George Miller's Mad Max: Fury Road is nothing less than utterly astonishing. From frame one, Miller paints the cinema screen with a gleefully vibrant vision of chaos and elemental fury. Every performance, every shot, every ingenious switch-up of narrative; It all comes back to George Miller and his prophetic revitalization of cinema. Auguste and Louis Lumière would be both terrified and insanely proud of the stupendous clarity and craft on display, mainly because Fury Road showcases a sense of…
- Marty! You've gotta come back with me!
- Back to the future.
- Whoa, wait a minute, Doc. What are you talking about? What happens to us in the future? What, do we become assholes or something?
- No, no, no, no, no, Marty. Both you and Jennifer turn out fine. It's your kids, Marty. Something's gotta be done about your kids! They've made a run-of-the-mill found footage movie with plot holes the size of Michael Bay's…
Avengers: Age of Ultron, otherwise known as Avengers: Age of Ultron Or (How I Learned To Stopped Nitpicking and Love the Explosions), is a triumphant pop-extravaganza. Laden with consistently eye-obliterating action sequences of flourishing delight and potent doses of character development, Joss Whedon's final sendoff to the Marvel Cinematic Universe is a dizzying and breathtaking vision of geeky euphoria. Fasten your seat-belts, you won't know what hit ya.
Beginning with not just a bang but with a massive release of…
So many simple techniques came together to make this utterly compelling and harrowing. Most obvious are the unabashed DV cameras that can fit into any nook and cranny, capture any angle necessary and illuminate darkness with eyeball sensitive esthetics. Digital video is faultless in this film. The camera becomes the third person eye. The music comes to mind next. So humanizing at parts, it triggers emotions both euphoric and adrenalizing. Silence is used to even greater effect. "Boo" moments are…
What I have always loved about the early Romero zombie films is that they were always more than mindless horror films, they were riddled with religious themes, social commentary and asked questions about human nature. And they were sufficiently gory and disgusting to boot.
Boyle's film transports that approach to the 21st century, amping up the adrenaline, touching on some tough subjects and covering it all in a, by now, recognisable Boyle sauce.
The first half of the film is…
A beautifully shot over the top action fest that brings back the whole gang for one last romp together and helped give Paul Walker's Brian O' Connor a proper send off. The movie continues the same feel of the previous two films with the ridiculous action scenes. If you saw the trailer with the car jumping the buildings and Rock surviving an explosion that sent him out a window and into a car then this movie is not for you.…
• Buckle up for the craziest and most over the top ride yet
• Touching and admirable send-off to Paul Walker
• The good ol’ street fights
• Dominic Toretto’s beast of a car makes its comeback
• "Cars can't fly!"
• Quite possibly the worst in your face ad for beer after the one we had in the latest Transformers film
• Not enough of The Rock
• 80% of Roman’s jokes were lame
• It kind of turns into Eagle Eye after a while
Furious 7 is one of the most nonsensical, stupid, and goofy movies that I've seen since Fast and Furious 6, so that should tell you something about the bars that they keep topping in regards to crazy explosions and witty quips that make no sense. They're fun, globetrotting, silly, and bonkers in every aspect, but at least they have heart. This film in particular is all of those things turned up not to 11, but to 12.
In spite of…