I really love how much attention is put into conveying spacial awareness to the audience. Whether its an elaborate dolly shot through every room of the house or frequently making use of negative space in close-ups, James Wan makes sure we have an understanding of the environment and he uses that against us as relentlessly as he can.
It's the kind of horror filmmaking that I delight in when it's done as confidently as it is here. But as much as I enjoy the construction of the scares, I wish I found the demons themselves as scary to see as Wan may think they are.
As formless and dull as this often is, it does a good job of sprinkling these wild and creative sequences throughout it that harken back to a time where these kinds of movies weren't cut from the same cold, mechanical cloth. And while saying that, I would like to add that this is the same movie that tries to needlessly shoehorn itself in as the end(?) of a larger trilogy(??) AND takes roughly twenty minutes of your time JUST to…
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…