Mad Max: Fury Road and an Incredible Indie Film.
"Mad Max: Fury Road"
starring: Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Josh Helman, Nathan Jones, Zoe Kravitz, Rosie Huntington-Whiteley, Riley Keough, Abbey Lee, Courtney Eaton, John Howard, Richard Carter, Iota, Angus Sampson, Megan Gale
written and directed by: George Miller
I almost feel like the last person in the world to have finally seen this film, but I am definitely glad I finally watched it. I have to say it is probably the best and most interesting Hollywood film released this past year. A true cinematic triumph in that not only does it entertain thoroughly, but it also "sneaks in" some great metaphors that are relevant to our world and times right now (a great accomplishment since the first, original film was released in 1979 and seems telling a story relevant to that time period). I think it helps that the original writer and director, George Miller, is at the helm for this supposed "reboot." This is a truly mind-bending and mind-blowing, genuine masterpiece of filmmaking, while also being pure action and adrenaline-rush-powered cinema.
Thankfully, Mel Gibson has been replaced by Tom Hardy, who again dons a mask that covers his face a la his character Bane in the third Christopher Nolan "Batman" film, "The Dark Knight Rises." Here, the mask is more welcomed because we don't really care or need to hear his character speak.
Truly, this Max is mad, haunted by PTSD and stung by visions of long-gone allies and kin. We first glimpse him standing beside his equally iconic 600HP, V8 Interceptor, gobbling a two-headed desert lizard for breakfast. Before long, he is captured by Immortan Joe (Keays-Byrne, aka Toecutter from the ’79 film), the humongous leader of an army of white-painted War Boys who, ridden with pseudo-religious fervor and some horrific pox, use normal humans as living blood-bags. In Mad Max 2: The Road Warrior, gasoline was the lifeblood of this dreadful post-apocalyptic society; now it’s water, which Joe controls. He also has a harem of lovely young women he regularly impregnates, hoping for an heir. Which brings us to Charlize Theron’s remarkable performance as the one-armed warrior woman Furiosa. Her character, Furiosa, who more than lives up to her name, is Fury Road’s heart and soul – well, after all those nightmarishly souped-up deathmobiles – and this future über-feminist/humanist gets all of the good lines.
There is not much dialogue in this tour de force. There doesn't have to be, but the words and dialogue that is spoken is necessary and purposeful. This is a kiss-of-steel car chase to end all car chase films that sets out to prove a point and punctuates it with a hard fist, right in your face. There's so much damage and action it's hard to ignore or grow bored with any part of this film. You cannot take your eyes off of it, at any point. It's an unstoppable force of a movie.
This is what movies should strive to be. I'm so glad I watched it and I feel like it's necessary to watch it over and over again, which is a rare accomplishment of any film, let alone an action film. My point is: Watch it! And be impressed.
...........................................................................
"The Stranger"
starring: Christobal Tapia Montt, Lorenza Izzo, Luis Gnecco, Ariel Levy, Nicholas Duran, Alessandra Guerzoni, Aaron Burns
written and directed by: Guillermo Amoedo
When horror genre-bending and defining director Eli Roth is "presenting" a film, it sort of sets the bar high for a viewer that thoroughly enjoys all of his films. Although, here Eli Roth is only the film's backer and it belongs to writer/director Guillermo Amoedo, in that it is not necessarily a horror film. It is more of a supernatural, thriller-type of film, which puts it in its own category and allows it to be a singular film, although it does have enough violence and gruesomeness to remind you of Eli Roth's films, and you can see why he enjoyed it himself. Although, it also makes me think that Eli Roth became an executive producer under the condition that his wife, Lorenza Izzo, be cast in the film (which he did again for his most recent foray "The Green Inferno"). I guess the fact that she's a decent actress helps us forgive this fact of nepotism.
If I were in film school perhaps I would want to explore this film a bit more to understand it, but maybe it will just take another viewing for me to understand the point, but am I willing to see it again when there are so many other films out there?
............................................................................
"I Believe in Unicorns"
starring: Natalia Dyer, Peter Vack, Julia Garner, Amy Seimetz
written and directed by: Leah Meyerhoff
This film makes me wonder if Leah Meyerhoff went to film school with Sophia Coppola. There I said it. Now that that's out of the way, I can say that I thoroughly enjoyed Meyerhoff's debut film, for everything that it is and everything that she gives to us visually and in her story. (Note: I also have to say I love every film Sophia Coppola has made).
Meyerhoff's film could be another coming-of-age story told through the young female lead's perspective- in the same vein as "An Education" (which really helped propel Carey Mulligan's career into a fast-track). But the director/writer avoids common mistakes and cliches in these stories and turns it into a keen observation with perhaps a deeply personal aspect to it that makes the character and her story easy to connect with (if you're a young female) as well as very empathetic. It's a sensitive subject and artistically very arrestingly and impressionistic.
