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Category: Classics

  • Saw (2004)

    Saw (2004)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Patreon supporter Patrick Glauber. If you’d like to support me on Patreon, click the button below.” text_orientation=”center” button_one_text=”Visit Patreon” button_one_url=”https://www.patreon.com/filmnerd” background_overlay_color=”#f96854″ _builder_version=”4.27.4″ _module_preset=”default” title_level=”h2″ background_color=”#f96854″ custom_button_one=”on” button_one_bg_color=”#052d49″ custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”]After graduating from film school, Australian filmmakers James Wan and Leigh Whannell wanted to fund and produce their feature debut. Due to their limited budget of $30,000, they conceived of a setup involving two people confined to one room. Unfortunately, they had difficulty finding producers in their home country, so they flew to Los Angeles to find a studio. Wan and Whannell shot a short film to generate interest and sent it to producers with the script. Producers Gregg Hoffman, Mark Burg, and Oren Koules watched the short and were so impressed they agreed to finance it. The deal included a $1 million budget and actors Cary Elwes, Shawnee Smith, Danny Glover, Michael Emerson, and Tobin Bell. Filming occurred in LA’s Lacy Street Production Facility for 18 days in late 2003, with Lionsgate acquiring distribution in 2004. Initially meant for direct-to-video, Lionsgate released Saw to theaters in October 2004.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.3″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Two men, Adam (Leigh Whannell) and Dr. Lawrence Gordon (Cary Elwes), wake up chained in a dilapidated bathroom. As they try to figure out what’s going on, Gordon believes this to be the work of The Jigsaw Killer. Through flashback, we learn that The Jigsaw Killer’s MO is putting victims through traps intended to make them appreciate life. Hot on the case are Detectives David Tapp (Danny Glover) and Steven Sing (Ken Leung), who initially suspected Gordon. They almost found the killer through the testimony of survivor Amanda Young (Shawnee Smith), but Sing dies, and Tapp’s discharged. Back in the present, Gordon’s wife and daughter, Alison (Monica Potter) and Diana (Makenzie Vega) are held captive. With time running out, Gordon has to decide: kill Adam to save his family or work with Adam to survive. Will they escape or become The Jigsaw Killer’s next victims?

     

    Review

    Given how future installments emphasized gore and elaborate death traps, it’s surprising how tame the original Saw is. That’s not to say there isn’t anything gruesome, but it’s not as bloody or over-the-top as its sequels. It’s pretty subdued with its violence, which makes it even more disturbing when something shocking happens. What also helps is the overall tone, which is dour and nihilistic with a pervasive sense of dread. The production design best shows the tone, with every location having a dank, grungy look and feel. From the bathroom housing our leads to Jigsaw’s workshop, everything feels dirty and lived in, which helps it stand out. The quick-cut editing and off-kilter transitions create an uneasy feeling without appearing drawn out or overused. James Wan and Leigh Whannell proved they could stretch their limited budget and overcome limitations in a way that works.

    You’d never guess that this was Whannell’s acting debut because he delivered a solid performance as Adam. Admittedly, there are times when his Australian accent slips through, but it’s not enough to take you out of it. It helps that he’s working opposite Cary Elwes, who performs equally well as the level-headed Dr. Gordon. Like Elwes, Danny Glover, Shawnee Smith, Monica Potter, and Michael Emerson give it their all with their roles. They were established actors and could’ve easily sleepwalked through their roles, but they committed themselves to the material. Smith, in particular, shines in her small but memorable role as Amanda Young, the only victim to survive Jigsaw’s game. Despite only hearing his voice for much of the film, Tobin Bell still has a commanding presence that’s felt throughout. It’s easy to see how he became a horror icon, especially with the sequels expanding on his backstory.

    While some might bemoan the film’s use of flashbacks to tell its story, they effectively unravel the mystery. It helps that the flashbacks don’t spoil things, leaving it to the audience to figure out. Plus, the way the film goes from horror to detective thriller is seamless and never feels out of place. Admittedly, the idea of a killer justifying his actions as morality plays has been done before in movies like Se7en. However, unlike Kevin Spacey’s killer, Jigsaw doesn’t necessarily want to kill people but rather test their will to live. This dynamic adds a layer of depth that makes you question whether or not Jigsaw’s actions are justifiable. At 103 minutes, the film moves at a breakneck pace and keeps you guessing until the end. Overall, Saw is an excellent 2000s horror film that still holds up two decades later.

     

    Buy Saw from Amazon: https://amzn.to/3AMSN1Q.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Saw (2004)

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  • The Texas Chain Saw Massacre (1974)

