Film Review: Mad Max: Fury Road

Mad Max: Fury Road (2015)

Starring – Tom Hardy, Charlize Theron

Director: George Miller

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Set in a post apolocalyptic world, freedom fighter Furiosa (Charlize Theron) leads the way in a revolutionary feminist appeal, transporting five wives from the main capital on the road to nowhere, seeking homeland. The journey across arid desert lands with no hope in sight, fleeing the tyrannical Immortan Joe, an enslaver of his people, the six females encounter one, daring hero, fighting for his own freedom.

A glossy remake of the original, now cast with an excellent choice of Tom Hardy as ‘Mad’ Max Rockatansky to take up the once perfect stance Mel Gibson gave to the role, continues to keep the film strong in the principal of avoiding a clichéd Hollywood casting that would ruin its momentum. Thanks be to Miley Cyrus not being in the back of that truck.

Though the film does stroll into some negative areas. The film is a long trek becoming comfortable with itself. While some films require this and work well within the framework, this is not its best asset. Having to wait too long to grasp a snapshot of the movie and its background loses the feel among a backdrop of boredom, isolation with the desert lands and no direct concept of what Theron sets out for.

It will certainly have the feminists raving for inclusion, but only conducted to seem more diverse makes the film stumble in its adoration for audiences. Weird costumes and wardrobe design for the gas mask type look with a distorted reality is a difficult watch. While trying to make new concepts the story here is somewhat off and does not bode well together at all. It is interesting attempt at feminism however will contradict itself with its prime example of typecast groups of females, with the appointment of the five wives. One is a model, while another is a previous actor from Transformers who adds to the warrior-esq, fighting style which contradicts feminism and its very core values. The names of the ladies are also very peculiar.

mad max tom hardyA guys film with a super hot stud and a level of warrior nature will appeal to some fans that like a different style on the average muck churned out by Hollywood today. Though the problem served remains trying to be too different that sets itself way apart from any level of a reality, even if the story is supposed to have a far-fetched mentality.

The story goes back and forth, has no clear direction and has moments of instable or lost ‘stilled air’ where moments are forgotten. Stunts are somewhat awkward, but have their place adding tense action for a thrill in some scenes. Though again, after the buzz, the thrill is there but distilled. Needing a little more craft and attention to detail would prevail, but is overall passable.

While it is a better, new age, feel good, non-traditional movie, backed up with a very difficult, bulky feel of hardman meets hardbabe to demystify gender boundaries, the film is more of a gender showing off than what Mad Max was originally intended for. It is passable to score highly but still has its flaws which make it lose out on its full potential. It tried to be too non-modern, epicness with fans that lost it some fuller excellence. While it is a very good film for today’s modern age, it is still, just a film, which is crippling to the Mad Max hopes of being somewhat more than average.

This photo provided by Warner Bros. Pictures shows, from left, Abbey Lee as The Dag, Courtney Eaton as Cheedo the Fragile, Zoe Kravitz as Toast the Knowing, Charlize Theron as Imperator Furiosa and Riley Keough as Capable, in Warner Bros. Picturesí and Village Roadshow Picturesí action adventure film, ìMad Max:Fury Road," a Warner Bros. Pictures release. (Jasin Boland/Warner Bros. Pictures via AP) ORG XMIT: CAET486

A cross between a zombie flick with an actual plot and a modern hero saving the princess from her castle. Attempts to be gritty have made it, in part, a mess, instead, which is upsetting to be a part of in viewing and critique. But that is where it is at. It will probably captivate a few teens, but overall, will it be enough? Plus the demographic of the Mad Max franchise is modern young adult boys growing up with the flick in the first place. For teen fans they will rave and “Yay!” For others, “Meh!” “It was okay.” For trying to stand out with a new stance on Hollywood and the pure gritty film resurgence, Mad Max’s Fury Road is a little off course. Perhaps it can stop for gas and refuel. Only time may tell. Surely there will be a sequel. It’s the new age of capitalist conveyor belt. It seems reviews only come in at a high bias simply because they want it to be meaningful, rather than judged purely on this credentials. Want for a film to succeed won’t make it happen. It either has it or not.

