movie review

Asymmetric Review: Mad Max- Fury Road

madmaxfrA kinetic masterpiece is the only way to simply describe this newest installment of the long missed post-apocalyptic adventure tale. Max Rokatansky, once played by Mel Gibson and now Tom Hardy, is still a resident of the wasteland. His V-8 Interceptor remains, as does his Main Patrol Force leather jacket, leg brace and even his double-barreled shotgun. Yet there is something new, stark and somehow gentle about the Road Warrior. Perhaps that is Hardy’s style, a bit soft yet more feral than Gibson’s square jawed rogue. Both haunted, Max in Fury Road is a creature bent on survival, on his own and at all costs, until his path crosses into the world of Immortan Joe, his harem of ‘breeders’ and a war rig driver, Imperitor Furiosa (played magnificently by Charlize Theron.)

Where the Road Warrior centered on a tanker load of gas and Thunderdome revolved around kids lost in a wasteland, Fury Road is the story of fearless women escaping a brutal and licentious overlord who holds together his fiefdom with gifts of water and brute force. When his prized brides flee with Furiosa, spirited aboard a ‘Mothers Milk’ tanker, Joe’s war-boy vehicular warriors give chase. This is where Max gets thrown into the fray.

From the start, George Miller’s Fury Road is a load harsh world. His color palette of amber and sun-baked red , rather than a drab grey of most dystopic cinema. His masterful use of a world already established- nuclear war, lawlessness and cult status of the automobile- weave seamlessly into the modern vernacular. I grew up on Gibson’s Max, including watching the ‘American’ English dub of the Australian original and the mechanical aesthetic Miller established 30 years ago flows perfectly into the celluloid of 2015. It feels as if 20 plus years have gone by and the cancerous and belligerent survivors have spawned an organized, but degenerate society.

Importantly, Fury Road has the viewer invested in two types of fear. One for the characters and the high speed peril they find themselves in from the first frame. The second fear is for the life and limb of the stunt performers and drivers that fill the screen with gear grinding, metal bending and vehicular eruptions unseen, well since Thunderdome. The crunch of each collision and tumbling body immediately prompt gasps. The human eye, connected to our highly evolved brain, understands the true pain and thrill of flesh-and-blood stunt performers hurtling around a film. We simply cannot get the same visceral emotion from pixels rendered in a climate controlled office in California. Fury Road is kinetic cinema that is required to keep film alive.

The movie goer is invested in the future of the women in Fury Road especially, and the few decent men trodding the desert landscape. The strength of the women- Cheedo, Dag, Toast, Capable and Angharad- to seek freedom at all costs is astonishing. Each actress brings their own interpretation of victim in flight, without becoming set dressing. They are innocent shut-ins, who crave freedom and release personal demons upon their enemies. They are press-ganged mothers who refuse to let their children be the next, possibly final, generation of men to destroy the Earth. Many consider Avengers director Joss Whedon a model of feminism in filmmaking, but I venture the women in Fury Road, their abused souls and determination to survive, make them astonishing characters worthy of note, exemplified by the involvement of Vagina Monologues creator and activist Eve Ensler in Fury Road.
Theron, always a tall and dominating figure of beauty, turns Furiosa into a character whose sex is secondary to an astounding drive and furiosity. Besides the obvious physical attributes, Theron’s Furiosa embodies humanity in precarious balance- hope or violence. She is magnificent.

Men are not portrayed too flatteringly in Fury Road. Joe is a pot-bellied muscled near -albino, his minions are cancer-ridden and delusional about Valhalla while huffing chrome spray paint in the moment of violent ecstasy. The bosses of the two other towns in Fury Road, Gas Town and Bullet Farm, are vile and violent misogynists. Human lives are less valuable than bullets, gasoline and nitrous oxide.

Mad Max: Fury Road is a loud, violent film, awash in more character building than the last dozen Hollywood blockbusters. Watch Mad Max, The Road Warrior and Beyond Thunderdome, and then marvel at the modern incarnation of live-action filmmaking as it should be.

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Asymmetric Inspiration: Interstellar’s Heroes

interThis weekend I had the pleasure of seeing Christopher Nolan’s Interstellar in the theater. A visually brilliant, at times emotional and utterly breath taking venture into space; while finding a deeper spiritual connection between humanity.

I left the theater wishing I loved math more.

I’ve had an on-again-off-again love for physics. Mostly easy to digest popular non-fiction works on physics, but on occasion wandering into the harder theory side of the field. Yes, math is a big part of that. Interstellar made math and scientific curiosity traits of the heroes, women and men of different races, rather than devices for destruction.

The silence of space is unnerving. Its celestial violence is jarring and absolute. The warping of light or its complete avoidance is mind numbingly scary, yet beautiful. Not because its flashy or visually menacing as many movies portray space, but because you understand the physics, the overwhelming and unfathomable powers concealed in these black holes or worm holes. Like the monster concealed in the shadow, the terrible power lost in blackness of space is equally as riveting.

Surely Nolan’s film is not perfect and it does seem to borrow inspiration from Kubrick’s 2001: A Space Odyssey and Contact. Yes, you do rebel against some of the climactic devices, straining what you understand about the theoretical physics of black holes. Then again, worm holes don’t exist so we’re allowed a level of creative license, especially if the bulk of the movie treats the perils and wonder of space exploration tonally realistic.

At times I was amazed at the broad efforts the actors and script exerted on my intellect and emotion. In these moments I was reminded heavily of the fantastic PBS series Closer to the Truth. I HIGHLY recommend this series as it not only delves into physics, but religion and consciousness. It just so happens to include interviews with Interstellar’s theoretical physicist and producer Kip Thorne.

But Interstellar works because the most heroic people in the story are not muscle bound, gun totting badasses but thoughtful, intellectual and adventurous astronomers, physicists and engineers. And that alone makes the film worthy of inspiring, or aspiring to, greater creativity.

Interstellar makes me wish I was a bit braver. And a lot better at math.