydney and Lauren in the final episode was a blur of two-frame shots, edited together so as to leave the viewer with little clue about what was going on. That’s not the tingle of excitement, it’s the beginning of a migraine headache. Again, one can compare and contrast the first series; it may or may not have been Jennifer Garner doing the stunts, but you could at least see them.

Okay. Let’s take our foot off the show’s throat for a minute, and talk about what it did well. The central characters remain the show’s strength, and the relegation of Will to a minor role was a definite plus – he had become an irrelevant distraction and a spare wheel. All the major players, however, showed they could still surprise us; can anyone deny a shudder when Jack Bristow gave Vaughn a set of keys, and told him where he could dispose of Lauren’s body?

If you’ve read these reviews previously, you’ll know we adore Marshall, and once again, he managed to steal just about every episode he was in. Fatherhood doesn’t seem to have changed him much; it’s just a shame we missed the past two years of his life too, which would likely have been most amusing [Marshall fans will get a kick out of the Alias video game, in which he has some classic lines.]

There were also some interesting guest stars this season, led by Isabella Rossellini as Sydney’s aunt (on her mother’s side, natch – though between that and the sudden appearance of a sister, she has an entire new family to deal with). Quentin Tarantino also came back, and another cult director appeared, in the shape of David Cronenberg, whose understated approach was a marked and refreshing contrast to QT.

The ratings for the show remained mediocre: even the finale was seen by only 7.7 million viewers, down from an average 9.7 and 8.9 through seasons one and two. A change in the way Nielsen measure ratings means it’s difficult to make comparisons, but this suggests a vague disenchantment among more fickle, casual viewers, without a huge loss of the core fanbase [and certainly, we remain some way from a Buffy-esque turn-off for the series] The ABC network also underwent a shake-up, with the president and chairman of its entertainment division departing. With them will hopefully go the cringeworthy product placement, in particular for the Ford F150. As if it weren’t bad enough to have to sit through the adverts.

Still, a fourth season has been commissioned, although as mentioned, it’s not starting until January – the fall sees Desperate Housewives instead, which isn’t the reality show it sounds like. Mind you, perhaps it would be best for the network if it were, given ABC’s dreadful track-record with drama. See the awful Karen Sisco and the entirely pointless Stephen King’s Kingdom Hospital – and we loved Lars Von Trier’s original – for details. Roll on January, and let’s hope for a return to the form and content which made the first two seasons of Alias such a refreshing, energetic delight.

Star: Jennifer Garner, Victor Garber, Michael Vartan, Ron Rifkin

Adrenalin: Feel the Rush

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★★
“A more appropriate title – Valium: Feel the Pillow”

I’m still trying to work out what the title actually means; it certainly bears no relevance to the film. More generaly, the biggest point of interest is its similarity to Blade 2, which took the basic concept (hunt for the carrier of a virus that turns its victim into bald, psychotic bloodsuckers) and did a lot more with its Eastern European setting. Henstridge is Delon, a policewoman who has her partner dismembered while they search a house, and Lambert leads the backup team – they follow their target into some vents which connect to an old prison, and where they rapidly become the prey. All this is set just outside a post-apocalyptic (plague, specifically) Boston – though the cop cars have ‘POLICIA’ on them. There’s also a subplot about Delon’s son, and a black-market passport she bought for him, which is of no significance whatsoever, and is probably there only to get the running time up to feature length (and at 76 minutes, only barely!).

Shot in what looks like four rooms, it’s up to director Pyun to make the most of a higher-profile cast than he usually manages – unfortunately, he fails, though I liked the snap-zoom technique applied to bullet hits. This is straightforward ‘spam in a tunnel’ cinema, with little tension, character, or anything else that might elevate this above the mundane. Henstridge, bless her, does what she can, and comes over like a grubby version of Lara Croft; her undeniable action heroine potential has so far been wasted in stuff like this or the lame She Spies. Partly shot in the capital of Herzegovina, Mostar, the “just-bombed” look is likely genuine, from a conflict that only ended the previous year; it may be exploitative, but at least Pyun brought employment to the locals. I imagine he’s now scouting locations in Kabul and Baghdad.

