THE LOBSTER (2016)

March 12, 2016

lobster Greetings again from the darkness. The scene playing over the opening credits is baffling to us and sets the tone of peculiarity that runs throughout the film. A lady gets out of her car during a rainstorm to perform an unthinkable act as we watch through the windshield as the wipers rhythmically clear our view. Next we watch as Colin Farrell’s wife announces, after 11 years of marriage, she is leaving him for another man. Curiously, Farrell asks if her new man wears glasses or contacts.

Welcome to a dystopian future via the warped and creative mind of writer/director Yorgos Lanthimos (Dogtooth, 2009). It really boils down to a satirical look at relationships and our societal outcast of single adults. In Lanthimos’ world, Farrell, now a single man, must check in to the oddest country hotel you’ve seen. He has 45 days to find a romantic partner. If he doesn’t, he will be transformed into the animal of his choice. He chooses the lobster because of its long life span … ignoring the probability of ending up on a restaurant platter.

It’s an oddball world overly structured with rules enforced by the Hotel manager – a terrific Olivia Colman. Farrell befriends a couple of other single fellows: the limping man (Ben Whishaw), and the man with a lisp (John C Reilly). It’s funny and uncomfortable and kind of sad to watch these folks awkwardly try to connect with others with a deadline fast-approaching.

The first half of the movie is really black comedy at its finest, but once Farrell escapes the Hotel and joins the “loners” in the forest, the tone shifts a bit. An uneven romance develops between Farrell and a woman played by Rachel Weisz (who is also the film’s narrator). Even though this group of loners pride themselves on independence, it’s ironic that Farrell has merely traded one set of rules for another … courtesy of the rebel leader played by Lea Seydoux.

It’s a bizarre film, and one from which we can’t look away. The deadpan-yet- emotional dialogue delivery is strange enough, but the site gags are even further off the charts – keep an eye out for animals (former singles) strolling by in the background (peacock, camel, etc). There is certainly insight into modern day relationships and how people connect based on instantaneous judgments … but at least we don’t have to dig our own graves … yet!

watch the trailer:

 

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Posted by David Ferguson

DEADPOOL (2016)

February 12, 2016

deadpool Greetings again from the darkness. Superhero movies have been dominating the box office for the better part of two decades, and most tend to lean towards moody and intense … though Iron-Man and The Avengers have certainly enjoyed adding searing one-liners to the mix. As for ratings, superheroes have steadfastly claimed PG-13 as the perfect blend of massive action, massive muscles and massive audiences. So it’s a little surprising to find a movie about a relatively unknown superhero, that’s the first feature from director Tim Miller (previously a visual effects guru), crashing through the R-rated barrier in no-holds-barred fashion. It’s startling and refreshing to see a new take on what had become just a bit too familiar.

This is a movie for which you will want to actually read the opening credits and stay for the post credit scene (a 2-parter). Additionally, you will want to make sure you keep not only little kids away (remember the hard R-rating), but also any grown-ups who are offended by harsh language (on the Tarantino scale), ultra-violence (on the Kill Bill scale) or any combination of sex, sex talk or sex jokes (all at an entirely new level). To label this movie as crass or profane is like calling Chewbacca somewhat fuzzy. And while it pushes the raunch-o-meter, it’s also blazingly funny at times (especially for a cancer movie).

The previously mentioned opening credits refer to the writers as “the real heroes here”, and while the plot is pretty textbook superhero stuff, it’s the barrage of one-liners and sight gags at which those writers so excel. They even make sure those unfamiliar with the Wade Wilson backstory understand that he is a former special forces operative turned mercenary for the average Joe’s and Jane’s. In no time, it’s drilled into our heads that he is also a wiseacre, wisenheimer, wise-ass, wisecracker and any other adjective that means funny but not wise.

Ryan Reynolds stars as Wade Wilson/Deadpool and leaves no doubt that he has finally found the role that fits him as well as his red suit. If you are convulsing as you flashback to Mr. Reynolds as Green Lantern (2011), take solace in the fact that this movie fires a couple of deadly shots at that oh-so-disappointing effort. His girlfriend Vanessa is played by Morena Baccarin (“Homeland”), and his best buddy/bartender is played by TJ Miller (“Silicon Valley”). Since Reynolds had a brief appearance as Deadpool in X-Men Origins: Wolverine (2009), there are numerous nods to that franchise, including two key roles here for Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand). The target of Deadpool’s revenge comes in the form of Ed Skrein (The Transporter Refueled) as Ajax and Gina Carano as Angel Dust … accompanied by her theme song “Angel of the Morning” (unfortunately it’s the Juice Newton version, and not the more powerful Merrillee Rush and the Turnabouts version). Lastly, it’s pure joy to see Leslie Uggams cast in a spunky supporting role, and Stan Lee appears in what might be his most unique cameo yet.