    The Texas Chain Saw Massacre (1974)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]In the summer of 1973, Tobe Hooper assembled a cast and crew of unknowns to helm his feature film debut. Hooper and co-writer Kim Henkel took inspiration from notorious graverobber Ed Gein and the changing sociopolitical climate of the 1970s. With a budget of less than $140,000, filming lasted seven 16-hour days a week with record-high temperatures. None could’ve expected nor would they’ve wished to see as much of the mad and macabre that was in store. The sweltering heat, lack of ventilation, and dangerous conditions made it a rough experience for all involved. Even up to the film’s post-production, what initially seemed like an idyllic summer became a nightmare. A year after production wrapped, Bryanston Pictures bought the distribution rights, though at the cost of not paying the filmmakers. What followed was one of the most bizarre films in the annals of American cinema, The Texas Chain Saw Massacre.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”100″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Due to grave robbery incidents, siblings Sally (Marilyn Burns) and Franklin (Paul A. Partain) travel to check their grandfather’s grave. Accompanied by their friends Jerry (Allen Danziger), Kirk (William Vail), and Pam (Teri McMinn), they find the grave is undisturbed. Along their trip, the group encounters a hitchhiker (Edwin Neal), who cuts himself, photographs Franklin, and attacks before being ejected. They stop by a gas station and ask the owner (Jim Siedow) for directions, and he offers them a warning. After they visit an old house owned by Sally and Franklin’s family, Kirk and Pam find a seemingly abandoned home. Little do they know that a masked man, Leatherface (Gunnar Hansen), lives there and doesn’t take kindly to strangers. Soon, the others stumble across Leatherface’s home and fall victim until only Sally remains. Will she survive the nightmare, or will she be another victim of The Texas Chain Saw Massacre?

     

    Review

    Even 50 years after its release, The Texas Chain Saw Massacre still endures as a horror classic. Even more impressive is that many consider it one of the most gruesome films despite the lack of onscreen blood. That goes to show the talent and artistry that went into making the film disturbing without revealing much. From Daniel Pearl’s stunning cinematography to Bob Burns’ masterful art direction, the film is beautiful in how raw it feels. The fact that Ed Gein inspired the design of the bone furniture and fleshy fixtures makes it more disturbing. Aside from some licensed music, the lack of a traditional score adds to the film’s stunning realism. Instead, the filmmakers used a mixture of sounds, such as a roaring chainsaw and a whirring generator. These elements show you don’t need a huge budget and lavish effects to craft a timeless masterpiece.

    The fact that the actors were not established in the industry further adds to the feeling of realism. The five leads feel like a group of friends you’re watching go on a road trip that goes south fast. The late Marilyn Burns is excellent as the unlikely survivor who endures countless horrors and emerges victorious. While heroines in horror movies existed, her Sally Hardesty character became the “final girl” template many others followed. Also noteworthy is the late Paul A. Partain as her step-brother Franklin, who’s either the most annoying or sympathetic character. He constantly whines, complains, and argues, but you get the sense he’s had a hard life and feels abandoned. It’s also telling that he recognizes something’s up and tries warning everyone, but no one believes him. Even if unintentional, Tobe Hooper crafted one of the most realistic depictions of a disabled person in cinema.

    Edwin Neal is another standout as The Hitchhiker, whose demented manner and rambling speech set the tone early on. The late Jim Siedow also works as the seemingly innocuous gas station attendant who warns our leads. The fact that he’s gone for most of the film until the climax makes his heel turn more shocking. Finally, there’s the late great Gunnar Hansen as Leatherface, whose imposing presence and disturbing masks make him a horror icon. What makes him even scarier is that he’s not some hulking beast but rather a child-minded lunk with a gut. You get the sense that he was molded and shaped into the monster he became rather than being born one. While modern audiences might find it slow or tedious, there’s a reason why this film endures after 50 years. Overall, The Texas Chain Saw Massacre is just as terrifying now as it was back then.

     

    Buy The Texas Chain Saw Massacre from Amazon: https://amzn.to/3NUeYGc.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch The Texas Chain Saw Massacre (1974)

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  • Halloween 5: The Revenge of Michael Myers (1989)

    Halloween 5: The Revenge of Michael Myers (1989)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]Despite receiving a hostile reception, Halloween 4: The Return of Michael Myers grossed $17.8 million on a $5 million budget. Producer Moustapha Akkad fast-tracked a sequel for an October 1989 release despite losing the last film’s writer and director. Jeff Burr, who previously helmed From a Whisper to a Scream, was considered until Swiss filmmaker Dominique Othenin-Girard came on. Not happy with writer Shem Bitterman’s screenplay, Othenin-Girard brought in Robert Harders and Michael Jacobs for additional rewrites. Othenin-Girard and the writers injected more supernatural elements into the story, including a psychic link and making Michael Myers relatable. Donald Pleasance, Danielle Harris, Ellie Carnell, and Beau Starr returned, but George P. Wilbur declined, so Don Shanks replaced him. Filming started in May 1989 in Salt Lake City, similar to the last film, and wrapped in June. Despite some cuts, Halloween 5: The Revenge of Michael Myers hit theaters in October 1989.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”55″ bar_bg_color=”#EDF000″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Though seemingly killed at the last film’s conclusion, Michael Myers (Don Shanks) is found by a hermit (Harper Roisman). Over the next year, the hermit nurses Michael back to health, only for Michael to kill him. Meanwhile, a now mute Jamie Lloyd (Danielle Harris) is committed to the Haddonfield Children’s Clinic after attacking her stepmother. Dr. Sam Loomis (Donald Pleasance) discovers that Jamie shares a telepathic link with Michael and wants her to track him. On his way to find her, Michael kills Jamie’s stepsister, Rachael (Ellie Cornell), and stalks her friend Tina (Wendy Kaplan). Because of her psychic link, Jamie can sense when someone’s in danger, but her warnings are brushed aside. During all this, a mysterious man in black seems to follow wherever Michael goes. Will Loomis and Jamie stop Michael for good, and who is the man in black?

