A Trip To The Movies: Review – “Mad Max: Fury Road 3D” 5.17.15

I’m not sure how many directors have gone on to make a reboot or remake of their original films. Then comes in writer/director George Miller, who, in 1979, made the original “Mad Max” (1979), and its subsequent sequels – 1981’s “Mad Max 2: The Road Warrior” and 1986’s “Mad Max Beyond Thunderdome” (1986). Here we are thirty years later, and Miller presents us with his 4th installment of the series. I have to admit, when I first heard about this film I was very reluctant, as I’m not usually one for remakes, redos, reboots, or whatever you want to call them. Then I found out that it was going to be helmed by the original writer/director of the series, and after seeing a trailer way back in January after “American Sniper” I thought to myself “wow, this looks like something that has some serious potential”. I also thought either they did a really good job with the trailer and that it looked like it could be the next great action movie, or it could wind up like something more akin to Miller’s 3rd installment – a film held sacred but not by anyone I know other than its deepest admires of the series – “Beyond Thunderdome”. Which after the groundbreaking innovative first and second installments within the series, frankly put, should never have been made. What also intrigued me which I don’t usually follow was the rumor mill from the set – stars Charlize Theron and Tom Hardy were at each others’ throats, Hardy was reportedly very difficult to work with on set (not the first time I’ve heard this), and that the filming process took much longer than usual for a film to complete. However, after having recently revisited the first and second installments in my anticipation for the newest, that and its great reception coming out of Cannes last week and glowing reviews that came in at the end of last week, all but pretty much sealed the deal for me. My anticipation for it plus the bar were set high.

“Mad Max: Fury Road” starts off with a bit of back story of shots in black and white, similar to how “The Road Warrior” did, providing us with some background into how the film’s setting of a future-esque Australian desert wasteland came to be. Also, similar to “The Road Warrior”, natural resources are scarce, particularly that of gasoline. A philanthropist by the name of “Immortan Joe” employs a young woman named Furiosa (played by Charlize Theron – more on her to come) to take an armored big rig truck across the barren Australian desert to collect gasoline. Meanwhile the newest and first Max in the quadrilogy to feature anyone other than Mel Gibson, played by the always wonderful Tom Hardy, is caught in middle of the whole thing and is taken prisoner by the “War Boys”, Joe’s army, and is imprisoned to act as a blood donor for one of the War Boys (Nicholas Hoult – the young boy, now obviously much older and almost unrecognizable, from 2002’s “About A Boy”). The action really picks up when Furiosa veers off course with Joe’s five wives on board, setting off a spectacular chase scene (or shall I say chase movie) with other contributing gangs following their trail. Max is eventually freed and steals Furiosa’s rig, but the truck is soon disabled and Max and Furiosa butt heads as to whether or not she is going to allow him to carry on with her and Joe’s 5 wives on board. Though Max proves himself as a force to be reckoned with, and the two rebels band together across an action packed, visually spectacular high-octane thrill ride, fighting of the legions upon legions of Joe’s army while doing so.

To start, I’ll say that this is maybe the best action movie that has come out post-2000 (sorry “The Bourne Trilogy”, this one ups you in every department). It starts off with an absolute chaotic and balls to the wall roller-coaster that grabs a hold of you from its first sequence and doesn’t let up until the end credits role. It’s the greatest example I’ve seen so far of a film’s original creator, taking their original concept and story, and redoing it, the way it should have been done to begin with, for more contemporary audiences who may or may not be familiar with the original trilogy. I haven’t seen a movie with this much energy, this much velocity, and this much non-stop action since Gareth Evans’ “The Raid: Redemption” (2011), a film until seeing this film I would have labeled the best action movie of this century. But this movie goes deeper in that in almost every angle from an action film standpoint. I couldn’t help but think of Steven Spielberg’s “Saving Private Ryan” (1998), and the opening sequence where they storm the beaches of Normandy. Now imagine that level of visceral action and continue it throughout an entire duration of a 2 hour film. It’s a hyperbolic comparison I know. But one that seemed to enter my brain throughout. The film is also perfectly cast – with Hardy playing the epitomized loner. A man whose actions clearly speak louder than his words. Then there’s Theron in a role that puts her in the same echelon as say someone like Sigourney Weaver in the Alien quadrilogy (1979-1992). Bringing a nice blend of post fem attitude along with its several other sub-genres. Resembling something of that of a post-feminist action film, punk-western (and I really have to emphasize the futuristic punk look and vibe of the film), and post-apocalyptic road-rage chase-thriller. Lastly, I should point out its dazzling use of 3D in a film that’s a breathtaking visual splendor, with every burn, crash, and explosions coming off the screen at you. In fact, it’s the best use of the format that I’ve seen since Alfonso Cuaron’s “Gravity (2013) and really deserves to be seen as such, as I can’t imagine it being half the immersive experience it would had I of seen it otherwise. This is about as high-octane and thrilling of an action movie you’re bound to see all year, which also happens to be the very best in what the action genre has produced for us in as far back as I can remember. And one can only imagine that writer/director George Miller is sitting back and marveling at his creation in what can undoubtedly be considered the best in the series of “Mad Max” films to date.

