Adaptacja pierwszych dwóch części serii komiksowej "Trylogia Nikopola" autorstwa Enki Bilala. Koniec XXI wieku. W Nowym Jorku mieszka Jill Bioskop, kobieta o niebieskich włosach, która płacze niebieskimi łzami. Jeszcze o tym nie wie, ale Horus, egipski bóg z głową sokoła, przemierzył dla niej pół wszechświata. Skazany, ma tylko 7 dni, by ją odnaleźć i uwieść. Ale do tego potrzebne mu jest ludzkie ciało. Będzie to ciało Alcide'a Nikopola, więźnia politycznego, deportowanego 30 lat wcześniej zaodkrycie tajemnic nowojorskiego apartheidu. Horus, Nikopol i Jill Bioskop to dziwny trójkąt, w którym wszystko jest fałszywe: głosy, ciała, wspomnienia. Wszystko oprócz miłości, która pojawia się tam, gdzie najmniej można się jej spodziewać. A tymczasem piramida bogów unosi się nad Manhattanem, kosmici spiskują na szczycie drapacza chmur a nieludzki seryjny morderca pokrywa trupami ulice pierwszego poziomu... (cyt. za wrak.pl)
Directed by influential comic book artist Enki Bilal, based on his own graphic novels, Immortal is one of the first films in the world to be shot almost entirely on green screen, along with Sin City and Sky Captain and The World of Tomorrow. Immortal is a film of extraordinary vision and a treat for comic book and sci-fi fans alike and has never before been released in the UK. In the year 2095, a giant extraterrestrial pyramid appears over New York. Inside, the ancient Egyptian god Horus is told he has just seven days on Earth before his destruction. Seven days to revisit the world he helped create, and mate with the beautiful blue haired woman Jill Bioscopin in this maze of a city. In order to seduce Jill, Horus must find a human body capable of hosting his own form. In his search for a body that can be possessed without being destroyed, Horus leaves a trail of death and bloodshed. He finally discovers Nikopol, a rebel leader who has been cryogenically frozen for 30 years. Together, Nikopol and Horus pursue Jill, whose strange powers are also being investigated by Doctor Elam Turner.
One of the best 'proper' sci-fi films of the 2000s. It's certainly not perfect. But it is great fun, while still requiring more intelligence than most recent ersatz sci-fi films ('Mission to Mars' and 'Sunshine' seem to be the intelligent exceptions, but they stick firmly to post-Apollo "hero astronauts" territory). Most people have criticised the complex and by no means seamless screen mix of human characters, CGI characters, and hybrid human-CGI characters. This mix was initially jarring, and it would be easy for most viewers to dismiss the film as soon as they hit that particular wall (about 12 minutes in) - but then it all forced me to "suspend my disbelief", and led to a strong immersion in the storyline and the world on the screen. And what a storyline! This is how sci-fi on the screen should be - mysterious, hugely imaginative, mildly epic, bizzare (if not bonkers), endlessly visually-inventive but still very human and posing a few human quandries. Luckily (as a kid) I'd read the Bilal graphic novel this is based on, back in the mid 1980s when it was serialised in Heavy Metal magazine. So I knew a little of what to expect, but it's been rebooted and polished here to make a satisfying and good-looking movie experience. There are a few things I would have changed, mostly the very uneven choice of music - especially the dreadful French rock music at the end. Other than that, this seems to be about as close as we're likely to get in the 2000s to seeing a bonkers 'hard' sci-fi novel on the big screen. It's just a pity that the budget couldn't have stretched to a consistent music score, and some better animation in places - I'd love to see this film revisted and "retouched" after ten years, laying the latest animation technology over the weakest bits. For those wondering how this French movie works in English, there's strong dialogue throughout and flawless English dubbing and voice-work