As for music, the range is Neil Sedaka to DMX – yep, you’re unlikely to find a more diverse soundtrack. Your kid may have a Captain America figurine on their bookshelf, but the R-rating for this one is solidified in the first 10 minutes, and is relentlessly reinforced until the movie ends – this means don’t bring your kids! We can only imagine how much fun those old enough to watch are going to have, and brace yourself for an onslaught of Deadpool comebacks over the next few weeks … only hopefully not in church, at the office, in front of grandma, etc …

watch the trailer:

 

 

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Posted by David Ferguson

BEAUTY AND THE BEAST (La belle et le bette, France, 2015)

January 28, 2016

beauty and the beast Greetings again from the darkness. If you are looking for dancing tea cups or singing candelabras, you’ve come to the wrong movie. If you are looking for the Gothic approach to the dark psychological analysis of the original story … again, you’ve come to the wrong movie. Director Christophe Gans (Silent Hill, 2006) offers up a version that is neither animated Disney (1991) nor Jean Cocteau (1946), though his film does have a visual flair that will likely keep audiences (it’s not for very young kids) engaged throughout.

The familiar story was first written by Gabrielle-Suzanne Barbot de Villenueve in 1740, however, it’s the revised version from Jeanne-Marie Leprince de Beaumont in 1756 that provides the fairy tale/fable that has been filmed so many times since. The story’s genealogy based in France instills a bit more hope and responsibility in a project starring Vincent Cassel, Lea Seydoux and Andre Dussolier, and directed by the Frenchman Gans.

Ms. Seydoux is an admirable Belle, and her grace and beauty make for quite the contrast to her needy and entitled sisters. Her time in the castle with the Beast is limited, and therein is the film’s biggest weakness. We never really see the transformation of the Beast to a man who repents, turns over a new leaf, and is worthy of love … it all just kind of happens thanks to the beautiful dresses. Mr. Gans and Sandra Vo-Anh co-wrote the script, and this misstep deflates the core of the story. We are on our own to interpret the messages of class warfare, greed, and judging others by looks. The focus instead is on the visual presentation, which at times is spectacular.

The set design and costumes are especially impressive and elaborate, and though the look of the Beast may not be precisely to your imagination, the film isn’t shy about putting him front and center with the camera. Vincent Cassel’s time as the Prince is pretty well done, and the CGI and explanation of the gold doe, nymph of the forest, magic healing water, pack of beagles and the curse are enough to move the story along … even if some details are lacking.

A bedtime story being read to two young kids is the framing device and might explain why the fantasy world is emphasized over the dark psychological undertones (more prevalent in the Cocteau version). While some might view the ending as somewhat mawkish, it’s really nice to see happily-ever-after is not twisted into some contemporary take on independence.

watch the trailer:

 

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Posted by David Ferguson

WAVES ’98 (animated short film, 2016)

January 21, 2016

waves 98 Greetings again from the darkness. With a prestigious award from Cannes, filmmaker Ely Dagher probably had hopes for an Oscar nomination in the animated short film category. The nomination didn’t happen, but that doesn’t diminish the fine work from the Beirut-born director, who also uses splashes of news reel footage to contrast with the animation.

A teenager in suburban post-war Beirut has become disillusioned with his days of school and mundane home life. He spends hours on a rooftop gazing at downtown Beirut and a world so close, of which he knows so little. One day he is drawn to the unfamiliar urban landscape by a light emanating from the tall buildings … a light encouraging the younger generation to cross the bitter lines of division that have been wrecking the city.

He soon enters a world of imagination and serenity, and finds his bond to his real life slipping away. It’s a reminder that change only occurs with action, not merely dreams of a better world. The recurring theme and the block in his mind are presented to us by these two lines: “I’m tired of hearing the same story over and over again”; and “It feels like everything is stuck.” These feelings are not uncommon in teenagers all over the globe, but especially poignant given this setting.

