Ed's Thoughts - Mad Max: Fury Road

Jack made some compelling arguments against the latest Mad Max film in his full review. As I enjoyed it a fair bit more, I thought I'd give some of my opinions.

A harsh desert landscape, a worn-out interceptor and a familiar man with a different face. The fourth instalment in the Mad Max series, Fury Road, has taken thirty years to get here, and it doesn't mess about. This barren and hostile world is unfettered, ferocious; fuelled by blood and a metric butt-tonne of petrol. The plot is simple, just like the first two, and every single frame is utterly beautiful. I've struggled through many modern action flicks, and I despise the Michael Bay 'splosion-fest model of filmmaking so everything here should be wrong. But it's oh so right.

Fury Road has everything that I look for in contemporary action: isolated settings, eccentric characters and a unique style of filmmaking that only comes around once in a blue moon. Miller harks back to a sorely missed era of filmmaking by utilising primarily practical effects, composited together with minimal CGI to create some visually incredible stunts. Take a look at this glorious B-Roll footage to see what I mean. Yes some of the explosions and crashes are ridiculous, and that definitely changes the level of realism that may be expected from the previous films, but at the same time this is still very much a Mad Max film. Other old-school effects like speed ramping to create the illusion of extreme motion, really do make this feel like a good old 80s action flick.

I do find it a bit sad that Max takes a step back in this film, but I actually thought that Imperator Furiosa was a well fleshed-out, very likable character and really didn't mind that she took the centre stage, along with her equally badass War Rig. The minimal plot was easy enough to follow, without too much exposition, and the blend of the rolling story with impeccably choreographed visual sequences make Fury Road almost operatic in design. It's a highly visual story and when done well, that is an undeniably powerful form of movie making.

Mad Max: Fury Road gave me a slap in the face more powerful than the strongest caffeinated drink (or other...substances...) and I was fixated from beginning to end. It's action-meets-arthouse and everything in between, and easily the best film of the year thus far. I want to hug George Miller for giving this series another shot...but I'd probably get arrested.

Robin Williams Tribute Month: Mrs. Doubtfire (1993)

It's an accomplishment for any actor to create a truely memorable character. But it's even more astounding to have a male actor playing a male actor create a memorable female character. That's right, I'm talking about the ultimate 'Act-ception' movie, Mrs. Doubtfire.

The classic 90s comedy from Chris Columbus is still as fresh as ever, managing to keep me laughing in stitches all the way through, even on the one-millionth viewing. I dare say it has some of the most hilarious lines and funniest montages in history, and watching Robin Williams dressed as an elderly Scottish nanny beating a criminal away with her handbag never gets old.

Many would consider this to be Robin Williams best film. I think if you treat his comedic and his dramatic performances seperately then this quite probably is the best comedy he every did, but as we've found out over the tribute month, he starred in a wide array of classics. However this could well have been one of the most challenging roles for him. Consider yourself as a short hairy American male wearing a huge body suit, women's clothes, makeup and putting on a pretty damn convincing Scottish (though she claims to be English) female accent, whilst still managing to give an outstanding performance and you'll understand Williams' feat in this movie.

This is one of those hilarious films that you don't complain about when your local TV station plays it every two weeks, because it's so accessable and never, ever seems to get old. I grew up watching this film, and I intend to grow old watching it too. It's another perfect example of the energetic, yet incredibly authentic performances that defined the career of Robin Williams.

Ed

Like with rewatching Aladdin, revisiting this movie had me in stitches. I think Williams was at the peak of his popularity, or he was just very skilled, but this period of his acting career was amazing. Maybe it's because those two movies relied so heavily on his ability as a voice actor.

A lot of this movie's greatest scenes come from Williams interactions with the other characters whilst in makeup. His insane passive-aggression toward Pierce Brosnan is hilarious and tense. His relationship with Sally Field is heartfelt and genuine. He also is a loving father who cares for his kids like the world would be nothing without them.

My favourite scenes would probably be when he interacts with his court liaison (played by Polly Holliday), both in and out of costumes. When he explains the idea of doing voices, I was laughing, but when he was making her tea as Mrs Doubtfire, I was rolling on the floor laughing.

This movie is full of pop culture references, alluding to everything from Dirty Harry to Looney Tunes. Robin Williams even says a James Bond line to the next James Bond, Pierce Brosnan.

This movie was a staple of my childhood and I love it just as much now as I did back then. This is the perfect movie to end our Robin Williams month with. I hope everyone reading this goes back and watches not just this movie, but all the ones he was in.

Jack

22 Jump Street

So since neither Edward nor I could decide who would review this movie, you're all gonna get a weird (dis)joint(ed) review. So let's get to it.

Edward:

Having first seen 21 Jump Street when I was in high school, it was filled with plenty of jokes that I could relate to. Yet whilst it was funny enough, it always seemed like it was lacking direction in some areas, and I felt that much of the humour needed more of a setup. Now, as I’ve moved on to University, the boys are back and are going to college, with the (self-aware) sequel 22 Jump Street.

The new action packed installment picks up the pace a lot more, and overall I found the jokes quite a bit funnier than they were in the first. Whilst there’s still plenty of the “Suck my d*ck! No you suck my d*ck!!” sort of humor that dominated the original, it feels much more natural and flowing this time around, probably due to the vastly improved screenplay.

The film is also hilariously self-reflexive, taking satirical jabs at Hollywood’s obsession with sequels as we see the 23 Jump Street condominiums under construction, as well as the nature of the industry in general. There are also the absolutely hilarious credits - honestly one of the best parts of the movie - that I urge you to stay for, as they will certainly expel any worries you may have about the direction that this franchise is going in.

