Let's start at the end. Direct discussion of the point of the whole story could hardly be a spoiler, since the final success or failure f this point is left for readers to discover, if they are still interested. If fact, if the film makers had made the point explicit at th very beginning, they would have made a much better movie. But to demonstrate how they have subverted the best interests of the film, here are three comments from three recent reviewers expressing confusion as to the identity of the woman at the core of the story: "The virus they thought the girl might have was never explained. Beyond that it made her some kinda bomb, maybe... But wouldn't they be afraid of catching it?" - dkpedigo.
"What he does not know, but soon learns is the knowledge the girl may be a sleeper threat to him, his boss and to those who don't want the girl to live after she arrives in America." - thinker1691.
"According to the film, the Neolites needed Aurora intact so they could establish their religion by showing that one of their own had twin virgin births." - bnvrohm.
I actually ran through the end of this film three times before I finally got it: A virus is devastating North America and Aurora is a test-tube baby genetically designed to produce a race of superhumans who can survive the virus (by healing very rapidly) and reproduce without sex (which has left Aurora a side-effect of intense empathy). Consequently, the battle between the two scientists who effectively designed her is one of control, neither of them wants her dead, no matter what else they feel for her or what other use they may have for her. The former point needs explaining which never occurs in the film, and the latter point is senselessly obscured by the intense violence of the last major gun battle. And the decision to make both points mysterious has led to a conclusion that is confusing and unsatisfying, both intellectually and emotionally. I won't tell you exactly what happens, that would spoil it; but I suggest that after you've seen it you'll wonder if you care.
That said, the film is not a total loss as cynical sci-fi action film. Diesal actually gives a good performance here. There are some exciting action set-pieces, the dramatic and satiric set-pieces are occasionally intriguing, and the world of Babylon AD may be unpleasant but it is fully realized, which is the first demand for any sci-fi film.
But there's no doubt the story needed much more thought and better control than we see here. This journey should be leading somewhere, but when we get there, we wonder why we bothered.
"What he does not know, but soon learns is the knowledge the girl may be a sleeper threat to him, his boss and to those who don't want the girl to live after she arrives in America." - thinker1691.
"According to the film, the Neolites needed Aurora intact so they could establish their religion by showing that one of their own had twin virgin births." - bnvrohm.
I actually ran through the end of this film three times before I finally got it: A virus is devastating North America and Aurora is a test-tube baby genetically designed to produce a race of superhumans who can survive the virus (by healing very rapidly) and reproduce without sex (which has left Aurora a side-effect of intense empathy). Consequently, the battle between the two scientists who effectively designed her is one of control, neither of them wants her dead, no matter what else they feel for her or what other use they may have for her. The former point needs explaining which never occurs in the film, and the latter point is senselessly obscured by the intense violence of the last major gun battle. And the decision to make both points mysterious has led to a conclusion that is confusing and unsatisfying, both intellectually and emotionally. I won't tell you exactly what happens, that would spoil it; but I suggest that after you've seen it you'll wonder if you care.
That said, the film is not a total loss as cynical sci-fi action film. Diesal actually gives a good performance here. There are some exciting action set-pieces, the dramatic and satiric set-pieces are occasionally intriguing, and the world of Babylon AD may be unpleasant but it is fully realized, which is the first demand for any sci-fi film.
But there's no doubt the story needed much more thought and better control than we see here. This journey should be leading somewhere, but when we get there, we wonder why we bothered.