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  • Pearl (2022)

    Pearl (2022)

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    While working on 2022’s X, writer-director Ti West worked with actress Mia Goth on a prequel story. Inspired by the impact COVID-19 had on cinema, West started production of the prequel immediately after the first film. Much to West’s surprise, A24 agreed to green-light both projects. It helped that X grossed $15 million against a $1 million budget and earned rave reviews from critics and audiences. For the prequel, A24 gave West an $8 million budget, which he started filming in March 2021. Alongside Mia Goth, the rest of the cast included David Corenswet, Tandi Wright, and Matthew Sunderland. Much of the crew had just come from working on Avatar: The Way of Water and had undergone safety precautions. West finished editing and recording the soundtrack after the original film’s premiere at SXSW in 2022. After premiering at the Venice Film Festival, Pearl hit theaters nationwide in September 2022.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||” theme_builder_area=”post_content”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.26.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.26.0″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

    Synopsis

    Pearl (Mia Goth) is a lowly farm girl who dreams of leaving her family home to become a big star. Unfortunately, she and her domineering mother, Ruth (Tandi Wright), are stuck caring for her ailing father (Matthew Sunderland). On top of that, Pearl’s husband, Howard (Alistair Sewell), is off serving in World War One. Feeling isolated and abandoned, Pearl starts showing signs of psychopathy: killing animals, abusing her father, and masturbating with a scarecrow. It doesn’t help that she has a secret affair with a local projectionist (David Corenswet), who she confides in. Opportunity comes when Pearl’s sister-in-law Mitsy (Emma Jenkins-Purro) tells her about an audition for a statewide dance troupe. Pearl sees this as her ticket off the farm and will do anything to get it, even murder. Soon, the whole world will know her name no matter how many people have to die.

     

    Review

    A prequel is rarely as good as the original, especially when both come out in the same year. The only other time something similar happened was when both Breakin’ movies came months apart in 1984. While Pearl doesn’t have breakdancing, a funky soundtrack, or a memeable subtitle, it’s still a great companion piece to X. As a prequel, the movie gives you great insight into the murderous wench that terrorizes the young pornographers decades later. As a standalone movie, it’s a great character study of a young woman with great aspirations plagued by psychotic tendencies. You can also sense Ti West’s love of cinema with the stylized colors and meticulous attention to detail. West and his crew perfectly capture the Old Hollywood feel with its vibrant color scheme, wide-angle shots, and classical score. Granted, it’s slightly anachronistic since the film takes place in 1918, but that’s easy to overlook.

    Like the original film, Mia Goth is the biggest highlight as she gives a career-defining performance as young Pearl. She can be warm, cheerful, sad, vulnerable, and even chilling and sinister, sometimes in the same scene. You sometimes want her to succeed and stand up to her overbearing mother to become a star. But then, there are moments when you dread what she will do next and are genuinely terrified of her. A real showcase of Goth’s talent as an actress is a 7-minute-long speech where the camera focuses solely on her. It’s genuinely mesmerizing as this character simultaneously breaks down everything she’s feeling without interruptions, experiencing various emotions one after another. Another great example is during the end credits, where there’s one static shot of her trying to maintain a smile. It perfectly encapsulates everything about the character all in one sequence.

    As great as Goth’s performance is, that’s not to say the rest of the cast isn’t on par with her. Tandi Wright is appropriately chilling and stern as Pearl’s overbearing mother, who sees the truth in her troubled daughter. David Corenswet is also memorable as the projectionist, whose suave charm and carefree attitude entice Pearl to escape the farm. While he has no lines, Matthew Sunderland still does a great job conveying a sense of dread about his situation. While the original film had plenty of gruesomely bloody kills, this one doesn’t have as many overly gory kills. Still, the kills are done in a way that makes them equally disturbing just by how suddenly they happen. Despite whether you prefer this film over the original, this is an excellent horror movie in the purest sense. Overall, Pearl is a solid prequel and a great standalone film for horror fans.

     

    Buy Pearl from Amazon: https://amzn.to/3xSE8AH.

