There’s barely enough substance in Destroyer to support an Aesop’s fable, let alone a Los Angeles crime epic.
A charged, unnerving turn of the screw, The Invitation is consumed by the fear of forgetting.
It seems engineered to give you that initial rush of satisfaction, but leaves you in a dead zone where the only thing you want is more of the same.
The film refuses to openly engage the isolationism and hardened cynicism that’s often part and parcel of being a career police officer.
This is catnip for boys who worship Michael Bay, James Cameron, George Lucas, and Roland Emmerich as gods.
It fluxes all right, from bad to the total pits.
Aeon Flux assumes an anti-establishment sci-fi façade in order to promote alarmist slippery-slope anti-science attitudes.