     

    Review

    While it had its issues, Halloween 4: The Return of Michael Myers was a decent slasher film. Unfortunately, the same can’t be said of Halloween 5: The Revenge of Michael Myers, which you can tell was rushed. This film’s rushed production is apparent from the half-baked script to the sudden retcons of the last installment. For instance, Jamie’s stabbing her stepmother to death is suddenly changed so that she survived. Also, Jamie’s stepsister Rachael, one of the more prominent characters from before, is killed off 20 minutes in. Producer Moustapha Akkad did everything he could to deliver what he thought the fans would want but disappointed them more. Say what you will about Halloween II, but they at least waited three years before developing the sequel. Sure, that movie introduced aspects that I wasn’t a fan of, but it’s much more memorable than this.

    To get into the positives, Danielle Harris still delivers a solid performance as a traumatized Jamie Lloyd. Despite the script, she does her best with the material and even outshines Donald Pleasance, which is a rarity. That’s not to say Pleasance performs poorly, but it feels like the same tired shtick we’ve seen countless times. Standing at 6′ 1″, Don Shanks makes for a decent Michael Myers, but his performance is nothing special. Wendy Kaplan does a decent job but feels like a replacement for Ellie Cornell rather than a new character. Aside from that, there’s little more to say about the cast, as they’re cannon fodder to die in gruesome ways. The only other notable cast members are Frank Como and David Ursin as a pair of bumbling cops. It didn’t work in The Last House on the Left, and it doesn’t work here.

    To give co-writer/director Dominique Othenin-Girard some credit, he manages to create some effective tense sequences. The scene where Michael chases Jamie in a car through a cornfield is a nail-biter, even if slightly ridiculous. Also, when Jamie tries hiding from Michael in the old Myers house, there’s some genuine suspense. Even Michael taking off his mask and shedding a single tear is handled well, which is a shocker. Still, scenes like this come before Dr. Loomis tries luring Michael into a trap using Jamie as bait. Also, the “Man in Black” feels pointless, as if he’s there to provide mystery without giving proper incentive. At 97 minutes, this movie drags to the end, and by then, you wonder if it was worth the effort. Overall, Halloween 5: The Revenge of Michael Myers feels tired, haphazardly put together, and creatively bankrupt.

     

    Buy Halloween 5: The Revenge of Michael Myers from Amazon: https://amzn.to/3BZzsdP.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Halloween 5: The Revenge of Michael Myers (1989)

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  • Friday the 13th Part VI: Jason Lives (1986)

    Friday the 13th Part VI: Jason Lives (1986)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]Despite grossing $21.9 million against a $2.2 million budget, Friday the 13th: A New Beginning received backlash from the fans. The studio intended to start a new trilogy with Tommy Jarvis as the central killer, but they scrapped the idea. Paramount hired Tom McLoughlin, who made his directorial debut with 1982’s One Dark Night, for the next installment. Producer Frank Mancuso Jr. gave McLoughlin creative control on the condition that Jason return as the central villain. Since the studio decided to retcon the previous installment, none of the surviving actors, including John Shepherd, returned. Instead, Thom Matthews, who starred in 1985’s Return of the Living Dead, took on the role of Tommy Jarvis. Filming occurred in Covington, Georgia, with Camp Daniel Morgan standing in for the rechristened Camp Forest Green. After some disagreements with the producers, Friday the 13th Part VI: Jason Lives slashed onto screens in August 1986.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Still haunted by his childhood trauma, Tommy Jarvis (Thom Matthews) returns to Crystal Lake to finish what he started. He comes to burn Jason’s body, but a freak bolt of lightning brings the killer back from the dead. Now supercharged and undead, Jason Voorhees (C.J. Graham) stalks the woods of Crystal Lake, now Forest Green, for victims. Tommy tries warning Sheriff Mike Garris (David Kagen), but he doesn’t believe him and locks Tommy in jail. Meanwhile, the sheriff’s daughter Megan (Jennifer Cooke) leads a team of counselors heading up this year’s summer camp. Tommy’s warnings get brushed aside as the sheriff tries his damndest to keep Jason buried as an urban legend. Soon, bodies start piling up, and the sheriff suspects Tommy is killing people to make them think Jason has returned. Will Tommy stop Jason once and for all, or will Jason turn Forest Green into Camp Blood?

     

    Review

    Given how disappointing the last entry was, Friday the 13th Part VI: Jason Lives is a breath of fresh air. The pre-credits sequence perfectly sets the tone, combining an old Universal monster movie and Jason. You’ve got the rolling fog, the spooky cemetery, the characters grave-robbing, and the monster brought to life by lightning. It’s more or less like Frankenstein, only if the creature wore a hockey mask and ripped people’s hearts out Kano-style. Top it off with a James Bond parody, and you have an opening that gets you in the proper mood. McLoughlin’s choice to include self-referential humor is a welcome addition, poking fun at the series while still being serious. Despite the funny scenarios, everyone takes it seriously, making it more humorous than if everyone played it for laughs. It’s easy to see where Kevin Williamson got some of his inspiration for the monster hit Scream.