in 3D [A-]

in 2D or any other format you choose to see it in other than the following [>B+]

A Trip To The Movies – Review: “’71” 3.14.15

Okay I’ll just come flat-out and say it – “Jack O’Connell is the best twenty-something actor, stateside or international, that is currently working in the film industry today”. The last time I felt like I discovered an actor of his caliber was when I was first introduced to Tom Hardy (who coincidentally enough I draw a lot of comparisons between the two) in Nicolas Winding Refn’s “Bronson” (2008), who as I predicted, like I do with O’Connell, would be a household name in just a few years from then once American audiences started to take notice of these highly gifted young actors. Also, like Hardy, I first caught wind of O’Connell in 2013’s “Starred Up” (another prison drama like “Bronson” which I considered the best post-2000 film of the genre outside of Jacques Audiard’s “A Prophet” (2009) ). O’Connell puts in a breakthrough performance that rivaled that of his co-star, the immensely talented Ben Mendelsohn (who’s pretty much been the best part of everything I’ve seen him in). O’Connell was so good in that, that I vowed to myself that I would follow this very promising and undeniably gifted young actor in every project he does from this point forward. And at the young age of 24, he shows the potential to be just as good, if not better, than someone like a Tom Hardy or a Matthais Schoenaerts, but should achieve their same level of fame about a decade younger than they did, those actors being well into their thirties. O’Connell is basically still just a kid, which makes the anticipation of what he’s going to next all that more exciting. And so far, in just the past 2 years, he’s played the lead role in the aforementioned “Starred Up” (2013), last year’s Angelina Jolie directed “Unbroken” (which I still haven’t seen but that has recently moved to the very top of my queue simply because it stars O’Connell), and now this film. Which without giving away what I thought about it too prematurely, let’s just say I wasn’t disappointed by it.

‘”71″ is the new feature film by first time director Yann Demange (I could have sworn when I first read that name I thought it was a pseudonym for the “Muscles From Brussels”) starring Jack O’Connell in the lead (and in fact the only lead, as the rest of the roles I would barely even consider “supporting”). The film is set in (you guessed it) 1971 Northern Ireland and jumps right into the story without little to no setup other than that he’s a British solider who happens to be fighting for the Irish Army. After a quick orientation depicting his squad going through some rigorous training, it jumps right into his specific unit being briefed that they’re being deployed to a dangerous area of Belfast, where an ongoing war is taking place between 2 rival religious factions – the Protestants and Catholics. In one of the more well shot and gripping segments of the film, O’Connell’s unit lands in a war-torn area of Catholic territory, and since the Army is more aligned with the Protestants, to say the townspeople don’t take to their presence well would be a grave understatement. In fact, a full on riot ensues, which is expertly shot using a guerilla-style filmmaking style that makes you feel like you’re right there in on the action. O’Connell’s character, amidst the chaos, gets separated from the rest of his unit, and since his squad is being overpowered by the Catholics, they leave in a hurried rush without him with members of the Catholic militia on his trail (and a chase scene as good as anything I can remember on film since the Keanu Reeves/Patrick Swayze bank robbery foot chase from “Point Break” (1991) ). The rest of the film plays out like a game of cat and mouse where O’Connell’s character, who starts off as the hunter, now becomes the hunted, as just about every character within the film seems to want him dead. The rest of the film takes several twists and turns, which takes a hold of you in its firm grip and doesn’t let go until the film’s closing shot