    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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  • Coneheads (1993)

    Coneheads (1993)

    [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 BodaciousCNO. 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=”4.26.0″ _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=”4.26.0″ _module_preset=”default” global_colors_info=”{}”]The second season of Saturday Night Live saw the debut of a race of aliens known as The Coneheads. The brainchild of writer/actor Dan Aykroyd and SNL writer Tom Davis, the sketch became an instant success. The alien family would appear in future episodes before fading out once Aykroyd left the show in 1979. Decades later, Wayne’s World, adapted from an SNL sketch, became a surprise hit, grossing over $180 million worldwide. Following this success, Paramount Pictures chairman Brandon Tartikoff asked SNL producer Lorne Michaels for other sketches they could adapt. Michaels contacted Aykroyd about making a movie out of The Coneheads, and he worked on a screenplay with Davis. They hired music video director Steve Barron, who recently made the box office hit Teenage Mutant Ninja Turtles. With a $30 million budget, Paramount hoped Coneheads would be a big hit for the summer of 1993.

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    Synopsis

    After the National Guard shoots down their spaceship, Beldar (Dan Aykroyd) and his wife, Prymaat (Jane Curtain), crash near Manhattan. They’ve come from the planet Remulak with orders from their leader, Highmaster Mintot (Dave Thomas), to conquer Earth. Unfortunately, a rescue ship won’t arrive for years, so Beldar and Prymaat must blend in to survive. They move to the suburbs, settle down, and raise a teenage daughter named Connie (Michelle Burke). Meanwhile, INS agent Gorman Seedling (Michael McKean) and his partner Eli Turnbull (David Spade) are tracking the Coneheads’ movements. Soon, Connie starts a relationship with a mechanic named Ronnie (Chris Farley), whom Beldar objects to despite her insistence. Soon, the family gets notified that their rescue ship is on the way, but the INS is on their tail. Hijinks ensue (possibly) as Earth has to welcome the new family in town, the Coneheads.

     

    Review

    If The Blues Brothers is the best SNL movie and It’s Pat is the worst, Coneheads is in the middle. It’d be more accurate to say it’s near the bottom because, while not the worst, it’s still terrible. Like It’s Pat, this movie proves that what might work as a 5-minute sketch doesn’t work as a 90-minute movie. Seeing the aliens try to act like humans might be amusing at first, but the shtick gets old very quickly. To their credit, Dan Aykroyd and Jane Curtain play their parts precisely as they did on SNL. Conversely, Michelle Burke acts like a stereotypical teenage girl who happens to be a Conehead, which creates a weird disconnect. It’s even odder when you consider that Laraine Newman, who played Connie on SNL, acted like Aykroyd and Curtain. That might’ve been intentional, but it’s pretty stupid, like everything else in this movie.

    While Charles Rocket as the villain was the best part of It’s Pat, Michael McKean is far from that. He’s neither funny enough to be memorable nor weirdly intimidating to where he’s weirdly out of place. David Spade is slightly amusing as McKean’s sycophantic assistant, who all but kisses up to him, but it wears thin. The cast has many other SNL members like Phil Hartman, Chris Farley, Adam Sandler, Garrett Morris, and Kevin Nealon. Practically half the cast consists of usually funny people, but not one of them landed a single good joke. However, it is slightly amusing seeing Jason Alexander with hair that looks more fake than the prosthetic cones for Aykroyd. It says a lot when Jon Lovitz and Tom Arnold were uncredited for their work. It’s impressive how they got so many comedians together, and none are funny.

    To give this film some credit, as dull as the Earth scenes are, the few moments on Remulak are decent. There’s some interesting production design, and they even throw in a stop-motion creature, which is appreciated. It’s worth noting that the stop-motion animator was Randal M. Dutra, whose credits include RoboCop, Willow, and Howard the Duck. I think director Steve Barron preferred shooting the Remulak scenes, considering his work on Teenage Mutant Ninja Turtles. Those sequences fit more of the fantastical comic book aesthetic of his 1990 effort versus the more pedestrian Earth scenes. Also, it’s interesting to see a film from 1993 about a family of literal aliens running afoul of the government. If the movie had focused more on that than dumb sight gags, it might’ve worked, but alas, no. Overall, Coneheads is neither funny nor offensively bad enough to recommend to anyone.