    Though John Shepherd is missed, Thom Matthews makes for a great Tommy Jarvis, who is now older and more determined. He’s given much more to do and say this time and even has some lighthearted moments here and there. It’s a shame this was Jennifer Cooke’s last role because she’s fun as the wild and carefree Megan. She’s got great chemistry with Matthews, her back-and-forths with David Kagen’s sheriff are humorous, and she has gusto. C.J. Graham makes for one of the best Jasons in the series, giving a commanding presence while injecting some humor. However, while Jason himself isn’t funny, his deadpan reactions to everything around him are where the humor comes from. A great example is when he comes across a rocking RV, and he tilts his head in confusion. I guess no one told him, “If the van’s a-rockin’, don’t come a-knockin.’”

    Some fans might be disappointed that there’s no nudity here, but nudity alone doesn’t make a good slasher. Part 5 had the most nudity up to this point, and that’s considered one of the weaker entries. The kills make a good slasher, and this one has some inventive kills that are funny and gruesome. Seeing Jason rip someone’s heart out, twist someone’s head off, and bend someone backward demonstrates his new supernatural strength. Unfortunately, despite some great moments, the film’s pacing drags noticeably after the opening sequence, but not enough to ruin it. Also, despite the welcome addition of self-referential humor, the movie has the same plot as the previous installments. Despite that, this is easily one of the best entries in the series that delivers what the fans want. Overall, Friday the 13th Part VI: Jason Lives improves over what came before and introduces new elements to the franchise.

     

    Buy Friday the 13th Part VI: Jason Lives from Amazon: https://amzn.to/4dVAlT1.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Friday the 13th: Part VI – Jason Lives (1986)

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  • Beetlejuice (1988)

    Beetlejuice (1988)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]After Pee Wee’s Big Adventure became a surprise hit, Tim Burton got many offers, but none caught his attention. Around this time, writers Michael McDowell and Larry Wilson presented Burton with an oddball horror-comedy script, which he liked. McDowell and Wilson tried selling the screenplay to Universal, but they rejected it, and The Geffen Company picked it up. Warren Skaaren came on board to rewrite the script, adding more humor while toning down the more graphic material. Geffen greenlit the project for $15 million and suggested Michael Keaton for the title role of a paranormal bio-exorcist. The movie was shot between March and June 1987, with exteriors in East Corinth and interiors at Culver City. Warner Bros. had doubts about the film, but positive test screenings reassured them that everything would be fine. Tim Burton’s sophomore directorial outing Beetlejuice opened in theaters in March 1988.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    While vacationing at home, newlyweds Adam and Barbara Maitland (Alec Baldwin and Geena Davis) tragically die in a car accident. They return home, only to realize they’re dead, and Barbara’s sister Jane (Annie McEnroe) sold their house. The new owners are the Deetzes – Charles (Jeffrey Jones), his wife Delia (Catherine O’Hara), and his daughter Lydia (Winona Ryder). The Maitlands are horrified to see what Charles and Delia are doing to their house and want them out. Through the help of the Handbook for the Recently Deceased, the Maitlands meet their undead caseworker, Juno (Sylvia Sidney). She advises they scare the Deetzes out, but no one except for the strange and unusual Lydia can see them. Against Juno’s advice, the Maitlands recruit a self-proclaimed “bio-exorcist” named Betelgeuse (Michael Keaton), but he turns out to be troublesome. Can the living and dead coexist, and will Betelgeuse be stopped from wreaking havoc?

     

    Review

    Given the movie’s weird, bizarre, and off-beat nature, Beetlejuice shouldn’t work, but it does in a spectacular way. The tone is all over the place, the visuals are intentionally gaudy, and any sense of logic is nonexistent. What makes it work is the fantastic script, Tim Burton’s solid direction, and the memorable performances. Despite the wild visuals, the story is straightforward: people want to eliminate an invasive family, and a trickster manipulates them. It’s simple enough that anyone can relate but open-ended enough that it can lead to several opportunities. Additionally, portraying the afterlife as a bureaucracy is genius, essentially making something fantastical as mundane as the DMV. This choice also helps ground the film in an easily approachable reality without abandoning its bizarre foundation. These simple choices help make this movie beloved by both mainstream audiences and fans of niche genre cinema.

    Despite any reservations they might have had when reading the script, everyone in the cast does an excellent job. Alec Baldwin and Geena Davis make for a great suburban couple who find themselves in supernatural situations. Catherine O’Hara and Jeffrey Jones bounce off each other perfectly, with Jones’ more straight-laced businessman contrasting O’Hara’s wildly manic personality. Winona Ryder also balances her dark, brooding personality with a dry, sarcastic sense of humor that makes her likable. Similarly, as the disillusioned case worker Juno, Sylvia Sydney offers charm and wit as she tries fixing the Maitland’s mistakes. Glenn Shadix also stands out as a self-proclaimed genius who’s taken to task as things spiral out of control. But the one who steals the show is Michael Keaton as Betelgeuse, making the most of his limited screen time. His gross demeanor, manic energy, and wild personality make him a treat to watch.

    Burton collaborator Bo Welch’s production design is excellent, whether depicting the mundane living world or the wild afterlife. You can tell Welch and Burton took inspiration from the German Expressionist Movement of the 1920s and Salvador Dali’s works. Danny Elfman’s sinister yet playful score perfectly complements the wild visuals, as is the use of calypso music. Admittedly, some effects haven’t aged well, particularly the blue screen work, but that was by design. Burton wanted the effects to emulate the B-movies of his childhood, and they did an excellent job recreating that look. The visuals might put off modern audiences watching this for the first time, but I’d take these over modern CGI. By design, this is one of the least mainstream-looking movies ever, yet it somehow became mainstream, which is an achievement. Overall, Beetlejuice is a wild and crazy joyride brimming with creativity and originality that deserves its classic status.