This was a mightily impressive debut from director Yann Damange and yet another brilliant performance by O’Connell, who seems to be in just about every frame of the film and who is clearly the meat and bones of the picture. The film itself is gripping, taut, and engaging from start to finish, and has an incredible sense of pacing. One thing that stood out to me was that while I went into it thinking I was going to be watching a War film. It rather deftly combined other elements into it that made it an equal parts thriller, political espionage cat and mouse game evoking the works of writer John le Carre, historical drama (1969’s “Z” and 2005’s “Munich” acting as reference points throughout the film), as well as a crime film (my fellow movie companion said it felt a bit like David Michod’s “Animal Kingdom” (2010). Which I didn’t get at first but when he started to explain the levels of corruption by all members of society, I could see why he drew the comparison and understood how he could tie it in. The camerawork was also stunning, and shot in a style reminiscent of the recent films of Kathryn Bigelow (“The Hurt Locker”, “Zero Dark Thirty”) which made it feel authentically real. The only few very minor criticisms I had of the piece was that they didn’t really provide much back story into O’Connell’s character. That and I found many of the interlocking characters from the different facets of society a bit difficult to follow. Kind of how I feel about Asian films depicting the Yakuza – certain characters are difficult to tell apart as many of them appear similarly. Lastly, I think the film could have been expanded on and went further into its story which seemed to go across by quickly at a rather brisk 99 minutes. Those few minor criticisms aside though, this was a well acted, thoroughly engaging, and gripping meta-film about a time and place in history that prior going into the film, I knew little to next to nothing about. And in summation, it was only the second film I’ve seen this year outside of “A Girl Walks Home Alone At Night” that I was so engaged in that I didn’t take a bathroom break because I couldn’t bear the thought of missing even a second of this well constructed and incredibly tense film. That had me on the edge of my seat from its start to its nicely poetic and emotional finish.

[B+]

Review: “The Drop” 2.15.15

“The Drop” is the first English language film by Belgian director Michael R. Roskam of the Oscar nominated film “Bullhead” (2011) which garnered a Best Foreign Language Film nomination at the 2012 Academy Awards. “Bullhead” was a great character study that featured a phenomenal breakthrough performance by Matthias Shoenaerts. The type of actor who after watching that film I just knew it was just going to be a matter of time before the call of Hollywood came coming. Which is interesting because that’s almost the exact same way I felt after I was first introduced to the main actor in this film, Tom Hardy, a relative unknown until he was introduced to the film world in 2009 in Danish director Nicolas Winding Refn’s “Bronson”. Both are foreign (Hardy’s from the UK, Shoenaerts from Belgium) who have recently started to show up in a lot of American films (though Hardy being introduced to us here stateside much earlier in 2010 in Christopher Nolan’s “Inception”). When I first heard of this film I heard while it was in development that it teamed Tom Hardy with another foreign actor who has gained quite a bit of notoriety in the United States this past couple of years and who I happen to like – Swedish born Noomi Rapace (who first played Lizbeth Salander in the Swedish trilogy of “The Girl with the Dragon Tattoo” and in other high-profile films like “Prometheus” (2012). Then I found out that it was slated to be directed by none other than Roskam himself, in his English language debut. What sealed the deal for me was that it also reteamed him with “Bullhead” star Shoenaerts, and was based on a screenplay from novelist Dennis Lehane, most notable for his book to screen translations like “Mystic River” (2003), “Gone Baby Gone” (2007), and “Shutter Island” (2010). So with a pedigree of this kind I figured I would be in for something special.

The film introduces us to Bobby (played by Hardy) who in an opening montage explains to us how this “drop” concept works in that basically all of the local bars in Brooklyn are run by the Chechen Mob, who scheduled certain deposits of money at any given bar on any given night. Bobby tends bar at his cousin Marv’s (in the great James Gandolfini’s last performance) who used to own the place until the Mob took over. It becomes clear early on that the Chechen Mob and its messenger, Chovka, pretty much run the entire territory. Especially when on one unsuspecting night 2 men visit the bar in hoods and masks and rob Bobby and Marv of $5,000. Except since the bar really isn’t “owned” by Cousin Marv anymore the money needs to be paid back. It seems like a mere coincidence that Bobby should happen to stumble upon a whimpering puppy in a garbage can shortly after, and is introduced to the woman who owns the home Nadia (played by Rapace), who he forms a sort of bond with after the both discover the pup and both decide to take care of it. That’s until the ex-con, recently released out of prison, mentally ill nutcase Eric comes into the picture (played ruthlessly by Shoenaerts) and claims the dog to be his demanding 10 grand from Bobby or else he will report it being stolen. It is through these many relationships and interpersonal dynamics that as each character is revealed, we are shown a much different side to them as well as their real motivations with one another, than we’re lead to believe up to that point.

