BIFF Review: Vexille

Vexille tries to make me care about its characters, but they only have three facial expressions and look like rotoscoped versions of Grand Theft Auto avatars.  They’re drawn real pretty, and the action sequences are fun (I counted two Death Star trench run ripoffs and one invasion of Xavier’s mansion ripoff, and the entire thing is a Matrix riff, so…), but it wasn’t enough to redeem the fact that this flick played like a video game with too many cut-scenes.

Maybe if half the title character’s dialogue wasn’t just shouting the names of other characters and then looking at them kind of sort of plaintively.  Maybe if they spent more time driving, flying, and blowing shit up real fast.  Most importantly, maybe if I had seen the subtitled version and not the dubbed version.

The story, if you’re wondering when I was gonna get to that, is set in the late 21st century. Japan has withdrawn from the U.N. over a ban on building androids and totally isolated itself from the world including satellite communications and surveillance.  When the U.S. finds reason to believe the Japanese have succeeded in creating human-passing androids, a group of American soldiers who wear exo-suits are sent to sneak past the island-nation’s electromagnetic defenses and find out what has been going on in there.

The score is by Paul Oakenfold, so whenever there’s action there’s a great propulsive beat and all is well. Then the action stops, the music goes away, the characters start talking, and the movie goes flat like a Pop Warner cheerleader.

Ultimately it’s mediocre, but if you’re into futurism and robotics or giant sandworms made out of scrap metal (that part was pretty cool), then I wouldn’t actively discourage you from checking it out. For example, my good friend Red (author of Organic Algorhythm over in the blogroll) might have a geekgasm over this.

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