 

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Posted by David Ferguson

STAR WARS: THE FORCE AWAKENS (2015)

December 23, 2015

star wars Greetings again from the darkness. In what can justifiably be termed a cultural event, director J.J. Abrams brings us Episode VII in a film franchise (developed by George Lucas, now owned by Disney) that date backs almost 40 years. While I was one of the lucky ones who waited patiently in line to see the first Star Wars on opening day in 1977, I can only be described as a series fan rather than a Star Wars geek. My bond is with Han Solo and Chewbacca, so I’m not here to debate the minutiae of costumes, timelines and weaponry.

What I can happily report is that Mr. Abrams (he’s also directed Star Trek and Mission Impossible films) has found just the right blend of nostalgia, science-fiction, and geeky gadgetry to appeal to the widest of all audiences. The film is an honorable tribute to the previous six in the series, yet it’s more than entertaining enough to stand alone for new comers.

As we expect and hope for, the screen is filled with fantastical visuals that somehow push our imagination, while at the same time, feel realistic to the story and action. The aerial dogfights are adrenaline-pumping and spectacular in their vividness, and the more grounded action scenes feature Stormtroopers who have clearly had lots of target practice since the previous films.

You need only watch the trailer or read the credits to know that some of the old familiar faces are back: Harrison Ford as Han Solo, Mark Hamill as Luke Skywalker, Carrie Fisher as Princess Leia, Peter Mayhew as Chewbacca, and of course, our old pals C-3P0 and R2D2. Also back is the remarkable composer John Williams – likely to receive his fiftieth (yes, 50!) Oscar nomination for his work here. In addition to the familiar, new faces abound: John Boyega as Finn, Daisy Ridley as Rey, Adam Driver as Kyle (don’t call me Ben) Ren, Oscar Isaac as Poe, Gwendoline Christie as Captain Phasma, and Domhnall Gleeson as Captain Hux. There is also the magic of Andy Serkis as Supreme Leader Snoke, and an all-too-brief sequence featuring Max von Sydow. Oscar winner Lupita Nyong’o voices Maz Kanata, and there is an impressive list of other cameos available online if you are interested (Daniel Craig being the most eye-raising).

Abrams along with action cinematographer extraordinaire Daniel Mindel take full advantage of all available technical aspects in creating stunning visuals and spine-tingling sound. It’s a film made to be watched on the biggest screen with the best sound system, so ask around if you aren’t sure. If you are a long-time fan of Han and Chewy, you’ll enjoy catching up with old friends. If you are unfamiliar with the Star Wars galaxy, this latest will hook you into the force.

watch the trailer:

 

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Posted by David Ferguson

THE GOOD DINOSAUR (2015)

December 3, 2015

the good dinosaur Greetings again from the darkness. Two Pixar films in one year? Earlier this year, the brilliant Inside Out reminded us just what sets Pixar apart from other animation studios … the film was intelligent, insightful, thoughtful, beautiful, funny and emotional enough to bring tears to the eyes of many parents. In other words, it’s a tough act to follow – even for Pixar!

Of course, 2015 was not intended to be a double-header for Pixar. The Good Dinosaur ran into serious production and story issues at the same time the studio was going through layoffs and reorganization. So the six year project turned into eight, as a new creative team was brought in (led by director Peter Sohn), and the story and characters were re-worked and re-imagined. The finished product is likely the most staggeringly beautiful animation to ever hit the big screen, while at the same time being some of the darkest and bleakest material ever presented by Pixar.

The premise is pretty interesting: What would Earth be like if THE asteroid had missed, and the dinosaurs survived? That’s about as sciency as the story gets, other than it does portray nature as a colossal adversary (what’s with the hallucinogenic berries?). We first meet Momma and Poppa Apatosaurus as they work their corn fields (huh?) and wait for their baby eggs to hatch. The runt of the litter is Arlo, who just can’t keep up with his more active siblings and who feels inadequate in comparison to his majestic father.

Arlo and nature are responsible for the tragedy that sends Arlo off on a journey that features the full spectrum: the importance of family, the sadness of loss, the strength of friendship, and the self-discovery that leads to independence. While there are quite a few laughs along the way, the fear and isolation that Arlo experiences takes up most of the movie, and could leave all but the strongest kids feeling anything but upbeat and happy.