Casting? Good. Dialogue? Fair. Motion and story? Good. Concept? Passable. It’s decent but needs work in forming its own reality and its story, with a look that isn’t so Alien female meets Prince Charming of an underworld without glossy finesse outside of a Hollywood bubble. Difficult to achieve, yet that is what was set out for the film and now, its future challenges.
The film was originally delayed after 2001, for good reason. Since focusing on animated projects, Miller, who achieved well and much on those projects may have attempted to rebirth this project under the basis of changing from the too sweet animative directions taking up his new time. The project at the heart of his desire may have been formed by the previous films’ stance and trying to get away from being seen as a sweet director since the gritty to the kind came about. In doing so, Miller may have gone too far back to try and be original. The boundary would be in the middle, with a modern day take on the world, while understanding audience need. His passion involved and the attempts of efforted change have been noted, though needs to find the right balance if ever to further achieve what it hopes to set out for.

Film Rating – 4/5

4stars

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Film Review: Magic Mike XXL

Magic Mike XXL (2015)

Channing Tatum, Matt Bomer, Joe Maganiello,

Adam Rodriguez, Kevin Nash

Director: Gregory Jacobs

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Sweaty, hot, hunk studs are all the rage these days. After the original frolic of oiled up, lubricated pleasure and Channing Tatum’s irrepressible smile, filled with inane pearly white gnashers, the brazen slutfest come strip joy was bestowed onto audience once again. This time, filled with hip-hop stripping, Hollywood’s highest earner Channing Tatum returned in it’s lacklustre sequel, relying heavily on overindulgent female and neglected realities of men. Those who work as strippers, those who like them and those who might want tips to please their women were overlooked.

Instead, the self indulgent overpraise of Channing Tatum’s incessantly annoying square jawed gawk and forced love of self workout regime in a hunky body show off was on offer.

Bland blokes with no t-shirts.

Bland blokes with no t-shirts.

96% of female audiences stormed the Box Office to witness Channing and his troupe take of their clothes in what was an abysmal show of muscle clad, empty expressions on Tatum’s chiselled hipster white boy gaze.

The film’s estimates were hugely lower than expected, earning a pitiful $12 million at the weekend and $27.1 Wednesday to Sunday, last week. The original, in 2012, drew in $39m.

The self-belief of Tatum’s acting and directing of the film could not be more inane, thinking the actor himself would be able to command gay audiences, assumed to like it, regardless, among the stereotype of lots of hunky men taking clothes off because women will cheaply come rushing in their thousands, as predicted to see a run down sex style topless pageant. They did. Though the gays didn’t. They would not be played into a level of idiotic, female framed, rubbish that consisted of letting bodies talk for themselves. The shameful technique could not even appeal Matt Bomer to secure their parting cash.

Tacky tactics, loose ideals and slutty attitudes to sell a film have slapped Tatum and his crew firmly in the face. A wake up call is needed. Not as great as Tatum clearly thinks of himself, just because Hollywood keeps him on the books, makes the show even more loosely idiotic with its non-existent plot.

Tatum’s stripper slutfest could not pass The Terminator and was outdone by Inside Out and the new and epic cinematic masterpiece, Jurassic World.

A few blokes in jeans and sneakers with extra few outfits now and then making a poor show of the Village People made everyone of them devoid of any emotion, captivation and desire.

Tatum needs to lose the vanilla gangsta look and stop larking around in a hip-hop sex fest for fun and hope it does well. It was cheap, sad and did not on any level suggest anything worthwhile.

Oh, and Alex Pettyfer isn’t in this one. Tatum was so jealous of Pettyfer’s limelight making the first a success that Tatum wanted to show off his vanity to be its main star. It flopped. Matthew McConnaheuy is also out. (Of the film.)

End result? Embarrassing waste of time. Don’t bother and spend two hours on a better film instead. Plain, boring and mundane.

Good ol’ Channing likes to just hope for the best, coin it in, rip people off, assume an audience and expect praise because he loves his own abs and maybe everyone else should. Ever an overrated blurb of inconsistency in Hollywood if ever there was one. Let’s get some new, mature and wider actors who don’t just take up the easy, free for all options.

Jupiter Ascending, which was Tatum’s attempt at a space drama with budget actors for a bit of fun in the genre because he likes it, went so well, right?

Leaving a shameful distaste in the self, without any negativity to prudishness of audiences prove a monumental problem for the film and its already announced third instalment. This time he wants fans to write it and it’s clear to see why. Tatum’s writing, ideas and directive stance while clogging up the main stage made the film as cheap as it comes, while making his background troupe forgettable. This film was built on encouraging the stamping of that out and influencing the lovers of the first flick, which has been missed, vividly.

