Setting a film in the future is tricky. You can have fun with it and create eye-popping visuals unconcerned with authenticity, or you can try to build a convincing projection of the world we live in now. What you should avoid is landing somewhere in the middle, as Neill Blomkamp has in Elysium. Certainly pieces of Elysium‘s world feel possible, like the disconcertingly ubiquitous biotechnology; some of it even probable, like the bastardized mélange of languages or the lack of paying work in an overpopulated world. But between the magical healing tubes, the utterly structureless society, and the absurd lack of humanity in damn near every character, Blomkamp’s follow-up to 2009’s slick District 9 spends far too much of its screen time asking you to meet it halfway.