It's a coming-of-age story told through a road-trip, first-love narrative. The female at the center is named Davina (played by Natalia Dyer). Being a teenager, Davina is rather naive, an unforgivingly beautiful girl who seems to be seeking refuge from the reality of the inescapable anxieties for life has presented her with, due to her mother's illness and handicap (she is confined to a wheelchair), which has forced Davina into the role of caretaker, which in turn forced her to grow up far quicker than I imagine she wanted to, which means she ultimately has skipped through her adolescence. This is why she has seemingly created her own fantasy, fairytale world (which we are presented and exposed to through a very artful, art-school way thanks to claymation and stop-animation). We see a world that Davina has created within her own mind filled with unicorns and dragons, and lovely princess, but... no Prince Charming. So, in reality, Davina falls for the slightly older, rough-around-the-edges, skater/punk named Sterling, whom we witness casually deflower her in the back of a music venue and then treat with a stinging indifference that makes us hate him. Davina is heartbroken when Sterling treats her this way, because like many if not all first loves, as well as first sexual partners, Davina is emotionally connected to him and wants to believe they can be together. So, she is delighted when he seems to change his tune and behaves tenderly, even lovingly, and proceeds to invite her along on a road trip of sorts with really no end result or destination other than to be "anywhere but here."
There's something beautiful and deep here in the story and it becomes much less about the doomed lovers on the run and more about the introspection of Davina as a young woman looking to understand herself and find her place in this world, while experience the highs and lows of first love. Haven't we all been there!?
This is an awesome film. And, Natalia Dyer really is a stand-out actress and I'm sure will get more work with this role/film on her resume. She really steals the show!
starring: Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Josh Helman, Nathan Jones, Zoe Kravitz, Rosie Huntington-Whiteley, Riley Keough, Abbey Lee, Courtney Eaton, John Howard, Richard Carter, Iota, Angus Sampson, Megan Gale
written and directed by: George Miller
I almost feel like the last person in the world to have finally seen this film, but I am definitely glad I finally watched it. I have to say it is probably the best and most interesting Hollywood film released this past year. A true cinematic triumph in that not only does it entertain thoroughly, but it also "sneaks in" some great metaphors that are relevant to our world and times right now (a great accomplishment since the first, original film was released in 1979 and seems telling a story relevant to that time period). I think it helps that the original writer and director, George Miller, is at the helm for this supposed "reboot." This is a truly mind-bending and mind-blowing, genuine masterpiece of filmmaking, while also being pure action and adrenaline-rush-powered cinema.
Thankfully, Mel Gibson has been replaced by Tom Hardy, who again dons a mask that covers his face a la his character Bane in the third Christopher Nolan "Batman" film, "The Dark Knight Rises." Here, the mask is more welcomed because we don't really care or need to hear his character speak.
Truly, this Max is mad, haunted by PTSD and stung by visions of long-gone allies and kin. We first glimpse him standing beside his equally iconic 600HP, V8 Interceptor, gobbling a two-headed desert lizard for breakfast. Before long, he is captured by Immortan Joe (Keays-Byrne, aka Toecutter from the ’79 film), the humongous leader of an army of white-painted War Boys who, ridden with pseudo-religious fervor and some horrific pox, use normal humans as living blood-bags. In Mad Max 2: The Road Warrior, gasoline was the lifeblood of this dreadful post-apocalyptic society; now it’s water, which Joe controls. He also has a harem of lovely young women he regularly impregnates, hoping for an heir. Which brings us to Charlize Theron’s remarkable performance as the one-armed warrior woman Furiosa. Her character, Furiosa, who more than lives up to her name, is Fury Road’s heart and soul – well, after all those nightmarishly souped-up deathmobiles – and this future über-feminist/humanist gets all of the good lines.
There is not much dialogue in this tour de force. There doesn't have to be, but the words and dialogue that is spoken is necessary and purposeful. This is a kiss-of-steel car chase to end all car chase films that sets out to prove a point and punctuates it with a hard fist, right in your face. There's so much damage and action it's hard to ignore or grow bored with any part of this film. You cannot take your eyes off of it, at any point. It's an unstoppable force of a movie.
This is what movies should strive to be. I'm so glad I watched it and I feel like it's necessary to watch it over and over again, which is a rare accomplishment of any film, let alone an action film. My point is: Watch it! And be impressed.
...........................................................................