     

    Buy Beetlejuice from Amazon: https://amzn.to/3AfwZvz.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Beetlejuice (1988)

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  • A Nightmare on Elm Street (1984)

    A Nightmare on Elm Street (1984)

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    In the early 80s, Wes Craven read several articles from the LA Times about Hmong refugees dying in their sleep. According to these stories, these people believed something terrible would happen if they slept, which gave Craven a movie idea. He drafted a script about a dream killer and shopped it to various studios, but none were interested. The only studio that showed interest was New Line Cinema, which was a distributor at the time. Through several negotiations and business dealings, New Line president Bob Shaye acquired a $1.1 million budget for Craven’s ambitious project. The cast mostly comprised young, up-and-coming actors and a few veterans, including John Saxon and Ronee Blakley. The movie was shot in mid-1984 in the LA area, though numerous production issues almost killed the movie. But through sheer perseverance and determination, A Nightmare on Elm Street slashed onto theater screens in November 1984.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Tina (Amanda Wyss) has been having recurring nightmares about a mysterious man with a bladed glove attacking her. She confides in her friend, Nancy (Heather Lagenkamp), who reveals she has similar dreams about a disfigured killer. Nancy, her boyfriend Glen (Johnny Depp), and Tina’s boyfriend Rod (Jsu Garcia) agree to stay over to keep Tina safe. Unfortunately, Tina gets slashed to death, and Rod is hauled off to prison despite his pleas of innocence. Nancy keeps seeing the mystery man in her nightmares and realizes what happens in her dreams will come true. She confides in her parents, Donald (John Saxon) and Marge (Ronee Blakley), but they don’t believe her. However, her mom confesses that the mystery man is Fred Krueger (Robert Englund), a child murderer who died years ago. Will Nancy stop this dream demon, or will she and her friends be Fred Krueger’s next victims?

     

    Review

    A Nightmare on Elm Street is considered one of the greatest horror films ever, and it’s easy to see why. It has a great cast, a stellar script, a memorable villain, and fantastic gruesome death sequences. In a time when the slasher genre was on the decline, this movie shows that there was some creativity left. This film shares similarities to a typical 80s slasher, but its central gimmick makes this one stand out. Everyone has nightmares, so having a slasher where the killer stalks your dreams is uniquely frightening. Not only are we most vulnerable when we sleep, but the killer can exploit our worst fears and inhibitions. The film also explores themes of repressed guilt, questioning authority, and the struggles of adolescence. The kids are facing horrific terror, but their parents aren’t helpful because they’re keeping everything a secret. It’s much more intelligent than your usual slasher.

    Heather Lagenkamp makes for one of the best leads in a slasher film, coming off as strong and independent. She quickly figures out what’s happening and takes matters into her own hands when no one else will. Though her screen time is limited, Amanda Wyss does a good job playing the Janet Leigh role in the movie. Jsu Garcia, under the stage name Nick Corri, is also terrific as the misunderstood Rod, whose cocky persona quickly breaks. An unknown Johnny Depp shines as Nancy’s skeptical yet supportive boyfriend, who dies in a uniquely gruesome way. Hollywood legends John Saxon and Ronee Blakley shine as Nancy’s parents, who try to understand her situation despite their troubles. Robert Englund steals the show as Fred Krueger, whose devilish grin, slouched stance, and menacing laugh make him instantly memorable. There’s also an appearance from Charles Fleisher, who later voiced Roger Rabbit.

    Given the limited budget he had to work with, Wes Craven created an excellent horror film with scope and ambition. Jacques Hitkin’s stylish cinematography and Rick Shaine’s expert editing add a sense of surrealism that enhances the film. There are moments when you’re unsure if what you’re seeing is real or a dream. This would’ve made things confusing or hard to follow in a lesser director’s hands, but Craven balances it out perfectly. Admittedly, there are moments when the low budget sticks out badly, namely with some effects used looking extra fake. Granted, I’d rather have goofy-looking practical effects over excessive CGI that makes everything look like a video game. While the slasher genre faded as the 80s wore on, this film was the last hurrah of the initial boom. Overall, A Nightmare on Elm Street deserves its status as a horror classic even 40 years later.

     

    Buy A Nightmare on Elm Street from Amazon: https://amzn.to/4fNhkDr.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Where to watch A Nightmare on Elm Street (1984)

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  • Inside Out (2015)