Dir: Albert Pyun
Star: Natasha Henstridge, Christopher Lambert, Norbert Weisser, Elizabeth Barondes

Azumi

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★★★★½
“No matter how much I try to escape, I can’t avoid it… I am forced to kill.”

The moment that I heard this female samurai pic was from the director of Versus, I started drooling uncontrollably. [See the Trash City review for why] And if the end product is a slight disappointment, it is only because it doesn’t quite replicate Versus‘ imaginative splatter. Sure, the body-count is massive – it makes The Bride vs. The Crazy 88’s look like Lilo and Stich – but I wanted, and expected, arterial spray. Lots of arterial spray. However, in every other way, this is excellent.

Azumi (Ueto) is one of ten orphans, raised by a warrior (Harada) for a mission to slay the warlords who have thrown Japan into chaos. At the risk of stating the bleedin’ obvious, this won’t be easy. Indeed, at one point, Azumi abandons her samurai ways and tries to be semi-normal, joining the sole survivor of a travelling circus. This doesn’t work out, needless to say, leading to the quote above.

Cutting to the chase; the action is excellent, with several sequences which would be fitting climaxes to any other movie. When you see this one’s finale, you’ll realise why they’re not: Azumi’s master is captured, and an entire town of sword-wielding rogues and assorted scum is in her way, plus villain #1, a rose-wielding psychopath who dresses in white (Odagiri). Settle back, and pass the popcorn. While the swordplay itself is mostly nothing special (save one Very Special decapitation), Kitamura captures it beautifully, the visual highlight being a full circle around two characters – vertically. The sound is also fabulous; you could close your eyes and just listen to the battles.

Especially early on, the pacing is kinda slow (it is a 143-minute movie), but Kitamura’s fabulous sense of style means you’re never bored. The villains, in particular, are all larger-than-life characters and enormous fun to watch – for example the Sajiki Brothers, who attack anyone even faintly resembling their target. Curious to know the budget: I’ve heard both “low” and “high”, without specific figures. Certainly, it looks amazing, every bit the equal of The Last Samurai, though I doubt it cost a fraction of $140m. If any 2004 Hollywood action heroine can match Azumi, I’ll be very, very impressed.

Dir: Ryuhei Kitamura
Stars: Aya Ueto, Yoshio Harada, Joe Odagiri, Masato Ibu

Armitage III: Poly Matrix

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★★½
“Why’d they create me?” Seems a valid question to this viewer…

As a rule, we don’t watch dubbed anime, finding it a painful experience; unfortunately, this version, which compacts four OAVs into a feature, is only available in English. However, it’s not too awful, helped considerably by Sutherland’s comfortingly flat tones – in the seven years since this was originally released, his career has been revived, courtesy of 24 [co-star Berkeley, meanwhile, is still struggling to overcome her starring debut in Showgirls]. What does seem to have hurt, is the editing down, which leaves the storyline struggling for cohesion.

Chicago cop Syllabus (Sutherland) arrives on Mars and is immediately thrown into the investigation of a series of “murders”. Quotes used advisedly – what’s being systematically killed are “Thirds”, robots that are almost indistinguishable from humans. He’s paired with local officer Naomi Armitage (Berkeley), who has an aggressive approach and is a Third herself; the two have to solve the case while coming to terms with their own prejudices (Syllabus) or self-esteem, heritage and sense of being (Armitage).

In other words, the usual robot angst found in anime, such as Ghost in the Shell and Battle Angel. And this is really the problem, with little here we haven’t seen, and animation that is nothing special. There’s some imagination in the setting, and interesting hints at political conspiracy, but the detail has apparently been discarded in the race to get everything over in 90 minutes. The full-length, original language version is almost certainly a better place to start.

Dir: Takuya Sato
Star (voice): Kiefer Sutherland, Elizabeth Berkeley, Dan Woren, Wanda Nowicki

Angel on Fire

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★★½
“Dumb but not irredeemable – never mind the quality of the action, look at the quantity!”