There were simply actors walking through the movie, lacking choregoraphy, not sex appeal and a bundle of bodies with no tee shirts or personalities, where fans did not feel they received their financial worth. It was meant to be comedy based, Tatum revealed, yet not even any laughter could give it a free-pass clause.

There’s some inclusion of a few chicks now, with Amber Heard, Andie MacDowell, and Jada Pinkett Smith. All three’s involvement is plainly ridiculous and has no drive. All three are great actors, but this really did them no favours. Stick to Gotham, Fish. That really works for you. Not even the MILF vote for the mature woman could add any maturity to the already flawed childishness of the entire production.

In essence, MMXXL is just another film. One with no noticeability, humour or passion. It is simply an afterthought, of which you and this reviewer has already spent way too much time on.

Pants!

Film rating

1/5

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Batman v Superman: Dawn of Justice Trailer released

Long awaited hero mash-up teases mini clip

Over this Weekend Superhero lovers were treated to no one but two epic coming movie trailers. Yesterday on this site we showed the Star Wars Episode VII clip. (Previous post)

Now it’s the turn of the long awaited and somewhat sceptical coming film Batman V Superman: Dawn of Justice. Well, here we go… 🙂 Sound off in the comments below! (Please try to keep them clean.)

The Film is set for release in 2016, starring Ben Affleck and Henry Cavill. Gal Gadot also joins as the revamped Wonder Woman.

Source: Warner Bros. Pictures/Youtube

Star Wars Ep. VII Trailer Released Here! Come Watch!

The Seventh long awaited instalment to the epic Star Wars frontier returns with a teasing snippet of a trailer. (below)

The flick, titled Star Wars Episode VII: The Force Awakens will feature some new and old favourites, put together by Lost and Star Trek buff JJ Abrams.

The film is set for release on 18th December so jot it in your diaries wielders of Lightsabre’s!

On offer are Darth Vader’s crushed helmet, a black Strom Trooper, epic galactic battle scenes and the return of Episode Sixes star trio Han Solo, (Chewie), Princess Leia and Luke Skywalker.

“We’re Home!”

Source: Movie Clips Trailers/YouTube

Film Review: Gone Girl (2014)

Gone Girl (2014)

Ben Affleck, Rosamund Pike, Neil Patrick Harris

Director: David Fincher

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Amy Dunne has disappeared. Husband Nick confesses to dreams of harming her. A dark and chilling morning follows Ben Affleck as Nick Dunne around town to a local bar. He refuses then asks for liquor in a flash of conversation from twin sister Margot. Both are writers laid off in a struggling recession. The year is 2012.

It’s Nick’s five year anniversary. Nick and Amy’s initial meeting five years ago reveals a charismatic and inquisitive communication, where both are drawn to one another from their hard stance of life. They soon lead to time between the sheets. A different type of mutual attraction on personality is all the more while rare and appealing.

Returning home to find a turned over chair, broken glass and an empty place, Nick calls in the cops. Keen eyed, the kitchen marks on a near spotless cupboard are tagged by the wide eyed detective. Nick’s nervousness shudders as a flicker through his files resonates with anyone hating their material under scrutiny.

A glimpse into the popularity of the star writer, wife Amy’s great child character “Amazing Amy” even amazes law enforcement. Realising her character is bigger than her Amy adds “Amazing Amy has always been one step ahead of me.” Her own creation is above her. During such a launch, advised to interest Bloggers, reports and the new wave of media the language is playful and prevalent. Nick adds that Amy even plagiarised herself to create the animation. Not before naughty Nick helps the interview scoop with her “world Class vagina” appraisal.

The feds don’t usually consider this an important case, but decide to take an interest this time. All the stops are pulled out including tracing all her cards, phones and details. The missing person appeal soon becomes “Find Amazing Amy” instead of Amy herself. The police are quite disturbed by Nick who fails to know his partner’s blood type. He’s also classed as type B, a placid, easy going type displaying no real dismay for his lost wife. Further adding to doubt, Nick’s temper is slightly raised with his sick father in another room by chance. Nick gets a bit annoyed with a louder voice drawing police attention.

Marriage is hard, as explained through Amy’s memoirs. She’s an imaginative mind, likely to hold a book and have no real friends. As for her love with Nick, these two are kinky. Enjoying risky, outdoor sex, with frank yet timid discussions sets their sexual tension. They even did it up the stacks of a library.

“Complicated is a code for bitch.” Amy says as later sarcastic sis Margot give a chuckle for the audience adding “she always attracts this” during her absence.