     

    Buy Coneheads from Amazon: https://amzn.to/4e7RvvS.

    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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  • A Quiet Place: Day One (2024)

    A Quiet Place: Day One (2024)

    [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=”4.25.2″ _module_preset=”default” global_colors_info=”{}”]Despite numerous setbacks, A Quiet Place Part II was a box office hit, grossing nearly $300 million worldwide. Before the sequel’s release, Paramount announced a spin-off prequel was in development with Jeff Nichols set to write and direct. Unfortunately, due to creative differences, Nichols left the project in October 2021, and Pig director Michael Sarnoski replaced him. The studio hired Oscar-winner Lupita Nyong’o and Joseph Quinn of Stranger Things fame for the lead roles. Djimon Honsou, who played a small role in the original’s sequel, reprised his role for this film. With a $67 million budget, filming occurred in and around London between February and April 2023. Following post-production, the film’s release was postponed numerous times between March 2023, September, and March 2024. After premiering at the Tribeca Film Festival, A Quiet Place: Day One opened worldwide in June 2024.

    [/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=”75″ bar_bg_color=”#EDF000″ _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” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Samira (Lupita Nyong’o) is a terminally ill cancer patient living in hospice care with her cat, Frodo. During a trip to Manhattan with the other residents, several giant creatures crash land on Earth and start killing people. After falling unconscious, Sam reawakens and finds that people stay quiet since the creatures only respond to sound. As she tries to survive, Sam sees the bridges leading out of Manhattan destroyed and the power grid cutting off. Along the way, she runs into Eric (Joseph Quinn), a law school student from England who follows Sam around. The two bond as they try to survive while everyone heads to the South Street Seaport to evacuate. While Eric wants to get to the seaport, Sam intends to enjoy pizza before she dies. It’s a fight for survival as our heroes try to live through the first day of the world’s end.

     

    Review

    While this prequel isn’t as strong as the first two installments, A Quiet Place: Day One is a decent watch. What elevates the film are the lead performances from Lupita Nyong’o and Joseph Quinn, who are excellent together. Nyong’o does a great job as a cynical cancer patient who wants to fulfill her last wish before dying. Quinn also works as a young, somewhat naive law student trying to survive and following Nyong’o out of desperation. They have fantastic chemistry with each other, and I’m glad the movie doesn’t force them into being love interests. They’re just two lost souls trying to survive the end of the world and make the most of it. Admittedly, given it’s a prequel, you can predict where they end up, but you don’t mind spending time with them. The actors give compelling performances to where you root for them throughout the film.

    Like the previous films, the cast here is small, and aside from the leads, the rest aren’t developed much. Djimon Honsou is solid as always, but he feels like an afterthought and doesn’t have much screen time. His only reason for being here is to tie in with the other films, making his role a giant reference. Alex Wolff also does an excellent job with his few scenes and has some good back-and-forths with Nyong’o. Of course, the movie’s real star is the cat Frodo, who is very dependable and loyal to its owner. Michael Sarnoski’s direction is solid, and he does a great job staging some post-apocalyptic scenery, especially after the initial attacks. You can tell that Sarnoski is a visual director in the quieter scenes where people walk the abandoned streets. You could watch the film muted and still get the same experience.

    Admittedly, it’s hard to talk about this movie other than to say it’s a decent but safe prequel. That’s the biggest issue with this film: it’s neither terribly offensive nor remarkably groundbreaking, but somewhere in the middle. Of course, the movie isn’t without its merits: the leads give great performances, the directing is solid, and it’s entertaining. Plus, at only an hour and forty minutes, it’s a quick sit that’s paced well. Hardcore fans of the first two movies will enjoy this, but they’d probably prefer a sequel. If you’ve never seen either of the first two, you could start with this one, but I’d recommend the original. I wouldn’t go so far as to say this movie is terrible, but it does feel ultimately pointless. Overall, A Quiet Place: Day One is decent entertainment, but don’t expect anything groundbreaking or original.

