Color me surprised that I found BvS's grief-laden core to be fairly engaging. Watching impotent people pondering the worth of living amongst a god-like being may not be the supercharged pay-per-view event that the title would suggest, but it sure makes for an intensely dour experience. Even the morose tone lands on the better side of DC's love of grit, where it's in service of the characters, themes, and cinematography.
What bums me out about BvS is that its messy…
This manages to be a mostly taut, intelligently made thriller that, despite its brand-driven name, knowingly plays with what the characters know and what the audience knows at any given moment. It's exciting how much it sparks the imagination in the unknown while maintaining a sense of believability with resourceful characters.
But that believability is strained when its final third begins to shows signs of slack. A heinous character detail is discovered and disposed of haphazardly. The simplicity of the…
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…