Equilibrium

After the third world war had ended, the survivors realised that mankind would not be able to survive much longer if it didn't tackle the thing that makes them fight - emotion. To tackle the drive to hurt and hate, the Government issues drugs to sedate the populace from the highs or lows of feeling. Meanwhile the police round up those who still feel and destroy art, books and anything that would stir feeling. The heads of these police are the elite Clerics. John Preston has always been a Cleric, but the failure of his partner and an encounter with a feeler start him thinking and feeling.

With sighs of `matrix clone' and `cashing in', I, like many viewers overlooked this film in favour of other things that may have come across as more original. However, in the mood for a bit of slick action, I rented this film and was pleasantly surprised by it. The plot may not be original - but what is these days? The film has shades of 1984 and Brave New World about it and it uses these ideas reasonably well. The concept does fall down a little bit with too much thought but on the surface it works well enough to suffice for a sci-fi action movie - the running time doesn't allow for much more than superficial thought here, although there is enough in this future to be thought provoking.

The action is good considering the low budget involved here. Yes, it's all very much thanks to the influence of the Matrix but at least it is quite stylish and exciting in it's own right rather than just being a lazy copy. The action scenes are well spread out over the film and they have good pace despite being very much style over substance. The explanation for all the acrobatics and semi-invincibility here is not as good as the explanation/justification for the same in Matrix, but again it is acceptable for this level of film. If anything, the plot goes too fast and too far - it is difficult to accept that things happen so fast, but generally it works.

The cast is a strange mix but works. The thing that surprised me was the sheer number of British actors in the cast. Bale is good in the lead role despite his American accent, he is pretty cool and manages to do the emotional change required despite the rush enforced on him by the film. Diggs is disappointing - his character doesn't get enough screentime and he doesn't fulfil the role of rival to Bale, he is a good looking guy but that isn't enough here. The support cast features Bean, Pertwee, Connelly, Fincher and McFadyen but really it is totally Bale's movie and he does pretty well to make it together.

Overall this is not a great film but it is an enjoyable action sci-fi that manages to produce an interesting, if unoriginal plot and some slick and fun action that is no less slick or fun for being a low rent version of The Matrix's effects. Well worth a Friday night look!

First of all, a extremly tought provoking film!

Definitely a great film that really captures the essence of what makes us human. And how we need to protect freedom, democracy and culture forever.

I really think it manages to capture the human mind and the human experience of life and society.

Christian Bale fits perfectly for this role capturing his classic performances and abilitys as a actor during these "cold" roles he usually does.

Soundtrack is amazing!

Amazing script and filming aswell!

What makes my rating abit lower, from being a stable 8 or 9 is the exaggerated actionscenes that takes too much space.

Otherwise then that, its a movie that everyone should watch to understand how dangerous power could be and that we need to fight for freedom every day.

A strong film with plenty to recommend it, EQUILIBRIUM was released to the noise of "not another MATRIX rip-off" and similar sentiments. This instant decision is a little unfair, because – although obviously inspired by the Keanu Reeves blockbuster in places – EQUILIBRIUM is a decent and intelligent science fiction thriller with a pleasing change of pace. Once again we're in an Orwellian style future of grab greys and mundane apartment-block buildings, where emotion is suppressed and evil henchmen in motorbike helmets go around shooting little dogs. In this world we meet Christian Bale, a martial arts superhero who goes around murdering all those emotional and artistic folks.

Sure, it's an old story, but it works well here. CGI cityscapes aside, there are no fancy special effects robots or monsters; instead the basis is on good old-fashioned characters, and with a supporting cast that includes Sean Pertwee, Sean Bean, Taye Diggs, William Fichtner, and Emily Watson; you can't go wrong. Much of the story is predictable and there are a couple of sappy moments, but for the most part this is suspenseful, exciting stuff. A handful of violent, ultra-stylish action sequences (displaying originality, even in this day and age) add to the impact and help make the underlying dreariness rather enjoyable. Very entertaining viewing that deserves to be given a chance. A lot of this works thanks to Bale; once again, he's excellent in the part. I'd go so far as to say that this is actually better than THE MATRIX; whereas that film was all action, this one makes you think in a moral sense, and the action supports the story – rather than the action being the story.