     

    Buy A Quiet Place: Day One from Amazon: https://amzn.to/3CbYB5n.

    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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  • Inside Out 2 (2024)

    Inside Out 2 (2024)

    [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=”4.25.2″ _module_preset=”default” global_colors_info=”{}”]2015’s Inside Out grossed over $858 million worldwide against a $175 million budget, becoming the seventh-highest-grossing film of the year. The film also earned an Oscar nomination for Best Original Screenplay and won Best Animated Feature, which guaranteed a sequel. Original director Pete Docter had ideas for a sequel but stepped down when he became Pixar’s CCO in 2018. Pixar officially announced the sequel during the D23 Expo, with story supervisor Kelsey Mann making his directorial debut. While most of the original cast agreed to return, Bill Hader and Mindy Kaling declined due to a pay dispute. Like the last film, the filmmakers consulted numerous psychologists for research and even recruited nine teenagers to portray adolescence accurately. Due to diminishing returns from other recent Disney films, projections for the sequel were below $100 million. After premiering at the El Capitan Theater, Inside Out 2 opened nationwide in June 2024.

    [/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=”4.25.2″ _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” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Now 13 years old, Riley (Kensington Tallman) is about to enter high school, starting with a hockey camp. Meanwhile, Joy (Amy Poehler), Sadness (Phyllis Smith), Disgust (Liza Lapira), Fear (Tony Hale), and Anger (Lewis Black) maintain her mind. However, a wrench gets thrown when Riley enters puberty, and four new emotions enter HQ. Anxiety (Maya Hawke), Envy (Ayo Edebiri), Ennui (Adèle Exarchopoulos), and Embarrassment (Paul Walter Hauser) take over from the original five. Thinking she knows best, Anxiety has Riley ditch her friends for new ones and push herself to make the team. Unfortunately, Anxiety’s choices disrupt Riley’s sense of self and throw things into chaos, so the original five must fix her. As the primary emotions try to return to HQ, Riley’s life worsens, and she loses her true self. Will Anxiety succeed in “helping” Riley, or will the original five restore her to how she was?

     

    Review

    Given the long gap between the original and the sequel, it’s impressive how good Inside Out 2 is. Sure, it doesn’t quite recapture the first film’s magic, but it’s incredible for a sequel made almost a decade later. Like any good sequel, this one effectively takes what worked in the original film and expands upon it. Much like how the original tackled the emotions of a developing child, this one tackles the emotional complexities of adolescence. This film deals with themes of insecurity, the identity of self, self-doubt, over-ambition, emotional repression, and even panic attacks. These themes would fall flat or seem distasteful in lesser hands, but Kelsey Mann and his team handle them expertly. There’s also some fun satire, such as a scene involving Riley’s embarrassing secrets hidden in a vault. You can tell the filmmakers cared about the material and tried making something more than just a product.

    Amy Poehler, Phyllis Smith, and Lewis Black return to their roles of Joy, Sadness, and Anger flawlessly. While it would’ve been better if Hader and Kaling also came back, Tony Hale and Liza Lapira are solid replacements. Maya Hawke is outstanding as Anxiety, perfectly capturing the emotion’s wild energy while making the character more sympathetic. Much like Fear, Disgust, and Fear in the original, Anxiety isn’t inherently evil but misguided in trying to help Riley. Envy, Ennui, and Embarrassment have moments, but their characters aren’t developed as much to make them stand out. 16-year-old Kensington Tallman is perfectly cast as a teenage Riley, exhibiting the characteristics of a young person going through puberty. Lilimar stands out as the hotshot hockey player Valentina “Val” Ortiz, who Riley is trying to win over. The cast is fantastic, even if some roles are reduced from the original.

