Cannibal Holocaust is infamous for its depiction of various forms of human depravity in the Amazon. That sense of depravity is blistering, even today, and the film is quick to relish in every grimy detail for all to see. The putrid sepia tone-ish color palette in the back half only adds to the uneasy feeling that you're watching something that shouldn't have been found. It's a punishing film to watch that only grows more and more bleak throughout.
So white washed and sterile that it makes the "culture clash" of San Francisco and Tokyo completely superficial. Its vapid tackling of familial loss is made all the more frustrating due to its blank cast of rote characters. Then a big superhero battle, ripped straight out of Marvel's already dull recent output, happens. Don't bother.
For decades, George Miller has been throwing ideas at a wall in order to form his own idealized post-apocalypse over the course of four films. As each new film has attempted to take the series in different directions, these vivid ideas have run the gamut of visual motifs and societal ideologies to varying degrees of success. But none have come as close to the fully realized world within Fury Road.
Not only is there attention given to fleshing out a…