The action sequences are not over the top but definitely won’t disappoint, with plenty of eye-candy courtesy of explosions and slow-motion sequences. The acting is also spot on for this sort of comedy, with both Jonah Hill and Channing Tatum just as good as they were in the first and with a great supporting cast.

Verdict: Overall, 22 Jump Street stands up strong and is quite an improvement over it’s younger sibling.  If you enjoyed the first, you’ll be laughing all the way through this one!   

Jack:

Unlike 21 Jump Street, 22 knows it is a TV show spinoff (it also knows it a sequel but hopefully Edward's already written about that). We even get a previously on Jump Street recap, as if this is just another episode of a sitcom version of the original show.

This movie also has a bunch of references to other 80s TV shows and movies, such as The Golden Girls (which if you know the reference when it comes is hilarious) and Top Gun. These references are hilarious, but then again most of the film is funny. Schmidt and Jenko's bromance escalates to a homoerotic level that guarantees even more laughs.

This movie made me laugh so much that Edward must have regretted seeing it with me. The jokes were fast flowing and weren't too stale. However, the majority of the audience must have been a lot younger than us because I don't think they got a lot of the jokes, especially when the references are aimed at an older audience (like a superb Straight Outta Compton joke directed at Ice Cube).

Speaking of Cube, there is a lot more of him in this movie. And he is even funnier than he was in the first movie. His chemistry with both Tatum and Hill is fantastic and you tell they all had a really fun time making the movie. Especially Channing Tatum. He bounces around the screen like an actual teenager with a lot of glee.

The other standout performance comes from newcomer (to the franchise) Jillian Bell (Workaholics). If you are at all a fan of the aforementioned Workaholics, you'll especially like her character because she is just a slightly more unstable and violent version of Jillian on the show.

Verdict: A great sequel that is terribly self aware and just a pleasure to watch.

Classic Movie Review: American History X (1998)

When I first saw American History X a few years ago, it had quite an impact on me. Since then I have re-watched it several times and have come to the conclusion that it is one of the most powerful movies ever made. What has really stuck with me over the years is its message. It’s a film that will keep you thinking long after viewing and will draw you back to it. This is definitely a film you have to see more than once to fully appreciate.

The film is a dark tale about Derek Vinyard (Edward Norton), a prominent Neo-Nazi figure in his neighbourhood, who after imprisonment returns a different man and struggles to prevent his younger brother Danny (Edward Furlong) from being caught up in the same situation. It deals with American race relations, the brutal nature of imprisonment, and the way in which family members can foster bigoted views in one another. The late Roger Ebert criticised the film for a disjointed structure, “The movie needs sweep where it only has plot”, but I don’t see this as the case. The scenes do jump around a bit, but I believe this adds to the story and is never done in a disorientating fashion. Considering the problems during production it’s an incredibly well formed film.

Tony Kaye (Director & Cinematographer) uses both black & white and colour film stock to contrast the flashbacks, with the period after Derek’s release. There are some beautiful slow motion shots in the colour segments but it’s the black and white scenes that have the most impact, magnificently filmed whilst quite distressing to watch. Though in many ways it’s the films editing which brings it together and much of the credit here should go to Jerry Greenberg (The French Connection, Apocalypse Now) and Edward Norton, who were brought in to restructure a third edit after Kaye’s first two did not fulfill New Line’s expectations. It was this third edit that would become the theatrical release, yet Kaye completely disowned it, even attempting to remove his name from the film. If you’re interested in what Kaye’s workprint cut would have looked like then this is a good compilation.

The heart-breaking ending is a fitting conclusion for a film of this nature, reminding us that all of humanity is capable of these actions, no matter what race or culture. This is a movie that is constantly playing with your emotions, through its many disturbing yet beautiful scenes. It is not afraid to rip your heart out and kicked it around like a hacky sack every once in a while. But the most enduring message is in the close. With the final shots of the beach at sunset as Danny quotes Lincoln, we are given a faint glimmer of hope for humanity amongst the darkness, and it is that hope that will stick with me forever.

Edward

On first viewing, American History X could be construed as a very controversial film. Indeed the subject matter is that of neo-nazism in America. But once you push past the surface layer, you find a film with some very diverse themes.

The major thread that runs throughout the film is that of redemption and rehabilitation. During his incarceration, Derek comes to see that the neo-Nazi rhetoric that was hammered into him may not be as solid as he thought. This comes as a result of his experiences with the other white power inmates, who don't quite believe in the cause as he does. He eventually changes his tune when he befriends a black inmate.

The other related theme is that of brotherhood. This is shown throughout the film with Derek's influence over Danny. It is probably true that Danny too would have been able to be rehabilitated if he didn't meet an untimely end. 

The performances are really what makes this film. Edward Norton gives a stellar performance. His is both heinously evil and, as a reformed man, kind, good hearted and tolerant of those who still belong to the life he left behind. Stacy Keach is fantastic as the leader of the neo-nazis.

The two other amazing performances come from Avery Brooks and Elliott Gould, whose characters come under attack from Derek's racist rhetoric. They play different sides of the same coin, Brooks' Dr. Sweeney has the ability to shrug off the remarks, whereas Gould's Murray internalises the mocking and shows how affected by it he really is.

This also is an example of a film that really benefits from a cinematographer directing. Kaye is a master at crafting evocative and meaningful shots. There are many uses of slow motion that give heavy meaning to the character's emotions and actions. The decision to have half the movie in black and white is a bold one, but ultimately pays off.

Jack