One way to get in touch with your inner film lover is to determine what kind of genre apologist you are. For instance, I have a high tolerance for flawed science fiction movies. Wooden acting, cheesy dialogue, bad costumes, outlandish set design. I am willing to overlook most of these things if the film is set in space, or the future, or in some alternate reality. 
Of course I would hope for more, but for me, even bad sci-fi films have the potential to be fun. Maybe that explains why Charlize Theron took this film, after critical acclaim in Monster and North Country. Or maybe she was just tired of not looking good.
The story here is that tyrannical rule over a post-apocalyptic enclave is threatening personal freedom (and seems to have taken a big dent out of society’s fashion sense). Theron is a top ass-kicker in a band of revolutionary ass-kickers who are led by a mental image of a ridiculously made-up version of an accomplished actress. No, that actually is Frances McDormand, and she had a lot of explaining to do. The film is essentially an episode of Star Trek given a much larger budget and stretched (like so much patent leather) to 90-odd minutes. In other words, it is exactly like the last several Star Trek movies (minus Theron and the leather). It is too bad the filmmakers told the actors that in the future, no one actually has a personality. We all know that Christian Bale sorted that problem out in Equilibrium. In the fine tradition of science fiction films, Æon Flux has a statement to make. I’m not sure what it is, but it clearly has something to do with cosmetic surgery.
Here are this morning’s Oscar-nominated films, alphabetically. The nominees for foreign language film and documentary feature are compiled at the end of the list. (Short format nominees are listed in a 
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