    Inside Out (2015)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Patreon supporter Patrick Glauber. If you’d like to support me on Patreon, click the button below.” text_orientation=”center” button_one_text=”Visit Patreon” button_one_url=”https://www.patreon.com/filmnerd” background_overlay_color=”#f96854″ _builder_version=”4.25.2″ _module_preset=”default” title_level=”h2″ background_color=”#f96854″ custom_button_one=”on” button_one_bg_color=”#052d49″ custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” global_colors_info=”{}”][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.25.2″ _module_preset=”default” global_colors_info=”{}”]In 2009, Pixar animator Pete Docter noticed personality changes in his daughter and wondered what was happening in her head. After receiving the green light, Docter invited Ronnie del Carmen to join him as co-director due to their past experiences. While they drew on past life experiences, the two sought out psychologists from UC Berkeley for accuracy and inspiration. After some trial and error, production finally started in 2012 after going through several story versions. The initial casting took place in 2013, and it included some SNL veterans and a few actors from The Office. Production lasted over five years due to changes in story and characters, with the budget totaling around $175 million. The film debuted at the Cannes Film Festival in May 2015, receiving an 8-minute standing ovation from an enthusiastic audience. A month later, Inside Out premiered at the El Capitan Theater before its worldwide release.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.25.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Riley (Kaitlyn Dias) is your typical 11-year-old girl living with her mom (Diane Lane) and dad (Kyle MacLachlan). She personifies her five primary emotions as real people running a control center inside her head. These include Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Disgust (Mindy Kaling), and Anger (Lewis Black). All her experiences become stored memories, with five core primary memories making up her personality. Unfortunately, due to a struggle between Joy and Sadness, they’re sucked out of HQ along with Riley’s core memories. With them gone, Fear, Disgust, and Anger try to help Riley, only to inadvertently make the situation worse. Elsewhere, Joy and Sadness try to return to HQ and meet Riley’s imaginary friend, Bing Bong (Richard King). Will Joy and Sadness restore Riley’s personality, or will she be stuck as a shell of her former self?

     

    Review

    In a time when Pixar released middle-of-the-road movies like Cars 2 and Monsters University, Inside Out is top-tier gold. It’s one of the most original movies Pixar produced up to then, and it’s a poignant and relatable story. No matter who you are, you’ve dealt with emotional conflicts and weren’t sure how to feel about something. This movie does a great job showcasing how different people emotionally react to things happening in their lives. In addition, the film perfectly relates the struggles of growing up and how we process life changes internally. While the story is somewhat predictable and reuses numerous tropes, the movie makes them feel original. There’s much world-building as we learn how emotions and their associated memories work, but it never interferes with the story. It’s impressive how the filmmakers condense the inner mind’s complexities into a typical office space.

    Each emotion is memorable, complimented by a perfectly cast group of actors that brings their characters to life. Amy Poehler plays Joy as a seemingly endless source of optimism, though she has her moments of humanity. Phyllis Smith also does a great job as Sadness, acting appropriately mopey, and playing well off of Poehler’s Joy. Bill Hader and Mindy Kaling are fantastic as Fear and Disgust, respectively, and Lewis Black as Anger is perfect casting. Relative unknown Kaitlyn Dias is splendid as the emotionally torn young Riley, acting like a typical young girl would. While the parents don’t have much character, Diane Lane and Kyle MacLachlan are welcome additions to the cast. Richard King is probably the biggest stand-out as Riley’s imaginary friend, Bing Bong, being both zany and tragic. All in all, the cast is terrific, and everyone does a great job with their given roles.

    Like any great Pixar film, the animation is spectacular, full of color, and brimming with vibrant energy. Riley’s mind’s bright and lively control center perfectly contrasts with the dull and dreary real world. The way directors Pete Docter and Ronnie del Carmen finely crafted this world is genius and audacious. Everything in Riley’s mind is so finely crafted and rich with detail that the film benefits from repeat viewings. Also, like any great Pixar movie, kids and adults can enjoy this, making it a perfect family film. There are enough bright colors and fun characters for kids while also touching on strong themes adults can relate to. Plus, at 95 minutes, the movie moves smoothly without going by too fast or dragging along towards the end. Overall, Inside Out is a beautifully animated film with great characters, memorable moments, and strong themes.

     

    Buy Inside Out from Amazon: https://amzn.to/3UzxyHi.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Inside Out (2015)

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  • Mad Max Beyond Thunderdome (1985)

    Mad Max Beyond Thunderdome (1985)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.25.1″ _module_preset=”default” global_colors_info=”{}”]On a budget of A$4.5 million, Mad Max 2 grossed $36 million worldwide and received widespread critical acclaim. The film’s success kickstarted a wave of similarly themed post-apocalyptic movies, especially in Italy and The Philippines. It also led to George Miller working alongside John Landis, Steven Spielberg, and Joe Dante on Twilight Zone: The Movie. Sadly, around the same time, Miller’s producing partner Byron Kennedy died in a helicopter crash at age 33. While Miller wanted another Mad Max movie, he still grieved and hired George Ogilvie to help direct the film. Mel Gibson returned, and they cast Tina Turner, whose 1984 platinum-certified album Private Dancer won a Grammy, as the villain. With a $10 million budget, filming occurred around Coober Pedy, Homebush Bay, and the Australian Blue Mountains. Warner Bros, who owned the franchise rights at this point, released Mad Max Beyond Thunderdome in the summer of 1985.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.25.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    After losing his caravan to a pilot (Bruce Spence) and his son (Adam Cockburn), Max Rockatansky (Mel Gibson) gives chase. He follows them to a trading post called Bartertown and gains an audience with its leader, Aunty Entity (Tina Turner). She explains that Bartertown’s power is run by a dwarf, Master (Angelo Rossitto), and his brute sidekick Blaster (Paul Larsson). Aunty makes Max an offer: if he can defeat Blaster and help her usurp power from Master, she’ll resupply him. Through some circumstances, Max challenges Blaster to combat in Thunderdome, where there’s one rule: two men enter, one man leaves. While Max defeats Blaster, he refuses to kill him, so Aunty kills him and banishes Max to wander the desert. Though left for dead, Max gets rescued by a clan of children who believe he’s their hero despite his objections. Now, Max must go Beyond Thunderdome and save the children.