While this was another solid entry into the crime-drama genre, it felt a little bit all too familiar to other films of its kind that have come out of the genre (David Cronenberg’s “Eastern Promises” (2007) comes to mind). The story itself is involving enough, as we’re presented with a decent enough story and an above average script. With all the actors involved doing serviceable enough jobs but nobody really sticking out with the exception of maybe Hardy’s character, who’s restrained, solemn, quiet character who we first are led to think might be a little naive, only to change faces about two-thirds of the way into the film in where we’re finally (after much waiting around) able to see his true self. Second to that would be Shoenaerts, who is always a pleasure to see pop up on-screen, and who plays both ruthless and menacing pretty well here. Gandolfini plays well, Gandolfini, who following his work on the hit TV show “The Sopranos” I always felt like it was unfortunate as being typecast into these kinds of roles (similar to how I feel about someone like Ray Liotta post-Martin Scorcese’s “Goodfellas” (1990)). Rapace does a good enough job in the barely fleshed out character she’s written as. As for the story, I felt like it did a fairly decent enough job juggling a number of different characters in the story and for the most part did a clever enough job keeping the audience second guessing, which had my attention until it came to the last half hour or so, at which time I started to get the feeling like it was going to have a predictable outcome to the story. And it did, at least for me anyway. There are character’s involvements into the shady going-ons in the story that are supposed to come as a surprise that really weren’t all that surprising to me. Except for when Hardy’s character Bobby reveals himself to show his true colors. But at that point it all came at just a bit too little too late. This was a fairly good, though as mentioned predictable entry to the genre that I would recommend to fans of it, but I think a lot of other people might be turned off by its familiar storyline and script. Certainly worth a rental but not something that you’re going to want to write home about once its through.

[B-]

Review: ‘Dom Hemingway’ 8.24.14

Directed by Richard Shephard (who from what I know has only done TV work up to this point) and starring Jude Law. This was one that got mediocre reviews, so I was a bit skeptical going in. However, I did hear that Jude Law, one of my favorite actors but only in more recent years (‘The Grand Budapest Hotel’, ‘Side Effects’, ‘Contagion’, ‘Hugo’) is dynamite in it. Which he is, both literally and figuratively. This is some of his career best work. Totally immersing himself into the titular character which evoked similar characters I’ve seen, namely Tom Hardy in ‘Bronson’, Eric Bana in ‘Chopper’, and most strikingly so to Ben Kingsley’s Don Logan in ‘Sexy Beast’ (Kinglsey’s best performance to date). This is the Jude Law show. Without him there wouldn’t be a picture. He is the meat and bones of the film. But also an incredibly difficult one to like. Unless you find ruthless, vile, crude, depraved, vain, brash, sex and drug addicted characters likable. This is a guy who’s sole purpose is getting off on insulting others and has absolutely zero regard for any sense of human decency. But for all of the debauchery, it’s an actor’s showcase for Law that you really have to see to believe. It’s a ballsy, over-the-top performance, and Law couldn’t have played it better. As for the story itself, it really isn’t all that important, as this is purely a playground for Law to showcase his talent. Though the bare bones synopsis is that he plays a British gangster known for being the country’s best safe cracker, but a job that landed him in prison for 12 years, only to get out at the start of the film. I felt like the story was something that’s been done again and again and I’ve seen many like it. So I can’t say it was all that original which attributed to my grading it slightly on the low side. However, if you are a fan of Law like me and have any interest in seeing what will inevitably land him at least a Golden Globe nomination for Best Actor, this is something that I would encourage you to see. As for other people who aren’t as interested in just watching a great performance. What I can say is that I would still recommend it but don’t think it’ll be anything will have you talking or thinking about days later. Except for one hell of a performance.

Grade: B/borderline B-