Supermodel-thief Mimi (Melanie Marquez) steals an artifact from a Chinese temple, then heads to the Philippines, via Hong Kong. HK and Chinese cops (Khan & Yeung) are on her tail, as is former partner Ko. This is, frankly, a mess. Yeung apparently does no detective work; Khan goes on a date to an illegal street fight; they’re supposedly partners, but only share one scene; and what is the stolen item? It’s only ever called “the precious thing” (at least in the sub version; even we wouldn’t touch the dub [right] with a ten-foot pole). I found it all amusing rather than irritating; your mileage may vary…

Actionwise, it largely explodes in the lengthy finale which occupies about thirty minutes, sprawls across what seems like most of the Philippines, and fails to make much sense either – we certainly lost track of who was doing what to who. While Yeung is hardly allowed to act, she does get a couple of good fights, but the wire-work is poor, with one especially obvious harness. On the other hand, Khan’s martial-arts abilities are underused, and she gets to spend time hanging out with that apparently rare breed, an honest taxi-driver (Ricketts). A couple of decent moments, and Khan’s usual watchability, lift this up to just about acceptable, though only if you are in a forgiving mood.

Dir: Phillip Ko
Star: Cynthia Khan, Philip Ko, Sharon Yeung, Ronnie Ricketts

Alias: season two

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★★★★
“The Family That Slays Together, Stays Together…”

I’ve literally sprinted through from the living-room, where the two-hour season finale has just finished, leaving an aching void in our Sunday evenings that will remain until the third season starts in the fall. It was hard to see how the second series could live up to the first but, with a few relatively minor misgivings, it’s safe to say that the show has.

alias2Would have to admit that the start was somewhat slow. It was hardly a surprise to discover that most of the characters who were “dead” at the end of the first series made a miraculous comeback in the second. It’s exactly the sort of thing you expect from shows like this, and you wonder why they even bother. Indeed, much of the first half of the series was too predictable, revolving around the can-or-can’t Sydney trust her mother dilemma. No prizes for guessing the right answer there either.

The recovery began when ABC handed Alias the coveted post-Superbowl slot (though once the score in the game reached 34-3, its impact on ratings for Alias became doubtful). Still, it proved a pivotal episode, giving Abrams a chance to reinvent the show, and introduce it to a whole new audience too lazy to change the channel (due to overconsumption of beer and nachos, probably). This was apparent in some rather clunky back-exposition, and also an opening which featured Sydney in two sets of lingerie – a shameless, gratuitous piece of shallow exploitation, clearly designed to appeal to nobody but the gridiron fans. :-) They probably mistook it for another Victoria’ Secret commercial…

Luckily, there was a lot of actual content, too: The CIA moved in to take SD-6 down, and from then on, no longer was Sydney struggling to maintain her secret lives. The show would become a quest for Sloane, trying to stop him before he…well, no-one was quite sure what he was up to, but it never seemed likely to involve puppies and flowers. This episode also marked the start of an increasing body-count with one character murdered and replaced by an evil doppelganger, while later on, two spouses would also bite the dust.

With the Rambaldi story making a welcome reappearance, the season picked up steam, helped by cool guest stars: Rutger Hauer, Danny Trejo & David Carradine (a Buddhist monk!) – we just needed Udo Kier and we’d have been in cult heaven. Apparently lost in the duplicitous double-crossing was the action element, a disappointing facet. For example, not until the last 10 minutes of the two-hour season finale did Sydney get in some serious butt-kicking; we wondered if this was connected with Garner’s apparent weight gain. Too much comfort ice-cream after her recent break-up? Perhaps; though if she’s pregnant, you heard it here first.

With so many threads too, the story arcs seemed disjointed: in some cases, you’d go for weeks without hearing anything, before an abrupt reappearance. However, a continuing strength was the development of the supporting cast, with Sloane switching from evil mastermind to sympathetic antihero, even within the course of a single episode. Dixon, too, enjoyed a spectacular character arc over the second half, going from committed SD-6 employee to a borderline psychopath, whose obsession with catching Sloane surpassed even Sydney’s.

Our favourite episode of the season had beloved uber-geek Marshall going on a mission to London with Sydney. It combined action, humour, drama and pathos to great effect, ending with one of the best cliffhangers the series has yet managed – admittedly, we speak as big Marshall fans, and look forward to the character receiving a spinoff series. Hey, if it can happen to a mopey vampire, anything’s possible.