"The Stranger"
starring: Christobal Tapia Montt, Lorenza Izzo, Luis Gnecco, Ariel Levy, Nicholas Duran, Alessandra Guerzoni, Aaron Burns
written and directed by: Guillermo Amoedo
When horror genre-bending and defining director Eli Roth is "presenting" a film, it sort of sets the bar high for a viewer that thoroughly enjoys all of his films. Although, here Eli Roth is only the film's backer and it belongs to writer/director Guillermo Amoedo, in that it is not necessarily a horror film. It is more of a supernatural, thriller-type of film, which puts it in its own category and allows it to be a singular film, although it does have enough violence and gruesomeness to remind you of Eli Roth's films, and you can see why he enjoyed it himself. Although, it also makes me think that Eli Roth became an executive producer under the condition that his wife, Lorenza Izzo, be cast in the film (which he did again for his most recent foray "The Green Inferno"). I guess the fact that she's a decent actress helps us forgive this fact of nepotism.
The film begins with the arrival of Martin (Cristóbal Tapia Montt) in a small town (in Chile, standing in for Canada). He seeks his wife, Ana, who he learns has died, and instead meets a young graffiti artist, Peter (Nicolás Durán), who had a connection to her and comes to Martin’s aid. Martin also meets the town thug, Caleb (Ariel Levy), the son of a corrupt police officer (Luis Gnecco), in a brutal encounter that Caleb instigates.
Everyone soon discovers that the dour Martin has an illness with an upside: His blood, applied to wounds, has healing powers. The downside: He must consume the blood of animals, including humans, to survive. Only fire or daylight, it seems, can kill him.
The main underlying plot point that Amoedo seems to be exploring here is that notion that superpowered beings can be the bearers/carriers of a disease and also themselves be the cure, is something that has been explored in other similar-type films (re: "28 Days Later" and "Cabin Fever"). The question is: Is there a philosophical takeaway or understanding that Amoedo wants us to leave with after presenting us with all the carnage in his wake? What is the value of good deeds? And do they truly go unpunished?If I were in film school perhaps I would want to explore this film a bit more to understand it, but maybe it will just take another viewing for me to understand the point, but am I willing to see it again when there are so many other films out there?
............................................................................
"I Believe in Unicorns"
starring: Natalia Dyer, Peter Vack, Julia Garner, Amy Seimetz
written and directed by: Leah Meyerhoff
This film makes me wonder if Leah Meyerhoff went to film school with Sophia Coppola. There I said it. Now that that's out of the way, I can say that I thoroughly enjoyed Meyerhoff's debut film, for everything that it is and everything that she gives to us visually and in her story. (Note: I also have to say I love every film Sophia Coppola has made).
Meyerhoff's film could be another coming-of-age story told through the young female lead's perspective- in the same vein as "An Education" (which really helped propel Carey Mulligan's career into a fast-track). But the director/writer avoids common mistakes and cliches in these stories and turns it into a keen observation with perhaps a deeply personal aspect to it that makes the character and her story easy to connect with (if you're a young female) as well as very empathetic. It's a sensitive subject and artistically very arrestingly and impressionistic.
It's a coming-of-age story told through a road-trip, first-love narrative. The female at the center is named Davina (played by Natalia Dyer). Being a teenager, Davina is rather naive, an unforgivingly beautiful girl who seems to be seeking refuge from the reality of the inescapable anxieties for life has presented her with, due to her mother's illness and handicap (she is confined to a wheelchair), which has forced Davina into the role of caretaker, which in turn forced her to grow up far quicker than I imagine she wanted to, which means she ultimately has skipped through her adolescence. This is why she has seemingly created her own fantasy, fairytale world (which we are presented and exposed to through a very artful, art-school way thanks to claymation and stop-animation). We see a world that Davina has created within her own mind filled with unicorns and dragons, and lovely princess, but... no Prince Charming. So, in reality, Davina falls for the slightly older, rough-around-the-edges, skater/punk named Sterling, whom we witness casually deflower her in the back of a music venue and then treat with a stinging indifference that makes us hate him. Davina is heartbroken when Sterling treats her this way, because like many if not all first loves, as well as first sexual partners, Davina is emotionally connected to him and wants to believe they can be together. So, she is delighted when he seems to change his tune and behaves tenderly, even lovingly, and proceeds to invite her along on a road trip of sorts with really no end result or destination other than to be "anywhere but here."
There's something beautiful and deep here in the story and it becomes much less about the doomed lovers on the run and more about the introspection of Davina as a young woman looking to understand herself and find her place in this world, while experience the highs and lows of first love. Haven't we all been there!?
This is an awesome film. And, Natalia Dyer really is a stand-out actress and I'm sure will get more work with this role/film on her resume. She really steals the show!
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