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Movie Metropolis (309 KP) rated Mad Max: Fury Road (2015) in Movies
Jun 10, 2019
Cinematic Redbull
Up until a week ago, I was really looking forward to this film. Mad Max as a series has a criminally underestimated impact on our pop culture psyche thanks to its unique aesthetic. Everyone now knows exactly what they want to do in the event of the apocalypse; strap dustbin lids and S&M gear to our bodies.
Then I remembered that other recent reboot of a beloved 80’s sci-fi film, 2014’s Robocop. Specifically, I remembered that it was absolutely awful, a broken train-wreck of a movie that doesn’t understand and full on resents the original film, and drained all the personality out of a film bursting with it. 2012’s Total Recall shared similar problems, so the question came; would this modern reboot of an 80’s genre classic be the first of its kind to match the quality of the original?
The answer is no. It is far, far better.
The original Mad Max films each had the budget of a school nativity play and relied entirely on the scrapyard aesthetic and charismatic villains rather than action. Fury Road, on the other hand, is the cinematic equivalent of Red Bull; fast paced, frenetic and wild. The action sequences are almost constant, only broken up when the audience’s hearts are about to burst, accompanied by one of the most energetic and brilliant soundtracks I’ve ever heard. In the hands of a lesser filmmaker it would be too much to handle, but Miller makes sure to frame and edit each scene in a way that allows the audience to always follow the action.
Visually, the film is much more in line with Alejandro Jodorowsky’s failed Dune adaptation than anything else, with its deformed mutants, impractical clothes and grungy mechanics. Every image on screen is madder than the last; the audience will probably ask “Why does that guy have a flamethrower guitar?” or “Why is there a fat dude in a business suit with his nipples exposed?” and the film just says “Because you wanted to see it and didn’t know you did.” And it is totally right. Like Big Game, the landscapes are achingly beautiful too, turning a barren desert into a sea of colours.
The plot is utter gibberish; there is absolutely no reason that any series of events would lead to the world looking the way it does and the characters looking and acting the way they do. Most films would be ashamed of this and try to handwave it away or explain it; Fury Road, however, takes the smarter option, and full on embraces the insanity. Characters spout lines like “I have seen the three gates” and “You will ride with silver and chrome” without irony, and it all just works, sweeping the audience up into a world where logic is superfluous as long as what you’re saying is cool.
This wouldn’t work if the acting wasn’t on point, but every single actor is completely game for the madcap lunacy that is the
script. Everyone sings their lines, which might be nonsense but just sound so good. The only weak spot is Tom Hardy as Max himself, who tries to be a calming anchor to contrast everyone else but instead seems like he came out of a different, much more boring film. In fact, Max seems here only so the film can be called Mad Max, because really it is Charlize Theron’s movie; Imperator Furiosa is the true main character and Theron easily gives the most nuanced performance.
Upon seeing this film, I genuinely had to go for a jog to get all of the energy out of me. This film is mad glory from beginning to end, a fireworks show for the eyes and ears. One of the best action films of the year in an already good year for the genre. Certainly a much better reboot than Robocop. Now if you excuse me, I’m going to make a suit of armour out of washing machine parts and ball gags.
https://moviemetropolis.net/2015/05/19/cinematic-red-bull-mad-max-fury-road-review/
Then I remembered that other recent reboot of a beloved 80’s sci-fi film, 2014’s Robocop. Specifically, I remembered that it was absolutely awful, a broken train-wreck of a movie that doesn’t understand and full on resents the original film, and drained all the personality out of a film bursting with it. 2012’s Total Recall shared similar problems, so the question came; would this modern reboot of an 80’s genre classic be the first of its kind to match the quality of the original?
The answer is no. It is far, far better.
The original Mad Max films each had the budget of a school nativity play and relied entirely on the scrapyard aesthetic and charismatic villains rather than action. Fury Road, on the other hand, is the cinematic equivalent of Red Bull; fast paced, frenetic and wild. The action sequences are almost constant, only broken up when the audience’s hearts are about to burst, accompanied by one of the most energetic and brilliant soundtracks I’ve ever heard. In the hands of a lesser filmmaker it would be too much to handle, but Miller makes sure to frame and edit each scene in a way that allows the audience to always follow the action.