     

    Review

    To say that Mad Max Beyond Thunderdome is a divisive entry in the series is a vast understatement. While not a terrible movie on its own, this is easily the weakest film in the franchise. Before going into what doesn’t work in this movie, there are some positive qualities to highlight. First, Mel Gibson still does a solid job as Max, now playing him more burned out and disheveled. Like before, he’s more of a reluctant hero who isn’t a bad guy but finds himself inadvertently helping others. Also, while it may have been stunt casting, Tina Turner steals the show as the villainous Aunty Entity. She chews up all the scenery around her while staying intimidating and spouts some great, instantly quotable lines. While he doesn’t have as big of a role as the last film, seeing Bruce Spence is always fantastic.

    Like the last film, this one does have a big climactic chase sequence, and it’s entertaining in its own right. However, compared to the oil rig chase from Mad Max 2, the train truck chase feels like a last-minute edition. It makes sense, considering Miller initially planned a post-apocalyptic Lord of the Flies movie but added Max as a suggestion. This leads to the film’s biggest issue: the first and third acts are solid, but the middle is the weakest. Once the movie introduces the kids, the story grinds to a halt, the pacing drags, and the film loses focus. It feels like Max suddenly becomes a secondary character in his own movie, and the kids become the stars. I’m not saying this kind of story could never work, but how it’s done here falls flat. It helps that none of the kids are particularly annoying.

    I feel bad critiquing this film, given that George Miller was grieving while making it, which couldn’t have been easy. That and the fact that he hired a codirector would explain why this lacks the gritty quality as the first two. Some fans have said this was more of the Hollywood version, and it has that quality. This one had a much bigger budget than its predecessors and shows in the production design, costuming, and action sequences. However, the original and even the first sequel showed that you don’t need big budgets to make a good movie. As I said before, while I think this is the weakest entry, I don’t think it’s an inherently terrible movie. Plus, at an hour and 47 minutes, the film goes by fairly quickly. Overall, Mad Max Beyond Thunderdome is a far cry from its predecessors but not without its merits.

     

    Buy Mad Max Beyond Thunderdome from Amazon: https://amzn.to/3UB3J9z.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Mad Max Beyond Thunderdome (1985)

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  • Mad Max 2 (1981)

    Mad Max 2 (1981)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.25.1″ _module_preset=”default” global_colors_info=”{}”]Despite numerous production hurdles, Mad Max was a commercial success, grossing over $100 million worldwide versus its A$400,000 budget. With this success, George Miller got numerous offers from Hollywood, including directing the Sylvester Stallone vehicle First Blood. Instead, he teamed up with Terry Hayes, who wrote the first film’s novelization, for a rock and roll picture. Ultimately, that project fell through, and Miller became interested in resisting the world he created years earlier. Miller recruited Hayes and fellow writer Brian Hannant to craft a post-apocalyptic tale based on the need for oil. With a larger budget of A$4.5 million, principal photography lasted twelve weeks near Broken Hill in the winter of 1981. American International Pictures released the original stateside and was changing hands, so Warner Bros picked up the sequel’s distribution rights. For its late 1981 release, the studio retitled Mad Max 2 to The Road Warrior.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.25.1″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    The world has plunged into chaos after a global war erupted over oil shortages and the destruction of Earth’s environment. Amidst all this, former officer Max Rockatansky (Mel Gibson) roams the desert in his Pursuit Special with his canine companion. During his travels, Max comes across a gyrocopter pilot (Bruce Spence) who shows him a nearby compound refining gasoline. The compound is besieged by a marauder gang led by Lord Humungus (Kjell Nilsson) and his lieutenant Wez (Vernon Wells). Max arranges a deal with the compound’s leader, Pappagallo (Mike Preston), to deliver a big rig in exchange for gas. Though damaged, Max provides the rig to help the settlers move their gasoline to a safe space. Despite the settlers’ pleas, Max leaves with his gas only to get attacked by Humungus’ men and his car destroyed. Returning broken and damaged, Max steps up and helps the settlers escape the wasteland.

     

    Review

    Much like The Empire Strikes Back, Mad Max 2 takes what worked in the original and makes it better. The film doubles down on the action, the stuntwork, and the intensity that propelled the first one to success. Usually, a higher budget would result in a worse movie, but in this case, Miller uses the bigger budget wisely. He manages to craft a larger world and more elaborate action sequences without losing the visceral quality of the original. Like its predecessor, Miller employs the same low-angle camerawork and quick-cut editing to intensify the action. The highlight of the action is the climactic chase where Max drives the big rig of gas across the wasteland. It’s a well-crafted, well-staged, and well-filmed sequence that never lets up and keeps you on the edge of your seat. Of course, action sequences are only as good as their characters, which this film succeeds with.