    Since the original film’s release, Pixar’s movies have ebbed and flowed in quality, with some good and some not-so-good. For every Toy Story 4 and Soul, which were solid, some were decent, like Onward, and others lackluster, like Lightyear. On top of that, 2023 was not a great year for Disney, with most of their movies losing money. Hopefully, this film’s critical and commercial success will change things for the better for Disney, but probably not. Regardless, this is a phenomenal family film that, like any great Pixar movie, can be enjoyed by kids and adults. Kids will enjoy the bright colors and funny gags, while adults will resonate with the complex themes. Plus, at 96 minutes, the movie flies by quickly without rushing or dragging to the end. Overall, Inside Out 2 is another top-notch Pixar film with fantastic animation and a great story.

     

    Buy Inside Out 2 from Amazon: https://amzn.to/4fuDjho.

    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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  • 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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  • The Primevals (2023)

    The Primevals (2023)

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    In the late 1960s, stop-motion animator David Allen shot a short promo called Raiders of the Stone Ring. While the promo caught the attention of Hammer Films, the project fell through, and Allen continued working out the treatment. Allen recruited fellow effects artist Randall William Cook to co-write a first draft that became the basis for The Primevals. While working on 1978’s Laserblast, Allen showed his promo reel to producer Charles Band, who agreed to finance the project. Unfortunately, production stalled for another decade until Band started Full Moon Features and acquired funding from Paramount. Allen filmed the live-action sequences and started working on the stop-motion in 1994, but production halted after Paramount pulled out. The film was shelved after Allen’s passing in 1999 until Band and Chris Endicott decided to revive it decades later. After years of development hell, David Allen’s The Primevals was finally finished in 2023.

    [/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=”85″ 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=”4.25.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    A group of Nepalese natives fends off a Yeti when an avalanche crushes the creature and kills it. Months later, Dr. Claire Collier (Juliet Mills) displays the beast’s body at a university, which stuns the audience. After the presentation, fellow scientist Matthew Connor (Richard Joseph Paul) asks Collier to accompany her on an expedition to Nepal. They travel to Calcutta to recruit rugged tracker Rondo Montana (Leon Russom) to lead them through The Himalayas. Once in Nepal, Connor, Collier, and Montana meet with scientist Kathleen Reidel (Walker Brandt) and local Siku (Tai Thai). As they travel further into the mountains, they encounter a hidden world with primordial hominids and other secrets. Soon, they discover a race of alien/human hybrids who have enslaved a Yeti to do their bidding. Mysteries will be uncovered, and our world will never be the same when our heroes face off with The Primevals!

     

    Review

    Given its production history, it’s wild to think that The Primevals is available to watch, let alone review. Over almost half a century, this film went through financiers pulling out, companies going bankrupt, and its director dying. The efforts of Charles Band, Chris Endicott, the IndieGoGo backers, and the Full Moon team resurrected this nearly lost film. Thankfully, unlike Last Foxtrot in Burbank, which was a bit of a slog, David Allen’s dream project is fantastic. It’s nothing groundbreaking or innovative, but it’s a fun, old-school adventure film that’s cheesy in the best way. While the characters aren’t fully three-dimensional or nuanced, the actors play their roles well, and there are some standouts. Character actor Leon Russom shines as the rugged Rondo Montana, and classic actress Juliet Mills excels as Dr. Collier. Richard Joseph Paul from Oblivion is similarly bland, but he does a decent job.

    Of course, this movie’s real star is the fantastic stop-motion animation, which is impressive and adds to the charm. It’s very striking, from the rampaging Yeti at the beginning to the lizard men in the climax. Though sparse, the stop-motion is jaw-dropping and on par with the best of Ray Harryhausen’s work. Also, I’m impressed at how Chris Endicott and his team seamlessly blended the new animation with the original effects. It helps that the stop-motion is integral to the plot rather than feeling like breaks in between the talking parts. Adding to the old-school charm is the rich score by composer Richard Band, which gives the film a majestic feel. The music has a similar flair to Bernard Hermann’s scores while including some of Richard’s trademark beats. In a world dominated by cartoonish-looking CGI, this movie is a time capsule of classic cinema.

