ULTRAVIOLET (2006), dir. Kurt Wimmer

Based on the opening credits, “Ultraviolet” is supposed to resemble a comic book adaptation, but frankly, it contains everything one could expect from an Asian action flick. Of course, one could argue since the turn of the century, Asian cinema has been overwhelmingly influenced by “The Matrix” series, in which the camera became progressively more innovative, and so it is no surprise finding the lens moving through solid objects here, as well as framing special effects-laden sequences of elaborate mayhem from all crazy angles.

Nor is it shocking to see the use of “bullet-time,” the process pioneered by the makers of “The Matrix,” wherein the action proceeds in slow-motion but the camera does not. In “Ultraviolet,” writer-director Kurt Wimmer does try and mix things up, partially filming the “bullet-time” scene through the point-of-view of an actual bullet, which gets fired at the movie’s central fighting machine played by Milla Jovovich.

Aside from the choreography in some of these one-versus-many scenarios, most traces of creativity are visible in the costumes and production design of Wimmer’s otherwise routine dystopia film. Give him credit, though, for conceiving of giant bowling balls transforming into ninjas; weapons that fold out of wristbands; and something called an “anti-gravity” well, which can turn reality upside-down for both the protagonists and viewers; and all that’s just in the first half-hour.

Unfortunately, once the ultra-cool Violet – get it? – gets saddled with a cute little boy (Cameron Bright), you can pretty much plot the trajectory of her character from dismemberer to nurturer. Six, as the tyke is named, may represent a threat to Violet’s genetically-engineered, vampire-like race, but he’s also a call from the past, a surrogate for the baby she lost during her labored origin. Naturally, she tries to keep Six at an emotional distance while they’re on the run from an evil corporation, but her badass-hood is no match for maternal instinct, and it isn’t very long before her would-be callousness merely resembles a single mom’s tough love.

Luckily, there isn’t too much schmaltz, as the movie, in keeping with its resemblance to Asian cinema, is heavy on action but light on characterization. Indeed, conversations between Violet and the supporting cast are kept to the necessary minimum, and although we see two sides to Violet, everyone else – the child-like Six, the evil bad guy, the good friend – more-or-less fulfill types. No, there’s not much depth to “Ultraviolet,” but at least the surface visuals look cool. Maybe Wimmer can try adapting an actual comic book for his next project.

Overall rating: ** (out of ****)