Exemplifying the worst facets of modern Hollywood - the rampant cannibalism of existing material (in this case an MTV animated series), a predilection for style over substance, the squandering of an A-list cast - Aeon Flux is a futuristic spandex-clad bore.

Visually, the film holds a certain appeal, especially if your pulse quickens at the thought of Charlize Theron in a figure-hugging black catsuit, performing all manner of gravity-defying gymnastics.

The Oscar-winning actress performs many of her own stunts as the eponymous heroine and injured her neck so badly during one stunt sequence that filming was delayed for four weeks.

It wasn't worth the sweat and tears. You can only watch Theron's pert frame pirouette through the air so many times before you hanker for a coherent plot.

Screenwriters Phil Hay and Matt Manfredi do not share our concern. They are content to use the animated series as a framework for a dull and convoluted genetics thriller that poses far more questions than it answers.

For example, why does Sophie Okonedo's warrior protege surgically replace her feet with hands other than to keep the special effects team occupied?

And in the 25th century, will mankind's greatest weapon really be a killer lawn?

If Aeon Flux is the future, then it's anything but bright.

The year is 2415 and disease had ravaged most of the earth's population.

The walled state of Bregna is one of the last strongholds of humanity, ruled by an elected body of scientists under the command of the mercurial Trevor Goodchild (Marton Csokas) and his brother Oren (Johnny Lee Miller).

An underground rebellion known as the Monicans despatches elite agent Aeon Flux (CharlizeTheron) to kill Trevor, the man she holds responsible for the murder of her family. In the process of carrying out her dangerous mission, under the aegis of her handler, Aeon unearths dark secrets beyond her wildest imagination.

The assassin is compelled to question her reality and the true motives of the Monicans.

Hunted down on all sides, including by fellow Monican killer Sithandra (Sophie Okonedo), Aeon strives to stay one step ahead of her pursuers.

Director Karyn Kusama, who made a breathtaking feature film debut with Girlfight, fails to bring any humanity or emotional depth to this bewildering mess.

Theron glares through the strands of her dyed-black bobbed haircut, mentally calculating how much money she is taking home for each thrill-less minute, grateful not to be lumbered with the frizzy ginger mess that dominates co-star Frances McDormand's performance.

As for poor Pete Postlethwaite, he spends the entire film trapped in a ribbed canvas tube that the props department appears to have borrowed from the agility trials at Crufts.