George Miller gets Biblical in his opening moments Furiosa: Mad Max Saga, the fifth installment in his post-apocalyptic action series. Young Furiosa, played by Alila Brown, picks ripe fruit from a tree growing on the edge of a lush forest. “We've gone too far,” her companion says, emphasizing the forbidden nature of the act with the perfect amount of allegorical snark. What happens next certainly has the aura of divine punishment. When Furiosa is taken from her home (“The Green Place” first mentioned in Miller's writings) Mad Max Fury Road) by a group of masked bikers.
Just to be clear, she is not a helpless tramp. And with her stubborn girlfriend, Mary Jo Bassa (Charlie Fraser) in hot pursuit, Furiosa outdoes any of the lecherous beasts that torment her. But her fate, not to mention the narrative direction of an origin story with an already determined ending, soon places her in the hands of a mad prophet named Dementus (Chris Hemsworth). wasteland.
Furiosa's abduction and imprisonment is practically a movie in itself.and Furiosa The work is best viewed as a series of interwoven stories depicting her steely growth.Here's more of Miller's previous work, a fantastical and timeless romance 3000 years of longingthan the compressed and propulsive one. Fury Road. The film is divided into five chapters spanning her 15 years, and the ostensible star, Anya Taylor-Joy as the older Furiosa, doesn't appear until about 40 minutes into the film. Her dialogue is minimally honed and her eyes precise. The rest of her face is frequently hidden, which is where most of the performance takes place.
Miller tends to treat the people he photographs like objects, but they are the people he treats with great care and love.He sticks to some aspects of them — Taylor-Joy's voyeur here, Susan Sarandon's fiery red hair in a medical melodrama. lorenzo oilJohn Lithgow's sweat-soaked forehead during the excruciatingly tense “Nightmare at 20,000 Feet” segment. Twilight Zone: The MovieIt brings out their larger-than-life humanity and makes them virtually mythical. This scalpel-like focus on the symbolic potential of the individual, undoubtedly shaped by Miller's years of medical study and practice, helped anchor his vast flights of fancy. Masu. Furiosa That's enough to fill several battle-ready tankers.
The film's standout set pieces include just such a vehicle, an early version of a war rig that Charlize Theron's Joan of Arc-esque Furiosa eventually captains. Fury Road. There, the chase veers sharply off the road, but here it's mostly stuck on the straight line of highway that separates the slave labor strongholds, and the skull-masked Immortan Joe (Lacey Hulme, played by the late Hugh) (playing a skillful stand-in for Kees-Byrne) is commanding. , from the sister outposts of Gastown and Barrett Farm.
During what feels like 15 minutes of real time, Rigg drives a decorated car of destruction and is attacked on all sides by rogue warriors parachuting from above, propelled by giant backpack fans. will be attacked from It's all violent, colorful, and insane, with no small amount of his CGI additions, but it doesn't quite reach the numbing sense of isolation that plagues many of Hollywood's biggest corporations. This is an action film in which Miller, cinematographer Simon Duggan, and editors Elliott Knapman and Margaret Sixel primarily focus on the stowaway Furiosa's struggle to reach the underside of the War Rig and the besieged cab. This is because we are progressing. Her mentor and best friend, Praetorian Jack (Tom Burke), is waiting.
Spectacle, here and elsewhere, never trumps human motivation. However, some argue that something important is missing between Miller's first three works. mad max The movies (especially the great second one, road warrior), mostly using practical effects and sometimes a soupy mix of F/X styling. Fury Road and Furiosa. The visuals here occasionally veer into gruesomely creepy territory, particularly in the long shots of vehicles moving with computer-controlled smoothness. What ultimately alleviates these technical flaws is the sense that Miller is constantly experimenting, thinking, and rethinking his art on the fly.
No image or sound is conceived or executed indifferently here. And there are many poetic possibilities to be mined from the mechanized morass of ones and zeros, as Miller demonstrated: 3000 years of longing's multiple fantasy sequences suggested the work of Michael Powell and Emeric Pressburger. hoffman story Recalibrated for the digital age.
in Furiosa, you can also be moved by the very realistic sound of the heroine's necklace hitting the rocks, and the obviously fake but very picturesque sound of young trees along the cliffs sprouting outwards toward the sky. You can also be impressed by the time-lapse. However, the film's biggest special effect may very well be Hemsworth as Dementus. In his first appearance, he resembles a mixture of Moses and Jesus Christ with an evil Australian accent, but by the end of the film he's practically bound to Prometheus (spoilers for what's inside there is no) that which is certainly stupid).
All the while, Hemsworth spits, spits, delivers a fiery monologue about hope and despair, and even deliberately rips off his nipples with a device that could have been concocted by Clive Barker's SM&M-adjacent Cenobites. That he is also a surprisingly tragic figure, both the catalyst for Furiosa's vengeful rage and the conduit for the divine punishment that erases her innocence, shows that he uses the ridiculous to achieve the sublime. It speaks to Miller's enduring talent.
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cast: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Lachie Hulme, Charlie Fraser, Angus Sampson, Alila Brown, Daniel Webber, Nathan Jones, Gordon D. Clute director: george miller Screenwriter: George Miller, Nico Latrice
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