"I am a Titan. A monolith. Nothing can stop me."

If you have heard of it, you probably think Ultraviolet is another weak, futuristic science fiction dystopia that should be avoided. But you would be wrong.

Based on a comic book, Ultraviolet is a futuristic science fiction dystopia, but a very, very good one. Violet lives in an era defined by the fear of disease, much as previous eras were dominated by terrorism. She has Hemoglophasia, an ancient blood virus related to vampirism that has been reawakened in these days and spread like the plague. But the most threatening thing about it is how it endows the infected with superhuman speed, strength and intelligence. Quarantine and segregation turned to extermination, and now humans and the remaining hemophages are at war.

Unlike some films of this sort which couldn't find a competent writer if their box-office receipts depended on it, Ultraviolet bristles with short, resonant dialogue of the kind you find in captioned comics. Milla Jovovich, who gets better and better with each movie, is stunning as she delivers her abbreviated lines with almost Shakespearean dramatic skill. And young Cameron Bright, a bit of an enigma in his dark child roles, is as solemn as ever playing a pre-teen surrogate son whose blood is a deadly weapon.

Ultraviolet introduces fresh new technologies such as dimension compression, which enables Violet to sheath swords and conceal dozens of weapons on her person within invisible spatial dimensions, portable anti-gravity generators that empower motorcycle chases to climb the sides of skyscrapers, and disposable mobile phones that you print out onto paper cards from public kiosks to change your number every sixty seconds.

And if one-versus-seven-hundred gunfights and flaming swords duelling in the dark aren't enough for you, Violet wears the coolest sunglasses since The Matrix.

If you were disappointed by Aeon Flux, don't judge this book by its cover.