Visually, the film is much more in line with Alejandro Jodorowsky’s failed Dune adaptation than anything else, with its deformed mutants, impractical clothes and grungy mechanics. Every image on screen is madder than the last; the audience will probably ask “Why does that guy have a flamethrower guitar?” or “Why is there a fat dude in a business suit with his nipples exposed?” and the film just says “Because you wanted to see it and didn’t know you did.” And it is totally right. Like Big Game, the landscapes are achingly beautiful too, turning a barren desert into a sea of colours.
The plot is utter gibberish; there is absolutely no reason that any series of events would lead to the world looking the way it does and the characters looking and acting the way they do. Most films would be ashamed of this and try to handwave it away or explain it; Fury Road, however, takes the smarter option, and full on embraces the insanity. Characters spout lines like “I have seen the three gates” and “You will ride with silver and chrome” without irony, and it all just works, sweeping the audience up into a world where logic is superfluous as long as what you’re saying is cool.
This wouldn’t work if the acting wasn’t on point, but every single actor is completely game for the madcap lunacy that is the
script. Everyone sings their lines, which might be nonsense but just sound so good. The only weak spot is Tom Hardy as Max himself, who tries to be a calming anchor to contrast everyone else but instead seems like he came out of a different, much more boring film. In fact, Max seems here only so the film can be called Mad Max, because really it is Charlize Theron’s movie; Imperator Furiosa is the true main character and Theron easily gives the most nuanced performance.
Upon seeing this film, I genuinely had to go for a jog to get all of the energy out of me. This film is mad glory from beginning to end, a fireworks show for the eyes and ears. One of the best action films of the year in an already good year for the genre. Certainly a much better reboot than Robocop. Now if you excuse me, I’m going to make a suit of armour out of washing machine parts and ball gags.
https://moviemetropolis.net/2015/05/19/cinematic-red-bull-mad-max-fury-road-review/
The Ends of the World: Volcanic Apocalypses, Lethal Oceans, and Our Quest to Understand Earth's Past Mass Extinctions
Book
As new groundbreaking research suggests that climate change played a major role in the most extreme...
science
Andy K (10823 KP) rated The Blues Brothers (1980) in Movies
Jun 20, 2018
We're on a mission from God!
If you ever just want to put yourself in a good mood, put on The Blues Brothers. There is really something for everyone in it.
Do you like musicals? Do you like car chases (one of the most epic of all time)? Do you like comedies? Do you like epic road films? Do you like Carrie Fisher with a flamethrower?
If you answered yes to any of these questions, then this is the film for you.
After his brother Jake gets out of prison, Elwood Blues and his newly freed brother visit a church where they discover it is going to close unless they can raise enough money to keep it running. Through a profound religious experience, Jake discovers he must get his old rhythm and blues band back together to raise money for this noble cause.
The film truly is perfect in every way!
Do you like musicals? Do you like car chases (one of the most epic of all time)? Do you like comedies? Do you like epic road films? Do you like Carrie Fisher with a flamethrower?
If you answered yes to any of these questions, then this is the film for you.
After his brother Jake gets out of prison, Elwood Blues and his newly freed brother visit a church where they discover it is going to close unless they can raise enough money to keep it running. Through a profound religious experience, Jake discovers he must get his old rhythm and blues band back together to raise money for this noble cause.
The film truly is perfect in every way!
Learn Git in a Month of Lunches
Book
DESCRIPTION Git has emerged as the source code control system preferred by distributed development...
Impossible Car Driving Test
Games and Entertainment
App
Do you love impossible games? Are you ready to enjoy ultimate car driving on sky roads by playing...
Sam (74 KP) rated The Things We Learn When We're Dead in Books
Mar 27, 2019
Lorna Love is dead. After an evening out at a dinner party, she stumbles into the road in front of an oncoming car and is killed.
She finds herself on a spaceship called HVN, where she can do what she wants, be anyone she wants, and have anything she wants. The novel follows Lorna looking back on her life while she is in ‘heaven’, going through every decision and mistake she’s made.