    Like the last film, Mel Gibson is excellent as Max Rockatansky, once again giving a very stoic yet intense performance. His body language and little dialogue tell you he’s a broken man, far from who he used to be. Max is more of a reluctant hero, not wanting to get involved but finding himself stuck in these situations. He’s just trying to survive in this harsh wasteland however he can but still maintains a code of honor. Conversely, Bruce Spence provides comedic relief as The Gyro Captain to help offset the overall dreariness. Kjell Nilsson shines as the villainous Lord Humungus, though Vernon Wells steals the show as his lapdog, Wez. Another standout is Emil Minty as The Feral Kid, who, despite mainly speaking in grunts, plays a pivotal part. It’s also interesting seeing Mike Preston in a heroic role since he’d play the villain in Metalstorm years later.

    While the previous film was about a society on the brink of collapse, this one fully showcases a post-apocalyptic world. George Miller expertly used the locations and production design to craft a chaotic, action-packed world that’s also bleak and desolate. Admittedly, there’s little characterization and a lack of a deep, thoughtful story, which some might see as a negative. To that point, as strong as the cast is, some characters aren’t given much to do or feel like extras. For instance, Virginia Hey’s Warrior Woman is an interesting character, but we don’t know much about her. Also, The Gyro Captain finds a love interest, but the romance doesn’t seem to go anywhere, so it feels pointless. Minor gripes aside, this is still an impressive feat of filmmaking that deserves all the acclaim it gets. Overall, Mad Max 2 is one of the best sequels and action films ever.

     

    Buy Mad Max 2 from Amazon: https://amzn.to/48Aadv0.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Mad Max 2 (1981)

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  • Mad Max (1979)

    Mad Max (1979)

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    Though he studied to become a doctor, Australian-born George Miller always dreamed of making movies. The early 1970s saw numerous Australian-made exploitation films being released, such as Stone and The Man from Hong Kong. After witnessing numerous car crash injuries as a doctor, Miller used this as inspiration for a car-centric action movie. With co-writer James McCausland, Miller drafted a story about car crashes in a dystopian future. Miller initially sought Irish-born James Healey for the titular hero, but he ultimately hired a 21-year-old Mel Gibson. The rest of the cast comprised relative unknowns and bikers from local gangs, and the shooting began in late 1977. With a relatively low budget and a first-time director, the crew used new and innovative techniques to bring it to life. After a grueling shoot, Mad Max hit Australian cinemas in 1979, followed by an American release in 1980 through AIP.

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    Synopsis

    Society is on the brink of collapse in the not-too-distant future as crime runs rampant and the authorities are dwindling. The Main Force Police, or MFP, is among the last remaining groups enforcing the law and needs help. Thankfully, they’ve got Max Rockatansky (Mel Gibson), a good cop who can get the job done, though not for long. With the rise in violence, apathy of the locals, and his family at risk, Max is considering leaving the force. Meanwhile, Toecutter (Hugh Keays-Byrne), the leader of a biker gang, wants revenge for the death of his second-in-command. They go after Max’s partner, Jim “Goose” Rains (Steve Bisley), which convinces Max to leave the force for his family. Unfortunately, things turn tragically when Max’s wife Jessie (Joanna Samuel) and son Sprog (Brendan Heath) are killed by Toecutter’s gang. Now driven mad, Max hops into his Pursuit Special to get revenge on Toecutter.

     

    Review

    Modern audiences who’ve only seen Mad Max: Fury Road might dislike the slower tone of this movie. However, if you love what George Miller has made now, you can see how 1979’s Mad Max laid the groundwork. For a first-time director, Miller showed excellent potential in working with a limited budget and making it look bigger. The low-angle camerawork and the undercranking of the camera make the car scenes more dynamic and intense. Also, the stuntwork is excellent, though I worry that many of these stunt actors suffered traumatic head injuries. Regardless, the raw, visceral energy of the action sequences is something you could only get from late 70s indie movies. It helps that the action sequences serve the story rather than being there for the sake of being there. You genuinely care about what’s happening instead of waiting for the film to end.

    Regardless of how you feel about him, there’s no denying that Mel Gibson is solid here as the titular hero. He plays the character with quiet stoicism, but you see early on that he’s a relatively normal guy. As the film goes on and more bad things happen to Max, you see him transform into a ruthless anti-hero. It’s an excellent character arc that leaves you wondering if his actions toward the end are justified. Also, Hugh Keys-Bearne shines as the villainous Toecutter, chewing up every bit of scenery around him while still being intimidating. Steve Bisley is also fun as Max’s good friend Jimmy the Goose, and what happens to him is tragic. Joanne Samuel also shines as Max’s wife, and Roger Ward has some fun moments as Fred “Fifi” Macaffee. All around, the cast is excellent, though some of them are better than others.

    It’s interesting reading contemporary reviews condemn the film for its violence and “ugliness” when it’s not that gruesome. Sure, the movie is vicious, but you don’t see the violence, only the aftermath, which is somehow more disturbing. Also, composer Brian May’s score is excellent, adding to the intensity and brutality of the film with some softer touches. My only real complaints are nitpicks that can easily be explained by the limited budget, but they’re worth addressing. Some of the audio is a bit off, the editing can get erratic sometimes, and there’s little characterization. Complaints aside, this is still a landmark of Australian cinema and worldwide cinema that launched many careers. Plus, at only 93 minutes, the movie blazes by without feeling like it’s rushing to the end. Overall, Mad Max is a classic that still holds up 45 years after its release.

     

    Buy Mad Max from Amazon: https://amzn.to/3wC366S.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Mad Max (1979)

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