There is a life lesson about making one’s mark, and an oddball friendship between Arlo and young boy (named Spot??) who is wise to nature. But this one lacks the charm of most Pixar outings, while at the same time reaching technical levels that are breathtaking to behold. It’s difficult to imagine many kids wanting to watch this one again and again, but for all you Pixar nerds, you can rest easy … John Ratzenberger does make a vocal appearance.

watch the trailer:

 

 

 

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Posted by David Ferguson

PAN (2015)

October 8, 2015

pan Greetings again from the darkness. Writer J.M. Barre first introduced the world to Peter Pan just after the turn of the twentieth century. Children and adults alike were enamored with “the boy who wouldn’t grow up”. The stories were filled with the mischief created by Peter and his Lost Boys buddies from their Neverland home, and although there existed elements of danger (Captain Hook), Barre’s story was mostly about holding on to the joy and carefree world of childhood.

Sadly, these days we don’t encourage kids to be kids. Instead, we push them to take on responsibility and act ‘grown up’ … heck, most kids today never really experience free play time with their friends. Everything is organized and scheduled (just check the calendar on the fridge). Writer Jason Fuchs and director Joe Wright (Atonement, Hanna) have created a Peter Pan “origin” story that lacks any touch of whimsy or enchantment from the original books or the numerous film adaptations: the 1953 Disney animated classic, the 1991 Steven Spielberg/Robin Williams/Dustin Hoffman vehicle, the underrated 2003 live action version from director P.J. Hogan, or even last year’s Live TV broadcast featuring Allison Williams as Peter.

This one begins with a talented Parkour-enabled Mother (Amanda Seyfried) dropping off her infant son on the steps of an orphanage. She leaves only a note and a pan flute medallion. Flash forward twelve years and Peter (Levi Miller) is questioning the mysterious disappearance of kids from an environment straight out of a Dickens novel, as well as the hoarding talents of the evil Mother Superior (Kathy Burke). Soon enough Peter finds himself, along with scores of other youngsters, slaving in the fairy dust mines belonging to Blackbeard (Hugh Jackman).  Are you depressed yet?

Things only get bleaker as Peter escapes with his new friend James Hook (the name is no coincidence). They soon encounter the tribe that protects the Fairy Kingdom and the fairy dust that Blackbeard so values. Part of the tribe is Tiger Lilly (Rooney Mara) who believes that Peter is “the chosen one” who has come to lead and protect them. Lots of fighting ensues, plus some soaring giant crocodiles, flying pirate ships, and a trio of mermaids (all played by supermodel Cara Delevingne).

Re-imagining the classics is about the closest thing we get to creativity in Hollywood these days, so it’s not the idea of the project that so bothers, but rather the approach. Where is the fun?  Where is the sense of wonderment?  In fact, young Peter’s destiny seems to be an urgency to assume more responsibility as a leader … not live the carefree days of fun and games that Mr. Barre had set out.

Newcomer Levi, who plays Peter, ranks right there with director Joe Wright’s previous discovery of Saoirse Ronan, as child actors with big time screen presence. Young Mr. Miller has a grasp of the script and character and is the best part of the film. Hugh Jackman plays Blackbeard, but can never really reach the necessary level of intimidation or theatricality. For some reason Garrett Hedlund plays Hook as if he is imitating Christian Slater who is imitating Jack Nicholson playing Indiana Jones. It’s so over-the-top that we must assume Hedlund was directed to bring some comic relief to the bleak environment. Much has already been written about the casting of ultra-Caucasian Rooney Mara in the role of Tiger Lilly, though she performs the role quite well (avoiding the screeching of her lines in the manner of Jackman and Hedlund).  Rounding out the cast is Adeel Axhtar as Smiegel/Smee.

Some of Wright’s action sequences and CGI are quite impressive, though it’s difficult to overlook the obvious influences of Terry Gilliam, Baz Luhrman, and even George Lucas and James Cameron. Particularly painful and out of place are the Luhrman-influenced musical interludes of Nirvana’s “Smells Like Teen Spirit” and The Ramone’s “Blitkrieg Bop”.  Even the pixie dust effect reminds of Dorian Gray, though Jackman only gets one brief scene in which to capitalize.

Devotees of the J.M. Barre source material will be no doubt disappointed and confused, but the theatre was filled with youngsters who couldn’t seem to care less that Joe Wright had taken a classic story in the opposite direction. They enjoyed the visual effects as evidenced by the numerous “oohs” and “ahhs”. So let’s allow that reaction to speak for itself, rather than saying this version just didn’t pan out.

watch the trailer:

 

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Posted by David Ferguson

KAHLIL GIBRAN’S THE PROPHET (2015)

August 19, 2015

prophet Greetings again from the darkness. An animated, artistic, philosophical parable based on a 1923 book from a Lebanese poet … it’s as if the filmmakers went out of their way to make sure most everyone would be turned off by some aspect. Instead, director Roger Allers delivers a beautiful and thoughtful representation of nine of the 26 stories from Kahlil Gibran’s influential best-seller.