    Though some of the production designs look cheap, you can tell that Full Moon spent plenty of money back then. In 1994, this must’ve looked like something that could’ve played in theaters instead of getting a direct-to-video release. Sadly, the high quality of this early Full Moon effort highlights how much the company fell by the wayside. While there have been surprises like Subspecies V: Blood Rise, those are few and far between. I mean no disrespect to Charles Band and Full Moon, but I wish they’d make more movies like this. Then again, that might be a pipe dream, considering they don’t have nearly the budgets they had in the 90s. It’s impossible to say how David Allen would feel about what’s happened, but I’d like to think he’s happy. Overall, The Primevals is a testament to the power of perseverance and a damn good adventure movie to boot.

     

    Watch The Primevals on Amazon: https://amzn.to/4clW31o.

    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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  • Furiosa: A Mad Max Saga (2024)

    Furiosa: A Mad Max Saga (2024)

    [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=”{}”]Against a $150 million budget, Mad Max: Fury Road grossed $380 million worldwide, becoming the 21st highest-grossing film that year. The movie also earned widespread acclaim, winning six Academy Awards and being nominated for Best Director and Best Picture. Director George Miller and co-writer Nico Lathouris planned to film a back-to-back prequel but chose to wait. Despite the 2015 film’s critical and commercial success, production on the prequel got delayed over a lawsuit with Warner Bros. Thankfully, Miller and Warner settled the lawsuit in 2020, and casting began after 2022’s Three Thousand Years of Longing wrapped. Rather than bringing back Charlize Theron and using de-aging technology, Miller cast Anya Taylor-Joy in the lead alongside Chris Hemsworth. With a $168 million budget, filming started in June 2022 around New South Wales and wrapped that October. After premiering at Cannes, Furiosa: A Mad Max Saga hit theaters in May 2024.

    [/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=”4.25.1″ _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

    A young Furiosa (Alyla Browne) gets kidnapped by a marauder group and brought to their leader, Dementus (Chris Hemsworth). Dementus adopts Furiosa as his daughter and raises her as he leads his Biker Horde across the wasteland. He leads an assault on The Citadel but is swiftly forced into retreat by Immortan Joe (Lachy Hulme). In retaliation, Dementus takes over Gastown, an oil refinery connected to The Citadel, and forces his way into Joe’s circle. Years pass, and Furiosa (Anya Taylor-Joy) makes her way to copiloting The War Rig alongside Praetorian Jack (Tom Burke). Meanwhile, Dementus has made himself an enemy of Immortan Joe for running Gastown into the ground and plans a counteroffensive. While gathering supplies, Furiosa and Jack get ambushed by Dementus’ horde, resulting in Jack’s death and Furiosa losing an arm. After a shave and an arm replacement, Furiosa readies herself for revenge.

     

    Review

    I was conflicted when it was announced that the next Mad Max movie would be a prequel focused on Furiosa. While I loved the Furiosa character and wanted to see more of her, I’d prefer a sequel over a prequel. That said, Furiosa: A Mad Max Saga is fantastic, but I found it somewhat underwhelming compared to Fury Road. For one, despite being listed first in the credits, Anya Taylor-Joy doesn’t show up until an hour in. The first hour centers on Alyla Browne as the young Furiosa, who’s good in the role, but it feels odd. The sequence should’ve been shortened to no more than 30 minutes, but that also ties into my issue with the runtime. While the other installments were between 90 minutes and two hours, this one is nearly two and a half hours. Half an hour could’ve been cut, and it wouldn’t have hurt things.

    To get into the positives, Anya Taylor-Joy does a great job as Furiosa, though she lacks Charlize Theron’s commanding presence. She brings a quiet intensity to the role, where she’s strong and confident but vulnerable at the same time. As other reviewers have pointed out, Chris Hemsworth steals the show as Dementus, chewing up the scenery and having fun. His performance channels a mix of Hugh Keays-Byrne’s Toecutter and Tina Turner’s Aunty Entity while having some intense moments. There’s a particularly noteworthy scene where Furiosa confronts Dementus in the desert towards the end that perfectly encapsulates their conflict. Tom Burke also stands out as Praetorian Jack, who mentors Furiosa and fights alongside her until the end. Also, Lachy Hulme is a great stand-in for the late Hugh Keays-Byrne as Immortan Joe and fits the role nicely. Plus, it’s nice seeing some of the cast from Fury Road returning.

