Furiosa: A Mad Max Saga (2024) – Review
Quick Thoughts – Grade – A – Furiosa: A Mad Max Saga is big, bold and ambitious. It’s cool that a visionary like George Miller was able to get full creative control and a big budget that supported his style of punk rock filmmaking.
It’s been several days since I watched Furiosa: A Mad Max Saga and it’s been tough trying to wrap my head around such an epic film. The $168 million budgeted prequel (which really isn’t all that much nowadays) takes place in five chapters and uses every second of the 148-minute running time to blast your senses with car chases, fight scenes and Chris Hemsworth using big words. It’s not nearly as propulsive as Mad Max: Fury Road, but it’s just as ambitious and loaded with excellent action design by Guy Norris. It took a while to get into the rhythm of Furiosa: A Mad Max Saga because the chapter breaks clash with the muscular editing done by editors Eliot Knapman and Margaret Sixel (once again doing an incredible job for George Miller). However, it’s still a wildly ambitious and beautiful movie that features dedicated performances from Anya Taylor-Joy, Chris Hemsworth, Tom Burke, and Josh Helman (long live Scrotus!).
Furiosa: A Mad Max Saga focuses on the evolution of Furiosa (Anya Taylor- Joy), as she goes from child slave to becoming the most respected driver in the post-apocalyptic wasteland. The first two chapters focus on Furiosa as she’s kidnapped from her idyllic home (The Green Place), and becomes the adopted daughter of a warlord named Dr. Dementus (Chris Hemsworth) after he kills her mom (Mary Jabassa) and separates her from her home. After the death of her mom, the healthy full-life Furiosa stops talking and spends years locked inside a metal cage that goes everywhere Dementus goes. Eventually, his horde comes across the citadel of Immortan Joe (Lachy Hulme), and a massive battle breaks out as Dementus makes a run at controlling the wasteland by taking over Gas Town and forcing an uneasy alliance with Immortan Joe. To finalize the alliance, Dr. Dementus trades Furiosa and the Organic Mechanic (Angus Sampson) to the citadel, and this kicks off the story of how Furiosa became a famous Imperator (driver of Immortan Joe’s War Rig).
At first, Furiosa is intended to be one of Joe’s wives, but after a horrifying ordeal with Immortan Joe’s son Rictus (Nathan Jones), she cuts off her hair, disguises herself as a boy, and becomes part of the mechanic group who built the first war rig. Her mentor is Praetorian Jack (Tom Burke), a decent man who drives the war rig and isn’t a homicidal maniac like every other person in the wasteland. Together, they engage in some beautiful action scenes as they’re forced to deal with the many factions of Dr. Dementus’s horde who find creative ways to scavenge food and water.
It would be a shame to spoil anything else, just know the rest of the film features action scenes that will make your jaw drop. Chris Hemsworth and Anya Taylor-Joy are the standouts here and they expertly inhabit their characters. Hemsworth’s portrayal of Dementus is interesting because he’s clearly a villain (villain Hemsworth is always a good/bad time), but he’s also a broken human who is suffering after the loss of his family. He’s a three-dimensional villain who is dangerous because he is equal parts intelligent and chaotic. On the other side of the post-apocalyptic coin is Furiosa, a survivor who is intelligent, measured and patient. They are totally different, but because of their smarts and ability to survive they find themselves in a years-long battle.
You might need to watch Furiosa: A Mad Max Saga a couple times because there is just so much going on. George Miller throws everything at the screen and his unhindered vision deserves to be watched in the biggest theater possible. It’s a fantastic experience and I can’t wait to watch it again.
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The Movies, Films and Flix Podcast – Episode 560: DeepStar Six, Creature Features, and Blinking Lights
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Mark and David Cross (@ItsMeDavidCross on X) discuss the 1989 creature feature DeepStar Six. Directed by Sean S. Cunningham, and starring Nancy Everhard, Greg Evigan, Miguel Ferrer, and lots of blinking lights, the movie focuses on what happens when a large monster attacks a tiny underwater base. In this episode, they also talk about knockoff creature features, decompression pains, and the perils of underwater drilling. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
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MY CALL: This “part III” features great characters, a wild diversity of special effects gags, and a well-earned creepy distrust for mirrors. I find it highly rewatchable, very fun, a bit jumpy and quite satisfying. MORE MOVIES LIKE Poltergeist III: For more “high-rise horror” or “trapped in a building with evil”, consider Shivers (1975), Dawn of the Dead (1978), Demons (1985), Demons 2 (1986), The Dark Tower (1989), Shakma (1990), Demon Knight (1995), Feast (2005), [REC] (2007), Quarantine (2008), Evil Dead Rise (2023) or Infested (2023). An unrelated recommendation, Lights Out (2016) is to light switches what Poltergeist III is to reflection games.