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There’s the smile! Benji loves reading FalseFabs 🙂 Good to know.

All of a sudden the nosy locals are blabbing to cops noticing the house becoming an instant hub of forensic intervention.

Rifling through her unmentionables gives us the first clue. A letter, naturally. At the missing person’s appeal Nick can’t help being no frills. “Any info, please come forward” whilst cocking an awkward smile. Short, punctual and morose. The in-laws handle it best. The website is “find Amazing Amy.”

Admirers are first on the agenda for blame. One was reported to police much to the oblivious Nick, having no clue.

Every anniversary Nick and Amy like to host treasure hunts. A riddle for her “favourite writer” to which Benji Batfleck gets early. Instead of finding his girl, the lead investigator magically appears during a resetting of entry alarms. Only Nick is sensing sirens. “Are you following me?” he questions.

As the lead money maker, Amy has a near cool one million dollars in savings, and she plans to give it to her struggling parents. They get $879 million to be precise. We are to assume Nick spent the rest on takeout, video games and a laptop. All of which items classed as bad by the authoritive state. Layabout bum Nick relies on his misses, including the bar he co-owns with sis Margot.

This is a story of how relationships easily get out of hand. So much so that Amy feels unsafe to the point she looks to purchase a gun on Valentine’s Day. Most people require a condom, but not Amy. Disparaged as being used by Nick as a sex object and burned for her money, Nick fails to give Amy her one donation. A baby. She feels unheard and invisible. A feeling she all too well used to mock others for.

Nick as we learn, however, has his own year and a half secret.

The media swarm gets its fair share of attention. One shameless female cleverly places herself into a cheeky selfie with the celebrity victim come criminal. Invading such privacy, she tells Nick she won’t be deleting that pic anytime soon, per his request. Whoops. That selfie was from a news casting journo hack. A sociopath is a lack of empathy she explains on her television news show, branding Nick exactly that. The news even go as far to stirring it up implying incest. Watchers joke and smirk at “twincest” in this unravelling tale of depravity.

Influence by media quickly causes tension among townsfolk. All the nosy neighbours look at him in pre-meditated disgust. The cops have already made up their mind. A heckler also drops another revelation to Nick during a public speech, again unbeknownst to charming Nick. One lady also eyes up being a potential replacement to the absent widower.

Amy recounts of her lazy partner taking away her dignity, hope, money and pride, “that became a murder” she adds. Constant taking and no receival has pushed the envelope too far.

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Mr. Dunne is also advised to look “less wooden” in a later show to turn his image around whilst receiving his Gummi Bear training. We’ve got a pack right here for ya Benji Bear.

Lack of interest makes a key suspect. Can a good journo and the right show turn it around? Has he found the right outlet to do that? Only able to hire a hotshot lawyer with an extortionate price tag (but, hey, they’re rich) “I win the unwinnable cases” his lawyer explains. “The truth is my defence” Nick bleakly adds one time in efforts to clear his name.

Now the strength falls on Neil Patrick Harris as the main provider. As Amy’s first former love with a clearly possessive nature could there be a new twist in the tale? His bag is filled with suspicion, control and need.

A marriage built on pain is the premise of Gone Girl. A break down with such hate, many instances of deceit and a burden for love. Is this a woman who can look out for herself when all other options wrong her? Or is she a vulnerable woman scorned with a powerful brimming talent? “Just don’t piss her off.” Gone Girl could be proof that marriage can attain a stronger bond when such tragedy unfolds regardless of the outcomes.

But what precedes that with a level of self-loathing, invisibility and oblivious nature can drive further apart than together laced with sexual objectivity, debt and financial ruin.

Rosamund Pike’s portrayal of a self-confident, calculated female assured of her talents help her protect herself from problems around her. Faced with a greater risk, Pike sets into full-on mode. During the film, we have to ask, did we allow her to be forgotten? Or was it a PR stunt for attention gone wrong, which viewers may blame her for? Either way Pike has excelled in this foretelling story, with smooth grace and starlit spotlight among a tantalising air of mystery. There are many points which claim empathy and the opposite.

gone g ben rosamund

For Ben Affleck the cool, calm and placid nature of Nick is perfect to maintain. Able to show a fair attitude and look objectively at the situation retains depth of character. The tone set is one of loneliness in a relationship setting. Falling on hard times and trying to make things work, Affleck’s Dunne keeps you guessing, with a strong affiliation to him, even if he is guilty. Forget Nick, Gone Girl saved Ben Affleck’s career.

