Mad Max: Fury Road

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Release: Friday, May 15, 2015

[Theater]

Written by: George Miller; Brendan McCarthy; Nico Lathouris

Directed by: George Miller

For a lesser population, what a lovely day it is indeed, a day in which a franchise is reborn. To anyone else not attuned to what was once a legitimate excuse for Mel Gibson going crazy, Mad Max: Fury Road feels like what a Michael Bay action sequence wants to be when it grows up.

Before dealing with the flack I’m going to inevitably receive for that comparison, may I remind you that Bay, despite himself now, has a knack for building enthusiastic, explosive entertainment. Whereas the aforementioned splurges on expense, George Miller ingeniously . . . well, he splurges too actually. Except here a $150 million budget is appropriated toward some mind-blowingly technical stunt work that is liable to leave most breathless, begging for more.

Max Rockatansky (Tom Hardy) is seen at the film’s deceptively quiet open recounting his days of hardship via a gruff narrative, briefly reflecting upon a troubled past before being snapped up by a passing horde of baddies, undoubtedly the inspiration for some of this year’s most popular Halloween costumes. Behold, the War Boys. He is taken to a strange and desperate civilization known as the Citadel, a relative oasis presided over by the tyrannical King Immortan Joe (Hugh Keays-Byrne) who keeps most of the communal water and greenery to himself and his minions.

Charlize Theron’s Imperator Furiosa, a shaven-headed, fearless amputee with a face covered in soot, finally has had enough of living in such conditions. She goes rogue, fleeing the Citadel in Joe’s ‘War Rig’ and down an indistinct but narratively significant path of sorts, bound for a better way of life. On board the Rig are Joe’s Five Wives — a collection of beauty that recalls Bay’s casting sensibilities. But Bay doesn’t go for talent, really. He just stops at ‘good-looking.’

Perhaps that’s the only thing Joe cares for as well. Enraged by the knowledge of their escape, he sicks the War Boys on the Rig, igniting a thunderous and violent chase across remote desert landscapes and into a sand storm that makes The Perfect Storm look like a gust of wind. Valleys become death gauntlets, their outer limits patrolled by bikers who are expecting a shipment of gasoline be delivered by Furiosa in exchange for her safe passage through. As sure as a Michael Bay car chase, more disaster awaits there.

Miller and Bay are both adrenaline junkies — the former addicted to cartoonish madness; the latter to closing the gap between CGI spectacle and cinema-related migraine. One of these addictions is healthier (at the very least, artsier) than the other. But the constant raucous atmosphere can be overwhelming for newcomers to this depraved world of half-dead humans clinging to life however they can. For a good portion of this ride Max is used as a blood bag to nurse Nux (Nicholas Hoult) back to . . . uh, health. And one of the Five Wives is very pregnant. This isn’t a thinking man’s movie, but if there’s one thing Fury Road is adept at other than delivering non-stop thrills, it’s showing humanity’s will to endure some crazy shit.

With Hardy replacing Gibson in the titular role, one that strangely bears less significance when put beside an iconic Charlize Theron, Fury Road threatens to abandon its cult classic status, exploding into potential box-office behemoth territory. Despite an outrageous, gothic dress code this costume design will likely remain one of the hottest topics of the summer. Maybe all year.

Apparently The Avengers: Age of Ultron is still playing in some theaters. Well, now there’s a new kid on the block and his name is Mad Max Absolutely Ridiculous. Decorated in war paint, yelling at the top of his lungs he demands you know his name. After spending two hours with him you aren’t likely to forget it. Perhaps that’s the most significant distinction between these auteurs of the action spectacular.

When you realize you left the GPS at home . . .

When you realize you left the GPS at home . . .

4-0Recommendation: Decidedly one-note when it comes to plot, Mad Max: Fury Road is still a unique experience — brutal and relentless action combined with beautiful visuals and a gung-ho spirit that fails to dwindle. Having seen the originals isn’t a necessity but I’d imagine it would help round out Max’s character more. Action junkies and fans of George Miller’s brand of filmmaking must see this movie. It’s a curious thing, too: there are two films coming out later this year (one this summer) with as much potential to deliver the goods and both indisputably appealing to larger audiences, but I wonder if these films will be as successful in recruiting new fans as Miller’s latest has been.

Rated: R

Running Time: 120 mins.