The story revolves around Mustafa, an artist and poet who was exiled seven years earlier when his words were deemed harmful to the local regime. Mustafa is informed that he will be granted his freedom to return home, and as he is escorted through town, Mustafa periodically delivers his insightful and inspiring words to the people of the land. These make up the 9 segments (Freedom, Children, Marriage, Work, Love, etc) within the movie, and each of these segments is the unique work of a different renowned artist/director. The artistic style and presentation varies between each segment, and some employ the use of music (Damien Rice, Glen Hansard).

As Mustafa recites the words of Gibran, the individual segments unfold with the artistry of each director. These blend well with the overall story which also features Mustafa’s housekeeper and her young daughter (who initially doesn’t speak). The voice acting is top notch thanks to Liam Neeson (Mustafa), Salma Hayek (the housekeeper), Quvenzhane Wallis (Almitra), John Krasinski (a lovesick guard), Alfred Molina (Sergeant), and Frank Langella (regime leader). Mr. Neeson is especially effective as the soothing voice of Gibran’s words.

This was evidently a pet project of Salma Hayek, who also is Producer of the film. She wisely enlisted director Roger Allers, who has ties to Disney and the hugely popular The Lion King. The film is Disney-esque in its approach, but is certainly not aimed at kids. It’s really a blend of the segmented structure of Fantasia, the adult-themed style of Watership Down, and the philosophical meanderings of Gandhi.

Gibran writes that “all work is noble”, and the work of these filmmakers certainly is. As with any poetry or philosophy, one must be receptive to the message and willing to be inspired. If not, it’s merely “love and flowers”.

watch the trailer:

 

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Posted by David Ferguson

JURASSIC WORLD (2015)

June 21, 2015

jurassic world Greetings again from the darkness. I’m guessing that most anyone who enjoys movies and is at least 30 years old, has vivid recollections of Steven Spielberg’s original Jurassic Park from1993 (based on the Michael Crichton novel). The iconic theme from John Williams, that initial awe-inspiring look at the dinosaurs grazing in the valley, the reminder that “objects are closer than they appear” in side mirrors, and the late Sir Richard Attenborough stating that he “spared no expense” in creating the park … all merged to became part of an incredibly moving and huge new movie theatre experience.  This latest (and fourth in the franchise) offers us “big”, but very little “new”, and unfortunately nothing very “moving” in its presentation.

Set two decades after the tragic and messy park trial run of that original movie, we find Bryce Dallas Howard (The Help) managing the financially-challenged theme park owned by Irrfan Khan (Life of Pi). Chris Pratt is training Velociraptors, while BD Wong is cooking up hybrid and genetically modified monsters such as Indominus Rex – designed to excite the audiences who have become bored with an old-fashioned T-Rex.

Even though this is technically a sequel, there are numerous similarities to the original film, and a fun parlor game consists of spotting all the homage’s and tributes sprinkled throughout. Two of my favorites are the “Winston’s” shop in the park, and the ViewMaster shot early on. These two are tips of the cap to Stan Winston and Ray Harryhausen … two giants in the world of special effects.

In what has become the Hollywood “go to” for evil-doers, the secret plan to militarize the dinosaurs is being carried out by Vincent D’Onofrio. Of course, this clashes with Pratt’s ideal life for “his” trainees. The mandatory kids-in-peril are played by Ty Simpkins (Insidious) and Nick Robinson. Much has been made of the absurdity of Ms. Howard’s numerous scenes of sprinting in high heels, and I found her overall demeanor to be every bit as exaggerated and unbelievable as her actions in heels. Jake Johnson (TV’s “New Girl) and Omar Sy (so wonderful in The Intouchables) were the most “real” characters, though neither was given much to do.

Much of what is written here is “in comparison” to the original. While this may not be fair, it is inescapable when dealing with such a respected and iconic film. Youngsters unfamiliar with the original film, are likely to find this one exciting – even terrifying at times – and that’s an important distinction to make. The Mosasaurus alone is worth the price of admission … and good for a few nightmares!  And who among us wouldn’t pay up for a Baby Triceratops ride in the Petting Zoo?