I've seen this movie 5 times (it's the nature of satellite TV) within the past week and it's true...you catch something you've missed or see something new with every successive viewing. This movie is way ahead of its time, and much better than the over-rated Matrix. Bale is always exceptional, and so is his "Metroland" co-star, Emily Watson. Maybe it's the Anglophile or Brit-flick fan in me, but I must say that the added presence of Sean Bean and Angus MacFadyen all but confirms the pre-eminence of UK acting in quality films. Accompanied by very appropriate techno-musik, the action sequences are fast and Euro-flashy, heavily influenced by Jan De Bont--different from the weird, drawn-out, "suspended/string puppet" thing that apparently passes for martial arts these days. (I miss Bruce Lee)

Anyway, if you haven't seen it, give this a shot. If you already have & weren't impressed, take a look at it again. It will grow on you. See if you're inclined to show up to work the next day looking and acting very much a "Cleric" who missed a Prozium dose.

Set in a future, post-World War III society where emotions have been outlawed, Equilibrium tells the story of John Preston (Christian Bale), a government agent who begins to have doubts about the policy he is enforcing.

Equilibrium is the perfect example why I do not rate lower for derivativeness or unoriginality. The film is basically high-concept combination of Fahrenheit 451 (1966), George Orwell's novel Nineteen Eighty-Four (original published in 1949, film versions appeared in 1954, 1956 and 1984), The Matrix (1999) and a bit of The Wizard of Oz (1939) thrown in for good measure. What matters is not how original the ideas are (assuming it's not a case of plagiarism), as whether something is original or not is an epistemological problem that tells us more about our own familiarity with other material rather than the precedent status of the artwork we're questioning, but how well the material is handled. The high-concept material in Equilibrium is handled brilliantly.

On its surface, after a brief action-oriented beginning, Equilibrium is basically a progression from a fairly complex sci-fi film (meaning simply that it takes a lot of exposition to get up to speed) to a thriller to a "gun fu"-styled actioner. The progression is carried out deftly by writer/director Kurt Wimmer (who unfortunately hasn't shown the same level of elegant panache in other films I've seen from him, including Sphere (1998) and The Recruit (2003)), with all of the genres somewhat present throughout the film. Wimmer is so austerely slick here that Equilibrium sometimes resembles a postmodernist automobile commercial. The transition from genre to genre is incredibly smooth.

The most impressive material on this surface level is the gun fu action stuff, which almost "out-Matrixes" The Matrix in style, if not volume. Preston is so skilled to be an almost invincible opponent. His solitary misstep as a fighter occurs once he gives himself over to emotion. This is nicely related to the common advice from kung fu senseis that emotion lessens one's effectiveness in combat.

Of course a big part of Equilibrium is the set of philosophical points it has to make about emotion. There are sections of the film that are appropriately dialogue-heavy, and Wimmer is more than conspicuous with this (one of two) primary theme(s). Just as important as dialogue for Wimmer's commentary on man's emotions are body language and behavior. Some viewers might see it as a flaw that characters frequently show what they consider to be signs of emotions in their comments or behavior, but that's part of Wimmer's agenda. Because it's difficult to even say just what counts as an emotion, and emotions are so wrapped-up with being sentient beings, it would be difficult if not impossible to fully eliminate them, and it's certainly not recommendable. The cast does an excellent job of portraying characters who are supposed to be mostly emotionless but with cracks in the stoic armor continually poking through.

Wimmer has a harsh view of our society's self-medication epidemic--even the title of the film seems to be a stab at the common claim that drugs like Prozac and Xanax are taken to help one "smooth out", or "equalize", extremes of mood, or extreme dispositions. The Equilibrium government extends this agenda into the tangible material realm as they also attempt to "smooth out" mood swings by eliminating any cultural artifacts that might promote varied moods/emotions. Wimmer seems to see it as a not-too-exaggerated extension of the modus operandi behind Prozac-like drugs.

The other primary theme is one of institutional control. Wimmer has a lot to say about unquestioningly following authorities, and he's careful to show that it's not just governmental authorities that can be a problem. He does this by tightly wrapping religious allegory with his depiction of Equilibrium's government. The leader is known as "Father", and the government secret service members are "clerics". Those outside of this control are shown as authentic, free, individualistic and happy despite the hardships involved with their embrace of forbidden thought/items.

More subtly, Wimmer employs the now overused washed out blue-gray cinematography of late 1990s/early 2000s genre films towards an unusual end. It's not just a stylistic device here, but represents a particular kind of reality. Under the purview of the fascistic government, blue-gray predominates. When glimpses of freedom/authenticity enter the film, the blue-gray look is gone, replaced with strongly saturated warm colors, and occasionally a more nostalgic subdued tone. This is one of the film's similarities to The Wizard of Oz, although maybe not the most significant one.

If you're someone who cherishes originality for its own sake, you might not like Equilibrium as much, but you have much more serious epistemological problems to sort out. Otherwise, this is a film worth watching and thinking about.