Relocating to escape her angry poltergeist past, Carol Anne (Heather O’Rourke; Poltergeist I-II) is now in the care of her aunt Pat (Nancy Allen; Children of the Corn 666, RoboCop, Dressed to Kill, Strange Invaders, Carrie) and uncle Bruce (Tom Skerritt; Alien, The Devil’s Rain, Contact) in their high-rise condo in the city. They live in a mega-high-rise (not unlike Gremlins 2). Bruce’s corporate office is inside the building, and so is Pat’s art gallery, along with an entire multi-level shopping mall and grocery store. High-rise horror is interesting because for all the three-dimensional space available to the protagonists, exits and their very routes to egress are quite few.
It is no secret that supernatural horror thrives on distorted reflections (e.g., Oculus, Mirror Mirror, Mirrors), and this sequel informs its audience of the importance of reflections strongly from the start as cracks mirrored walls form, Carol Anne is haunted by visions of Cain in windows, and the occasional mirror image behaves disturbingly out of character. Mirror images that don’t match their caster are always a powerful tool to engage anxious viewers, and this movie makes fine sport of the practice. And like its predecessors, this sequel likewise does a fine job in making the entire family of characters matter, especially Donna (Lara Flynn Boyle; The Temp) and her love interest Scott (Kipley Wentz).
Cain’s spirit has somehow found Carol Anne. Unfortunately, this Cain looks like a discount generic brand of what we feared in Poltergeist II (1986). Cain’s presence remains effective, but less graceful tact is employed in using him as a tool to cultivate dread. Another change from parts I-II, and falling in line with the latter observation, is that the general supernatural antics fall more in line with movies like The Gate (1987) as various unrelated “FX gag” phenomena transpire. In Poltergeist (1982), these phenomena were like stepping-stones of subsequently increased significance, building to something greater. That “something greater” doesn’t seem to be present here. Instead, we still enjoy a well-paced, well-produced, and very effectively creepy sequel with a diversity of great and engaging effects. For all my criticism, this really is a highly rewatchable and solid 80s horror film. The scene where they “recover” Donna is unforgettably impactful and mildly traumatizing in execution.
A skeptical psychologist is at odds with the credibility of Carol Anne’s history and Tangina’s (Zelda Rubinstein; Poltergeist I-II) claims of “the ghost named Cain that found Carol Anne because of his therapy sessions.” The psychologist is cleverly snippy, enjoyably dislikable, earns his comeuppance, and wears a sweater with a pattern that smacks of the exterior architecture of the skyscraper. Nice touch. Again, the character writing in this sequel was on point.
Cain steals Carol Anne away back to “the other side” and uses his dark influence to misdirect Pat, Bruce and Tangina in their efforts to find her. Many who try to help fall victim to the necrotic powers of “the other side,” and may be lost forever. I’d add that this final Poltergeist sequel is the only film of the franchise to showcase an ending in which evil has won, even if subtly presented in the cast reflections of the final scene. So, no surprise, director Gary Sherman (Death Line, Dead & Buried) produced another wonderful contribution to the genre.
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The Movies, Films and Flix Podcast – Episode 559: Pandorum, Ben Foster and Space Nonsense
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Mark and Zanandi (@ZaNandi on X) discuss the 2009 science fiction horror film Pandorum. Directed by Chrstian Alvart, and starring Ben Foster, Dennis Quaid, Antje Traue, and hundreds of ill-tempered mutants, the movie focuses on what happens when an interstellar arc becomes an interstellar house of horrors. In this episode, they also talk about space trash movies, monster fights, and fun twist endings. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
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Kingdom of the Planet of the Apes (2024) – Review
Quick Thoughts – Grade – B+ – Kingdom of the Planet of the Apes is another excellent entry into the recent Planet of the Apes canon. Director Wes Ball has created a methodical and thrilling adventure film that features excellent performances from Owen Teague and Kevin Durand. Watch it on the biggest screen possible.
The most impressive thing about Kingdom of the Planet of the Apes is that it has earned its spot alongside the 2011-2017 trilogy that ended with the critically adored and financially lucrative War for the Planet of the Apes. It’s a tough act to follow, but director Wes Ball and his crew have created a world building adventure that features some of my favorite action set pieces in recent memory (there is an incredible water fight that made me very happy). The visual effects by WETA are once again jaw-dropping and the cinematography by Gyula Pados (Control, Predator, Maze Runner: The Scorch Trials) expertly captures the Australian wilderness that most of the movie was filmed in (The on location work is admirable). It’s the total package, and despite some claims about it being too long, I think audiences will appreciate the visual smorgasbord.