For the Jurassic Park stalwarts, the inconsistent (sometimes great, sometimes fake-looking) CGI will be as tough to overlook as Ms. Howard’s cartoon character. And yes, composer Michael Giacchino is new to the Jurassic series, and he is wise enough to work in the terrific and familiar John Williams theme in more than one scene.  However, none of the downsides will keep the true fans away, and there is an entire generation of kids who should have the chance to marvel at lifelike dinosaurs on the big screen courtesy of director Colin Trevorrow (previously known for his work on the indie gem Safety Not Guaranteed).

watch the trailer:

 

 

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Posted by David Ferguson

MAD MAX: FURY ROAD (2015)

May 17, 2015

 

mad max Greetings again from the darkness. Thirty years have passed since we last saw Mel Gibson donning the leather in 1985’s Mad Max Beyond Thunderdome, which was of course, the third in the franchise after Mad Max (1979), and Mad Max 2: The Road Warrior (1981). Over the years, rumors have persisted that writer/director George Miller was going to add to the franchise and take full advantage of today’s high-tech movie making techniques by securing the budget necessary for a true blockbuster. It may have taken 3 decades, but Mr. Miller’s dream is realized with his $100 million version (compared to $300,000 budget on the first one) that will undoubtedly satisfy the Mad Max fans, while also reminding the industry what an action movie can be (Michael Bay’s corneas may burst into flames watching this).

Tom Hardy plays Max Rockatansky, a loner haunted by a tragic past seen only through millisecond flashbacks that occur at both inopportune and opportune moments. Hardy has the physicality to pull off the role, but despite the title and the history, this film belongs at least as much to Charlize Theron who literally drives the story as Imperator Furiosa. Tired of living under tyrannical rule, Furiosa frees a group of “breeders” played by Zoe Kravitz, Rosie Huntington-Whiteley, Riley Keough (Elvis Presley’s granddaughter), Abbey Lee and Courtney Eaton. Their plan is to escape across the desert (well, everything is desert these days) and return to Furiosa’s childhood home known as “the green place”.

This is pretty much a two hour chase sequence featuring monster vehicles, soaring motorcycles, massive gunfire, screen-filling explosions, and enough stunt work to amaze even the casual movie-goer. All of this is accompanied by ear-bursting high-octane music courtesy JunkieXL (the first Max films were scored by Brian May of Queen). Some of this “music” is raw heavy-metal shredding occurring live on one of the chase vehicles – quite a sight and sound gag. It should be noted that stunt work is the surprise here. These days, most movies rely on CGI effects, while Mr. Miller mixes an extraordinary number of old school stunts with the compliment of CGI for such things as an overwhelming sandstorm and Ms. Theron’s mechanical arm. It’s a fascinating blend of old and new.

John Seale certainly deserves mention. He is an Academy Award winning cinematographer for The English Patient, and has also been DP on films such as Rain Man, Witness, Dead Poet’s Society and The Firm. He has four Oscar nominations and is not the first cinematographer one would think of when putting together a huge action film; however, the choice pays off in what is a beautifully shot film – both in space and close up scenes. It brings an element of propriety to what on the surface appears to be out-of-control, non-stop chaos.

The post-apocalyptic look and feel is accented by periodic splashes of color that prevent the usual bleakness from others in this genre. Many will be surprised at the minimal dialogue, but the straightforward plot removes any need for extended conversations from folks simply trying to survive.

Nicholas Hoult (Warm Bodies) may be the most interesting of all characters, and probably has the most lines of dialogue (while still not saying much). He is a slave caught up in the dream of serving his master, while then re-discovering a modicum of humanity buried somewhere deep inside. Fans of the series will also cheer the presence of Hugh Keays-Byrne who plays the very striking Immortan Joe, and also played Toe Cutter in the original film 37 years ago.

Filled with nostalgia and respect for the original series, this fourth entry also provides a new palette for a new generation of fans. The biggest change comes from the focus on strong women who are out to change, or at least escape, a world rotted by the male lust for power. It’s difficult to say insanity rules this world, because so little sanity exists that rational beings are non-existent.

George Miller will always be known as the creator of the Mad Max series, but we shouldn’t forget that he also directed the Happy Feet movies, as well as Babe: Pig in the City. Perhaps those two personalities allow him to create a world as crazed and chaotic as we see in his latest Max film. Mostly we can feel happy for him that he was afforded the opportunity realize his filmmaker dream … a nice reward for 30 years of patience.

watch the trailer:

 

 

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Posted by David Ferguson

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