The lonely life of a writer, let alone two together has been perfectly swayed into the characters easily.

With a treasure hunt gone wrong, partial nudity from both Ben and Pike, routine to relationships and the breakdown of them in everyday lives is a must see. Bordering on real relationships, adapted slightly for dramatisation, of course, the film finally showcases all relationships have severe problems. A tender relationship gone sour, a mix of alcohol and some rough language exemplify a true romance. All romances are flawed, but how you work through them is how to strengthen such affinity. Giving perfect insight into the deeper contexts of what they mean and guidance for blindly entering loveless encounters, Gone Girl is worth every part of its running time. Originally built on the best-selling novel by author Gillian Flynn both she and director David Fincher can be proud of the big screen adaptation. This is a cool 4 of 5 stars and a great tale of thought provoking storytelling for a modern generation living under old age values. I would add that despite the criticisms that women can’t be bad, to which this film sets to disprove, it doesn’t go far enough. This was a great but lightly tame way to paint that picture and it needed it. If it didn’t this would have been a bad film. For that, Gone Girl has made it relevant and insightful.

4stars

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Film Review: X:Men: Days of Future Past (2014)

Film Review: X:Men: Days of Future Past (2014)

James McAvoy, Michael Fassbender, Jennifer Lawrence, Hugh Jackman, Nicholas Hoult,

Peter Dinklage, Patrick Stewart, Ian McKellen,

Director: Bryan Singer

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X-Men always seem to get their castings correct with new age or up and coming actors in the parts alongside the more esteemed actors. This in itself creates a perfect balance of the connection in film. Marvel adore the fact the X-Men resembles human interactions to the comic book heroes. These decisions further enhance that imperative.

Old favourites are back including Storm, Raven and the Iceman in the future as well as the past to tell the tale further from the young and old Professor X and Magneto.

Under the distinct leadership of director Bryan Singer, the X:Men series has developed considerably well. Leading on from X:Men First Class, the second in the backlog of the X:Men’s history blends past and future together. Following the new favourites with the younger Magneto, Professor X and Beast, they are tasked to guide and protect Mystique. Whilst the younger story leads, Wolverine crosses over with both time frames as the go-between.

Michael Fassbender’s smoothness, Lawrence’s emotional drive and the partnerships with Xavier in past and future are tenderly connected. Jackman’s reliance in previous X:Men stories is not overly emphasised through clever tweaking of the rest of the other characters making him a joy to watch.

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Singer’s story transports us, literally, to 1970’s America with a smooth and carefully laid out presentation. Adding the new threat of iron clad mutant destroyers known as Sentinels, the government against mutant story continues constructively. He manages to keep the binding ties of time travel apparent than most director’s forget when in charge of a big budget movie to wreak havoc.

The cinematography on display is exceptional, with a dark and impressive opener showing not all X:Men are invincible. The story will keep you guessing further along with interest. However, the story is the sequel of the new age X:Men and was clearly never going to be as amazing as its predecessor. Though what Singer realises is that this instalment can be just as good as. The rest of the cast realise this and have played their parts well.

This will surely lead on to the next part which opens a bigger range of mutants, skills, battles and story. With the younger teams developing the backstory of the present with the older heroes this film franchise has a comfortable future.

The film has taken its place from comic book genre and transformed onto the screen with a level of human interest in its own right as a serious blockbuster series.

For X:Men lovers this is a must see for piecing together the collective story. For those not into Sci:Fi this is still worth a look but may not be a full interest and could drive boredom early.

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Could also take a possible role?

Hollywood have already rumoured and confirmed that Channing Tatum will play the role of Gambit in a coming movie. Though I am unsure if Tatum is an accurate fit for the job despite being Hollywood’s number one gross box office draw, the third will undoubtedly cast more characters. Ian Somerhalder and Matt Bomer would be better choices and perhaps they can be the new Cyclops, though James Marsden gets a hard ride. We always thought he did a pretty decent job. Maybe they could be the younger versions in the forthcoming Apocalypse movie. I could only wish to be on the team to add some guidance and who to boost up there, but Hollywood seems to have their own understandings. Singer has proved outstanding in these films, but the third is always the most difficult to encourage. Once the thrill is there, the film can often fail to deliver among the hype. There aren’t any signs of this for X:Men as of yet, and we hope not, but let’s hope no complacency creeps its way forward.

We give it a well earned four star rating.

4stars

 

 

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