Quoted: “Hope is a mistake. If you can’t fix what’s broken, you’ll go insane.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.southfloridafilmmaker.com; http://www.imdb.com 

The Rover

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Release: Friday, June 13, 2014 (limited)

[Theater]

People often are products of their environment. In the case of The Rover, it seems to be the other way around.

If that sounds like a call for the environmentally-minded to flock to their nearest indie/arthouse theater to see this flick, I don’t believe I could be more misleading. This unrelentingly bleak drama about a desperate man in search of his stolen vehicle in the middle of the sprawling Australian Outback has as much to do with environmental sustainability as Twilight has to do with vampires sucking blood.

Random reference? Sure, it might seem so. I’d be lying to you though if I said The Rover doesn’t rely on a moving performance from one Robert Pattinson (of said sugar-coated vampire-tale fame).

You know what, I actually did just lie. Well, only slightly. While the film provides ample screen time for Pattinson’s Rey — a homely and somewhat dim-witted young man whose backstory isn’t very clear — its gut-punch is delivered through the tension building up between both its leading males, that of Pattinson and the brutal role Guy Pearce has once again been saddled with. This time he plays Eric, an enigmatic loner seen in the film’s open taking a long pause in his car before stumbling into a shack and pouring himself a large drink.

Eric is no sooner tipping the glass back in an extended gesture of despair — welcome to the unforgiving realms of the place those on the outside (i.e. me) like to simply call ‘The Land Down Under’ — when he hears his car being stolen. The event is both dramatic and beautifully understated, playing out as a seemingly singular event from which we ought to recover soon. We don’t. In fact we go tumbling down the rabbit hole instead, as Eric quickly goes in pursuit and subsequently as things go from bad to vile.

The Rover can hardly be accused of overcomplicating things. Here’s a very simple premise that may even border on the pointless. Yet to dismiss the narrative as such would be to grossly overlook the startling themes that are presented. Set in a world a decade after the fallout of society as we currently know it — a subtitle before the movie gets going contributes to a sense of disorientation very early on — we are forced to confront a reality that has been teetering on the edge, only now pushed beyond it and here is the aftermath. What better location in which to film in order to convey this idea than in the unforgiving deserts of the Outback. Each scene featured in The Rover emphasizes a lack of humanity and an abundance of misery.

Each one also categorically confronts us with the truth about the power of currency and how powerless society could will be without it. A myriad of camera angles lingers on many a broken and decrepit edifice, on dirt floors and people existing in squalor — ordinarily stuff that wouldn’t be very compelling to watch on their own terms. But there’s a larger plot at work here, beyond the search for Eric’s car. Michôd’s story, an effort resulting from the collaboration between himself and Aussie native Joel Edgerton, attempts to reduce humans to their material possessions when faced with the alternative of having absolutely nothing at all. That it does very well through the winding plot of Pearce going after the one thing he can’t stand to lose.

The Rover ought to be viewed as a straightforward drama whose personality only gets slightly confused when it attempts to break from its oppressive shackles of physical and emotional brutality. Scenes such as the tumbling SUV as viewed through a window, and a particularly sensitive moment for Rey as he sings along to an American pop tune jut out but only distractingly. There aren’t any other scenes like these, which may prove more problematic for some viewers than for others. Alternatively, they may be looked at as welcomed oases from the misery.

Featuring another turn for Scoot “my middle name is Bleak” McNairy, who plays Rey’s conflicted brother, this is a film that most definitely supports the cliché ‘it’s really not about the destination, but the journey in getting there.’ Fortunately there’s slightly more to the affair than that, such as the evidence Pattinson provides for his case that he can, in fact, affect drama significantly.

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3-5Recommendation: The Rover is likely to prove too uneventful and even more conceivably, far too dark for many. This isn’t a film that cares to celebrate humanity. However there is enough drama and suspense to satisfy a more niched audience, and Aussie audiences are bound to find the use of the unforgiving reaches of the Outback compelling cinema. Bolstered by solid work from a consistent act in Guy Pearce and further buoyed by Pattinson’s odd but affecting support, this film won’t be as impacting as the director’s previous effort, Animal Kingdom, but it is intensely watchable and that’s good enough for me.

Rated: R

Running Time: 103 mins.

Quoted: “Your brother left you to die. He’s abandoned you out here to me.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com