Fortunately, the Vaughn/Bristow romantic angle that begin to lurk, iceberg-like, towards the end of season one, has been played subtly enough that we are mostly able to ignore it. More remarkably, the Will/Francie relationship managed to become a genuine plot thread, thanks to a startling twist which raised the hairs on the back of our necks every time they shared a scene. Let’s just say that Francie isn’t the woman she used to be. :-)

Despite ratings that generally remain disappointing – it ranked only 92nd in prime-time shows – Alias was still renewed, a decision for which ABC can only be commended. However, they still seem uncertain about how to promote the show. Here we are, two seasons down, still waiting for the first to arrive on DVD – they could learn a lot from Fox, which got a huge boost to the ratings for the second run of 24 from the first’s availability on disc. [By coincidence, both Alias Season 1, and 24 Season 2 are scheduled for DVD release on September 2nd, 2003]

So where do we go in Series 3? We still have the Rambaldi machine; assembly now complete, but expect further machinations as they piece together the instruction manual, and discover they need a 240/110V convertor. :-) It looked for a moment like we would be missing one major character (who finally Got The Point), but sounds like he’s okay. However, the main thread appears to be Sydney, and her efforts to recover from what could simply be the mother of all hangovers – I mean, I sometimes wondered how I got home, but at least I usually woke up on the same continent. Funnily enough, I suspect there might be rather more to her blackout than one too many Babychams. The truth probably lies somewhere between that, and abduction by aliens, but we’ll have to wait until autumn to find out.

Star: Jennifer Garner, Victor Garber, Michael Vartan, Ron Rifkin

Alias: season one

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★★★★
“Run Sydney Run”

“My name is Sydney Bristow. Seven years ago I was recruited by a secret branch of the CIA called SD-6. I was sworn to secrecy, but I couldn’t keep it from my fiancé. And when the head of SD-6 found out, he had him killed. That’s when I learned the truth: SD-6 is not part of the CIA. I’d been working for the very people I thought I was fighting against. So, I went to the only place that could help me take them down. Now I’m a double agent for the CIA, where my handler is a man named Michael Vaughn. Only one other person knows the truth about what I do: another double agent inside SD-6. Someone I hardly know…my father.”

“It’s everything you want, and more.” That was Chris’s opinion – I was kinda stuck for the right way to start, and as always, she delivered. As, indeed, Alias pretty much delivers, with a crunchy-yet-chewy first series that juggled drama, action and comedy to fine effect, twisting the plot frequently. One problem in TV drama is that you must allow viewers to tune in at any point and rapidly work out what was going on, and former Felicity scribe J.J. Abrams does so in less than 150 words – see above for the heroine’s monologue which opens each show.

The 22 episodes cover a struggle for control of medieval technology, Nostradamus-style prophecy, and other organizations (good and bad), plus Sidney’s missing mother, ongoing relationship with her father, and perpetual struggle to keep her friends from suffering the same fate as her late fiancee. Each episode contains elements of major and minor story arcs, propelling them alone, yet also stands up well on its own.

After a breathless start in which it seemed that Abrams used every conceivable plot device inside three episodes, he wisely moved into new territory. In particular the introduction of Rambaldi, perhaps the show’s most interesting character, who has actually been dead for several centuries. A Da Vinci-esque inventor, he left pieces of his inventions, and clues to their operation, hidden around the globe, and SD-6 are now on a scavenger hunt to find and utilise these, with Sydney their main operative. The CIA are doing exactly the same, also using her to stay one step ahead of SD-6.

alias1Garner is a good choice to play Sydney, a no-nonsense character who is never one to sit back when confronted with problems. She comes across as a well-rounded person with her own fears and doubts, rather than some kind of Bond-esque superspy. But perhaps the show’s greatest strength is the spectrum of supporting actors, who give the show depth when it could easily become a disjointed series of Lara Croft-like escapades. Marshall, SD-6’s “Q”, provides gadgets and geeky humour, while especial kudos are due to Ron Rifkin as SD-6 head Arvin Sloane. The man who orders the death of Sydney’s fiancee could easily have been a two-dimensional bad guy, but by the end of the show, you feel a great deal more sympathetic to his problems.