Kingdom of the Planet of the Apes focuses on the journeys of a young chimpanzee named Noa (Owen Teague – excellent), who is determined to save his friends and family from a clan of vicious apes who destroyed his village and wrangled his clan to be slaves for a megalomaniacal bonobo named Proximus Caesar (Kevin Durand). Proximus and his gorilla enforcer Sylva (Eka Darville), need extra ape-power as they are trying to open up a massive steel door to a bunker that holds tanks, missiles and weapons that a power hungry bonobo shouldn’t have. To get to Proximus Caesar, Noa is helped by a charming orangutan named Raka (Peter Macon – who gets all the best lines), and Nova (Freya Allen), a human who wants Proximus Caesar dead because his clan killed her family. Together, they battle Sylva and his cronies during several fun set pieces that feature horse chases, dangerous rivers, and lots of running (Wes Ball directed the Maze Runner trilogy so he’s good at filming running).
Kingdom of the Planet of the Apes works because it puts a lot of focus on the characters and never seems to be in a hurry to move to the next action scene. The opening 20 minutes features gorgeous world building as we are introduced to Eagle-clan, a group of peaceful apes who train eagles and live amongst skyscrapers and towers that are still standing after the collapse of society. I’d pay to watch an entire film featuring Noa and his friends climbing amongst the skyscrapers and just hanging out in the community (it would be a super chill movie). The human element isn’t the strongest aspect of the movie as Freya Allen’s character is meant to be mysterious, but that makes her character feel less dimensional than all the apes around her. All the ape/human shenanigans build to something that could carry several sequels, but now that WETA’s technology can make a film 100% about apes, I’m not sure I want to watch pesky humans battling the evolved apes again – I just want to enjoy the beautiful world created by WETA, and Wes Ball. I know this type of film would make about four dollars at the box office so it won’t happen, but one can hope! Either way, I’m excited for more.
Final thoughts – Watch it on the biggest screen possible.
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The Movies, Films and Flix Podcast – Episode 558: Frailty, Bill Paxton, and Matthew McConaughey
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Mark and John (@MFFHorrorCorner on X) discuss the 2001 cult classic Frailty. Directed by Bill Paxton, and starring Matthew McConaughey, Powers Boothe, and an axe named Otis, the movie is a beautiful thriller that is perfectly directed by Bill Paxton. In this episode, they also talk about Lawman McConaughey, earnest angels, and the excellence of Bill Paxton. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Jonny Numb discuss the 1997 independent film A Better Place. Produced by Kevin Smith and Scott Mosier, and directed by Vincent Pereira, the movie focuses on the ill-fated friendship between two high school outcasts. In this episode they also talk about 1990’s independent cinema, View Askew productions, and literate maniacs. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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Hundreds of Beavers (2022) – Review
Quick Thoughts – Grade – A – Hundreds of Beavers is one of the most visually exciting and creative independent films that I’ve seen in years. Director Mike Cheslik has created an instant cult classic and it would be great to see it build a bigger audience who can spread the word.
Shot over 12 weeks in Northern Wisconsin, Hundreds of Beavers tells the story of a hapless applejack salesman/fur trapper named Jean Kayak (Ryland Brickson Cole Tews) who goes on a quest to kill hundreds of beavers so he can marry the daughter of the local merchant. It’s 108 minutes of beautiful shenanigans that involves homemade catapults, errant spit, and tiny knives. Edited over the course of four years (1,500 effects shots + one editor = a lot of work), this slapstick gem is packed full of visual gags that never grow stale or predictable. A lot is thrown at the viewer, but the video game-esque narrative (a video game map tracks his travels) allows the audience to easily follow along as Jean gets better and better at killing beavers. It’s a wildly ambitious endeavor that works because it’s genuinely funny and inventive. A lot of work went into the production, and it’s hard to not respect the amount of determination to create a film that features a fur trapper fine tuning his snare traps so that the catapulted beavers aren’t eaten by scavenging raccoons before his love interest can skin them.
I always hate using comparisons, but the movie plays like a Wile E. Coyote/ Road Runner skit met Monty Python and the Holy Grail, and formed a comedic version of The Revenant. Basically, the cold setting, slapstick, and Beaver detectives blend together to create an experience that culminates with a sled chase that is reminiscent of the speeder bike chase in Return of the Jedi. It’s hard to tell where this movie is headed and that’s a good thing because everything builds to a wild climax that involves Buster Keaton-esque fake buildings, cabin fistfights, and a devilish trap inside a wolf den.