I’m a bit unsure of what genre I would place this in as it’s both science fiction and general fiction. Only a small fraction of the novel takes place on the spaceship, the majority of it is Lorna looking back on her life. However, I feel like the science fiction element overcomes everything, but I don’t want to spoil the plot by going into too much detail about that.
Charlie Laidlaw sent me a copy of his novel in return for an honest review. If it wasn’t for him offering to send me the novel, I don’t think I would have been tempted to read it. Since I’m not usually a fan of sci-fi, the cover was definitely offputting because of the spaceship. But having read it now and knowing that the majority of the book wasn’t even set in space, I’m really glad I did read it.
The Things We Learn When We’re Dead is heartwarming and is completely different from everything I’ve read before. It’s such an original idea for a book and although, to begin with, I did struggle to get into the book, I’m glad I held on because it really was an enjoyable book.
Lorna is a brilliant protagonist as she’s believable. She has her own faults and problems and definitely isn’t a perfect character. I loved that she was so realistic and not a fake persona.
She finds herself on a spaceship called HVN, where she can do what she wants, be anyone she wants, and have anything she wants. The novel follows Lorna looking back on her life while she is in ‘heaven’, going through every decision and mistake she’s made.
I’m a bit unsure of what genre I would place this in as it’s both science fiction and general fiction. Only a small fraction of the novel takes place on the spaceship, the majority of it is Lorna looking back on her life. However, I feel like the science fiction element overcomes everything, but I don’t want to spoil the plot by going into too much detail about that.
Charlie Laidlaw sent me a copy of his novel in return for an honest review. If it wasn’t for him offering to send me the novel, I don’t think I would have been tempted to read it. Since I’m not usually a fan of sci-fi, the cover was definitely offputting because of the spaceship. But having read it now and knowing that the majority of the book wasn’t even set in space, I’m really glad I did read it.
The Things We Learn When We’re Dead is heartwarming and is completely different from everything I’ve read before. It’s such an original idea for a book and although, to begin with, I did struggle to get into the book, I’m glad I held on because it really was an enjoyable book.
Lorna is a brilliant protagonist as she’s believable. She has her own faults and problems and definitely isn’t a perfect character. I loved that she was so realistic and not a fake persona.
Preserving Electronic Evidence for Trial: A Team Approach to the Litigation Hold, Data Collection, and Evidence Preservation
Ann D. Zeigler and Ernesto F. Rojas
Book
The ability to preserve electronic evidence is critical to presenting a solid case for civil...
LS
Live StreetViewer-world travel Navigation view
Navigation and Travel
App
StreetViewer for world travel-Navigation is an app can look and travel all over the World wide...
Calc XLS Spreadsheet
Business and Productivity
App
Over a million and a half downloads! Built from the ground up, Calc XLS gives you the power to...
Phil Leader (619 KP) rated An Advancement of Learning in Books
Nov 8, 2019
When a body is discovered under a statue at college, gruff old hand Andy Dalziel and idealistic, learned Peter Pascoe arrive to investigate. Whereas Pascoe is very much at home in the surroundings of an institute of learning (and indeed bumps into an old acquaintance), Dalziel is highly dismissive of the students, if not downright abusive. This doesn't help the tensions during the socially active early 70s when this was written.
What follows is in some ways a standard police procedural and in others another step in the road of the development of the characters of the two policemen. This novel is really the one where it becomes clear that the mismatched duo don't fit the standard templates, with Hill clearly creating something special with the two of them.
The result is very much the prototype of the rest of the series: their characters develop, they solve a seemingly baffling crime and Dalziel provides a dash of humour with his acerbic and often old-fashioned outlook on life and those around him.
What follows is in some ways a standard police procedural and in others another step in the road of the development of the characters of the two policemen. This novel is really the one where it becomes clear that the mismatched duo don't fit the standard templates, with Hill clearly creating something special with the two of them.
The result is very much the prototype of the rest of the series: their characters develop, they solve a seemingly baffling crime and Dalziel provides a dash of humour with his acerbic and often old-fashioned outlook on life and those around him.