Thriller set in the late 21st century. A vampire-like disease called hemophagia creates a subculture of genetically-modified humans. These humans have enhanced speed, incredible stamina and acute intelligence. As they are set apart from 'normal, healthy' humans, the world is pushed to the brink of worldwide civil war aimed at the destruction of the diseased population. In the middle of this crossfire is an infected woman, Ultraviolet (Milla Jovovich), who finds herself protecting a nine-year-old boy who has been marked for death by the human government as he is believed to be a threat to humans.
As an overdose of eye candy, Ultraviolet
can be marginally recommended as the second half of a double-feature with Aeon Flux
. Both films are disposable adolescent fantasies featuring a butt-kicking babe (in this case, the svelte and sexy Milla Jovovich) in a dystopian future, and both specialize in the kind of barely-coherent, video-game storytelling that's constantly overwhelmed by an over-abundance of low-budget CGI. Director Kurt Wimmer fared much better with his earlier film Equilibrium
, but he's trying for a lively comic book vibe here (beginning with Hulk-like opening credits) with a digitally enhanced, Tron
-like color palette. It largely suits this late-21st century story of a "blood war" between the ultra-violent Violet (Jovovich), member of a vampire-like group of resistance fighters infected with a man-made virus called the Hemophage, and the human Vice Cardinal Daxus (Nick Chinlund), who's determined to eliminate Violet's kind once and for all. Wimmer takes all of this way too seriously, crafting a plot involving Violet's rescue of a human clone boy (Cameron Bright) that's intended as an homage to John Cassevetes' 1980 drama Gloria
, but Wimmer's good intentions are mostly lost in a repetitive series of chaotically choreographed fight scenes, mostly involving the tight-bodied Jovovich wiping out dozens of armour-clad enemies. It's all too numbingly hectic to qualify as a satisfying movie, but sci-fi buffs should give it a look anyway, if only to see how locations in Shanghai and Hong Kong contribute to the film's futuristic design.--Jeff Shannon
--This text refers to an out of print or unavailable edition of this title.