Taken from Greek mythology, the Elysian Fields is the heavenly nirvana where the privileged dead and those favored by the gods were sent to continue with a happy and worry free afterlife, able to indulge in their favorite pastime for eternity. It sat on the edge of the world where few mortals could ever hope to reach it, a forever taunting slice of Heaven on Earth. Even the title of South African auteur Neill Blomkamp's Elysium adds depth to what is a spectacularly realized future world where the rich live in a space station high in the sky, and the unwashed masses toil in squalor on a ruined Earth far below.
Set in the year 2154, Los Angeles now resembles a bombed out, decrepit favela from City of God. The planet raped of its natural resource, what remains is a withering husk, riddled with so much crime that heavily-armed robotic cops patrol the streets constantly. Overpopulated, polluted, and diseased, this ghetto-world is a place of utter hopelessness. The 1% have it much better in the space station Elysium, breathing clean air, indulging in a life of complete luxury, and never having to worry about sickness or injury thanks to amazing technology that can cure or repair any ailment. It's no wonder that immigrants from below risk all to get up there, crowding in rundown spaceships and hoping to make it to the Elysium surface.
Right away Blomkamp has set the stage for another brilliant piece of social and political commentary, similar to his surprise Best Picture nominee, District 9. Elysium has the same intellectual aptitude as that film did, but is an even greater visual marvel with all of the blockbuster qualities one could hope for. And a large part of what makes this perfect combination run on all cylinders is Matt Damon, who plays troubled ex-con Max De Costa. A parolee with a vast criminal background, we see that he's someone who doesn't really fit in with the way the world has changed. Cynical and sarcastic about his current station in life, working in an awful factory job at Armadyne like a regular working stiff; his attitude gets him in trouble repeatedly with the law and his employer. When his boss forces him into a dangerous predicament at work, Max is blasted with a lethal dose of radiation. Coldly informed he has only five days left to live, by a medical robot with terrible bedside manner, Max decides it's time to stop trying to be a decent guy and do whatever it takes to survive.
Although everything about Elysium is fascinating, one of the more inspired choices Blomkamp makes is in the depiction of Max, and casting Damon in the role. Far from a traditional hero, Max is a guy with a history of making irrational, often selfish choices. It's not the typical sort of role we see from Damon, but as played by him we immediately feel that connection and understanding of his frustrations. So we understand it when Max tracks down Spider (Wagner Moura), a barrio kingpin and tech genius whose criminal activities extend to ferrying illegal immigrants onto Elysium. Max wants in on the next flight so he can use one of the all-curing medical bays to cure his cancer. But to get a ticket, he'll need to pull off a risky job for Spider, and it involves hijacking the brain of Armadyne CEO John Carlyle (William Fitchtner), who has just struck a secret deal with Elysium's ambitious Secretary Rhodes (Jodie Foster). A Jan Brewer-esque hardliner with a political agenda, Rhodes employs a maniacal wildcard in agent Kruger (Sharlto Copley), who stands as the last line of defense (does that make him her Sheriff Arpaio?) keeping immigrants off of Elyisum soil. But Max isn't in this to save humanity; he's looking to save himself first and foremost. It's a critical point that we see touched on in intriguing ways throughout, especially when he runs across his childhood friend Frey (Alice Braga), who now has a daughter dying of leukemia.
Mostly free of exposition, Blomkamp trusts his audience to fill in the blanks on most aspects of the story, and it's a smart decision that keeps things running at a brisk pace. We never learn how human society ended up in its current state, perhaps because Blomkamp realizes we're on that path right now. Nor is there an attempt to explain all of the amazing weapons, gadgets, and healing technology that make this world so unique. Like District 9, Blomkamp keeps the science rooted in reality so that no matter how incredible some of it may be, it's easy to form a connection to. The exo-suit Max is fitted with (in a rather disgusting Cronenberg-esque sequence) isn't overly impressive visually, but it makes practical sense. Blomkamp's blending of CGI and natural, practical effects is masterful, and it's safe to say this is one the most strikingly gorgeous sci-fi movies ever put together, and all without leaning on the 3D crutch. While the budget for this one far exceeds his previous film, you get the sense that Blomkamp only included what was absolutely necessary. What he probably should have left out are some truly cheesy flashbacks to Max and Frey's childhood, which have a saccharine quality that simply doesn't fit. But they're also really badly written and clearly designed to paint Max as a destined hero. The film is already special, epic, and sprawling, so adding a bunch of pointed prophecies about Max's fate just seems gratuitous. 
There will be some who will take issue with the film's politics, which undoubtedly argue for a more developed healthcare system, smarter immigration policy, and greater economic equality. While these ideas are obvious, they're subtle compared to the more overt District 9. It's not like Blomkamp had each med-bay stamped with an 'ObamaCare' label, although some will no doubt act as if he did. What Blomkamp really seems to be saying is that if we treat all people with a measure of kindness, the world will be a much better place for everyone. It's a simple, humanist message and one that should be universal rather than the target for partisan attacks. And sure, there will be some who wish Blomkamp could keep his ideas to himself and just the let the movie be what it will be, but those folks probably shouldn't be watching a Blomkamp film to begin with. Nor do they have an understanding of science fiction, perhaps the greatest cinematic vehicle we have for making social allegory. Agree with him or not, Blomkamp has surpassed the high bar he set for himself. A thrilling, intelligent spectacle that has something to offer for everyone, Elysium stands apart from all of the summer blockbusters as a truly unique film with an uncompromising vision.
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