Body-snatcher aliens inhabit 90 percent of humanity, eliminating crime, hunger and environmental issues. Although pockets of humans resist being possessed by these tiny white jellyfish-like beings. When the Seeker (Kruger) captures resistance leader Melanie (Ronan), she implants a soul named Wanderer to infiltrate her memories. But the extra-resilient Melanie remains conscious alongside Wanderer, winning her over to the cause and leading her the humans' secret cave hideout, where Jeb (Hurt) renames her Wanda and accepts her into the fold. But the Seeker is on their trail.

In the caves, Melanie's reunited with her brother (Canterbury) as well as boyfriend Jared (Irons). But she certainly doesn't want him kissing Wanda, and she's even more annoyed when Wanda falls instead for Ian (Abel). This bizarre four-sided love triangle runs parallel to the thriller-like plotline about the Seeker's relentless search. And everything is played with almost overwhelming seriousness; there's virtually no offhanded humour or humanity, and Antonio Pinto's swelling score continually reminds us that everything is hugely important.

Fortunately, the excellent cast adds plenty of personality. Ronan is superb in a role that could have looked ridiculous since she's having a running conversation with a voice in her head. Some kissy scenes get rather corny (for Melanie, or perhaps Meyer, kissing is the only expression of true love), but Ronan still makes us care about both Wanda and Melanie. As the two hunks, Abel and Irons are interchangeable but likeable. Kruger gives her Seeker an enjoyable tenacity. And Hurt again reinvents himself in an unusual role that fits him perfectly.

Niccol not only adds brains to the moodiness, but he makes sure it looks terrific. With minimal effects, he vividly creates a peaceful future without commercialism or capitalism. The aliens clearly don't like colour, wearing white and driving chrome-plated cars, motorbikes and helicopters. Every sequence is beautifully shot to maximise the epic landscapes and the wonders of the rebels' slightly too-developed maze of caves. Although after the swoony climax, we begin to doubt that the filmmakers will have the courage to end on a complex happy/sad note.

themes, violence

29.Mar.13