Cheslik and Brickson Cole Tews have been making short films together since they were in high school and their bond is the probably the only reason why this film exists because of the sheer amount of shots (and cold nights) and setups for a crowd-funded independent film could only be accomplished by two friends (and their friends who worked for very little money). The two wrote the film by drawing all the different ways beavers could get hurt on notecards, and then building the plot around a hero’s journey that’s easy to follow and allows the hero to kill many beavers. The two used long lenses in wide spaces to keep all the gags in the same frame, and only used six beaver costumes to create the hordes of beavers who are justifiably pissed at Jean for murdering their beaver friends. It’s a well thought out experience and Brickson Cole Tews succeeded in his goal of making “something that was completely and utterly different than anything else anyone would ever try to pull off.”
Final thoughts – Watch it.
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The Movies, Films and Flix Podcast – Episode 556 – Action Hero Character Names, Chance Boudreaux, and Dwayne Johnson
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Nick Rehak talk about the action movie characters with the best names and share what their action movie names would be. In this episode, they also talk about Dwayne Johnson movies, people named Scud, and Chance Boudreaux.
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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MY CALL: This film was excellent. Everything about this was great. It was truly a blast and a pleasure, and it will make your skin crawl in the best way possible. Why haven’t you seen this yet? Go see it… now! MORE MOVIES LIKE Infested: Of course, Arachnophobia (1990). But for more highly stylish horror, consider Saloum (2021). For more buggy French horror, try The Swarm (2020; La Nuee). And for more “trapped in a building with evil”, consider [REC] (2007) or Evil Dead Rise (2023).
Director Sébastien Vanicek’s first feature film earned him the attention of Sam Raimi, who immediately wanted him to do his next Evil Dead spin-off movie, the most recent of which (Evil Dead Rise) also had apartment building tenants trapped with unwanted deadly guests. And I must say, from the opening scenes through the opening credits, Vanicek is quite the stylish filmmaker. The spider-collecting scene in the desert meshes a sense of cold criminal behavior with biological field work. The montage depicting the transit of the spiders from field to city to post to pet trade has the flavor of a drug cartel’s process, and the hard-cut editing and foreign hip-hop form a tense yet energized pairing. Good call, Raimi. This guy’s got the goods.
Infested (2023; aka Vermines) is a much more serious and much more French approach to Arachnophobia (1990). And whereas Arachnophobia begins in equatorial rainforests, Infested opens in the desert of the Arabian Peninsula. In both cases, the spider kills one of its discoverers, and kills another when someone slips on a shoe. So it seems the influencing film is being directly homaged. Frankly, this is like the unofficial Arachnophobia remake we’ve been waiting 30 years to see. Only now it also has the added dimension of trapping its victims in an apartment building with a quarantine, not unlike [REC] (2007); a dash of a more mature-minded Eight-Legged Freaks (2002); and the film includes some strong social commentary on lower income and ethnic communities.
At a store specializing in various imports and wares from Dubai, Kaleb (Théo Christine) purchases a deadly spider on a whim. Kaleb lives in a run-down apartment building where he collects exotic pets and racketeers sneakers. About as soon as he gets his new pet home, it escapes from its container and produces an egg sac. The spiders reproduce and grow at a rapid pace, and their venom courses through the apartment hallways trailing behind a webbed wake of corpses and spiderlings.
Scenes featuring skittering spiders or tiny swarming spiderlings are shocking even when expected. And boy does this film do well in making its audience feel uneasy whenever spiders are observed crawling along walls, up arms or through vents. It may be a major biological faux pas that these spiders make chirping sounds and grow inordinately large (too large), but even that nice touch serves the film well in staging its suspense. I find myself tensing up and smiling in anxious anticipation, and jumping with a nervous laugh with each subsequent scrambling spider. I adore the high-pitched squeegee-sounding violins twisting my panicked brain and wincing face. This movie is so much fun!
Imagery of spiders emerging from the mouths (and bodies) of the dead are creepy delights. With so much CGI, there was every opportunity to disappoint with some of these effects and the thousands of spiders and wispy webs spanning the screen—but that never happened. Everything was tactful and thoughtfully executed. Vanicek brings hope to those jaded horror fans bemoaning the unexciting redundancy of the genre by infusing a dynamic filmmaking style into the layers of clear effort of the cast and crew. Everyone involved to a great job. This film was excellent.
Movies, Films & Flix 