The influences are plentiful and obvious, most plainly Nikita and the (let’s be honest, rather lame) TV series which subsquently followed. There’s also a helping of Run Lola Run in there; creator Abrams listened to the soundtrack “almost incessantly” while writing the show, and has said, tongue in cheek, that he demands one scene of his heroine running in every episode. He certainly gets it, even if this does become a little predictable. The action quota generally is variable, but usually well-staged, with Garner doing more action than you might expect. And anyone that gets to beat up guest-star Quentin Tarantino wins my approval (at least it took him away from making more dire films!).

Though Sydney occasionally has romantic dalliances, she is somewhat unlucky in love – these men have an unfortunate tendency to die suddenly, and in one case, at Sydney’s own hands. This is probably a good thing, since I’m no fan of Unresolved Sexual Tension, finding it gets in the way of more important elements. Want romance? Go read Mills & Boon! This is an action series, after all, and I’d rather have Sydney kicking ass than going all gooey-eyed over, say, CIA handler Vaughn (Vartan). Their relationship is the subject of much fan fiction, but the ending of the first series would appear to have put the dampers on that department. [If you saw the finale, you’ll appreciate the particular viciousness of this comment]

Season one ended on a dramatic high with four characters potentially biting the big one, though no actual corpses were seen. Given this, and the twisty nature of the show in general, I think it’s safe to say a number of them will find a way to come back in the next series. I’m already looking forward to it.

Star: Jennifer Garner, Victor Garber, Michael Vartan, Ron Rifkin

Aeon Flux (animation)

  By

★★★★
“State of flux”

Difficult though it may be to credit, especially for younger readers, there was a time when watching MTV could actually be interesting occasionally, back in the days when the station had its own animation division. The best-known product to seep out was Beavis and Butthead, but more interesting was Aeon Flux, perhaps the most dense and impenetrable animated series to reach a wide audience – even if the general reaction was “Eh?”

It debuted as part of Liquid Television, and right from the start, makes an impression with its lack of dialogue, weird design and astonishingly high body-count. The first series of mini-eps depicted the mission of an apparent secret agent, Aeon Flux, who comes within moments of solving the case of a mysterious epidemic, only to meet an untimely death. Undaunted, the second series had a variety of cases, whose only real linking theme was the repeated untimely death of Aeon.

aeonanThen MTV commissioned some 25-minute episodes, and things inevitably started to mutate. The characters started to speak (gasp!), but anyone who thought this meant it would become easy to understand was in for a shock – if anything, it added an extra new dimension of complexity. More of the setting was exposed: two countries, Monica and Bregna, of opposite character and once united, but now in perpetual tension. Extra characters were added, most notably Trevor Goodchild, the Breen leader, whose relationship with Aeon (a Monican “agent”?) is perhaps the central focus of the series.

“What I was trying to go for was a kind of ambivalence.” So said creator Peter Chung, and as ambivalence goes, there’s little doubt he succeeded – rarely has a show hidden its light quite as effectively. Very little is laid out for easy consumption, and each episode repays, and indeed demands, repeat viewings. Every action and line of dialogue sometimes seems to have multiple meanings.

If it has a weakness, it is perhaps too obscurist, and you wonder whether the show is quite as deep as it wants you to think. In addition, there are parts which, however stylish, just don’t seem to make sense. But Aeon is a fabulous character, who in the words of Chung, “is not someone who reacts to things. She makes things happen…she’s a force for change as opposed to the status quo”, and the combination of intelligence and malevolent brute force is immensely appealing. Chung again: “I think it’s undeniable that there’s a certain glamour or a certain seductive power of violence on film. Her whole design and the way she looks, the way she moves is engineered purely to evoke that attraction.”

A feature version of Aeon Flux has occasionally been hinted at (Liz Hurley would seem a leading candidate for any live-action version!), but at the moment seems somewhat unlikely, especially with MTV having now folded their Animation Division. Chung has moved on too, first to work on Phantom 2040, whose characters are clearly cut from the same cloth, in their spidery style, and then off to the Far East, for an animated series based on the life of, I kid you not, Alexander the Great. Whether anything created in his future will be as memorable, intense and downright impenetrable as Aeon Flux is surely in doubt.

Creator: Peter Chung
Star: (voice) Denise Poirier, John Rafter Lee