Rooted firmly in the tradition of mixing philosophy, morality and science fiction super heroes, Vexille’s reach unfortunately exceeds its grasp as socio-political messages and discussions of eugenics get lost in dodgy animation and Saturday morning cartoon clichés.
In the not too distant future, a female agent named Vexille is sent to a now-isolated and politically exiled Tokyo to investigate whether the Japanese are developing technology which has been banned by the rest of the world. Along the way, she learns the truth of Japan’s isolation and is involved in a love triangle with the man she’s sent to rescue and the leader of the resistance, an element seemingly thrown in as an afterthought to complement the film’s weightier themes.
Borrowing liberally in style, if not execution, from Ghost in the Shell, Akira and The Matrix, the animation switches between visually arresting, dramatic images (including Dune inspired bio-metal sand creatures), to the uncomfortable, marionette-like movements of the main characters.
But the film really loses its way when it aims for higher ground. Its man/machine morality discussions have been done before, and it only ever paws at the surface of these issues before returning to the much simpler territory of cackling baddies and threadbare dialogue. Even with a zippy soundtrack from Paul Oakenfold, Vexille is an earnest but unsuccessful attempt to follow in superior footsteps.