    Like any good Mad Max movie, this one delivers on the action sequences, some of which stand out. The scenes of Furiosa trying to escape from Dementus and the battle at The Bullet Farm are easily the highlights. Of course, you get the usual car chases and crashes, but they lack the impact of the ones from before. I might’ve set my expectations for this film too high since it would never live up to them. While it’s a solidly entertaining and well-made standalone action film, it falls flat as a follow-up to the 2015 film. I feel conflicted about this movie because I wanted to love it, but part of me found it underwhelming. Trust me, I want more Mad Max movies and wouldn’t mind Furiosa returning, but I’d rather we get another sequel. Overall, Furiosa: A Mad Max Saga feels lacking despite its many good qualities.

     

    Buy Furiosa: A Mad Max Saga from Amazon: https://amzn.to/4htPywG.

    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 Furiosa: A Mad Max Saga (2024)

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  • Mad Max: Fury Road (2015)

    Mad Max: Fury Road (2015)

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    Despite receiving generally favorable reviews, Mad Max Beyond Thunderdome only made $36 million against a $10 million budget. While George Miller had an idea for a fourth installment as early as 1987, the series went on indefinite hiatus. Over the following decades, Miller made family films such as the Babe movies and Happy Feet 1 & 2. During this time, production on Mad Max 4 went through development hell, switching between Fox and Warner Bros. While Mel Gibson expressed interest, he acknowledged his age was a factor, so Miller hired Tom Hardy to star. After several delays, principal photography started in 2012 in and around Namibia and Cape Town, wrapping that December. Due to the numerous practical effects and pick-up shots, the budget ballooned to around $154.6–185.2 million. After 30 years of delays and setbacks, Mad Max Fury Road roared into theaters in May 2015.

    [/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=”4.25.1″ _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=”4.25.1″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    After being attacked by marauders, Max Rockatansky (Tom Hardy) is taken prisoner to a stronghold called The Citadel. The Citadel is ruled by the ruthless Immortan Joe (Hugh Keays-Byrne), who rules the wasteland with his ever-faithful War Boys. Max becomes a blood bag for a War Boy named Nux (Nicholas Hoult), who aspires to ride alongside Joe. Joe sends out his lieutenant, Imperator Furiosa (Charlize Theron), to drive The War Rig and make a supply run. Little does Immortan know that Furiosa secretly has his five wives hidden inside The War Rig’s tanker. Enraged, Immortan sends his army to give chase, and Max and Nux inadvertently team up with Furiosa. Throughout the journey, Max battles with the madness lingering within while stepping up to help Furiosa and the wives escape. Will our heroes escape and find sanctuary, or are they gonna die historic on the fury road?

     

    Review

    Sequels that come out years after the previous installment, or legacy sequels as I call them, are rarely good. For every Doctor Sleep and Top Gun: Maverick, there’s also Son of the Mask and Space Jam: A New Legacy. Thankfully, Mad Max: Fury Road falls into the former category and arguably trumps Mad Max 2 as the series’ best. In my Mad Max Beyond Thunderdome review, I mentioned that the bigger budget was a significant hindrance. As much as the sets, costumes, and stunts were more polished, the filmmakers lost the grit of the earlier installments. Thankfully, George Miller managed to create a gigantic, bombastic action film that retained its predecessors’ rough and rugged nature. Sure, it may not have the low-budget grittiness of the original, but the essence of that 1979 movie remains. Essentially, this film is the first sequel turned way up past 11.

    While Mel Gibson is missed as the character that made him famous, Tom Hardy is a welcome replacement. He brings the same solemn, broken quality to the character Gibson gave while adding a hint of rage underneath. You get the sense that this man is so broken and far gone that he could snap at any moment. Charlize Theron is excellent as the warrior woman Furiosa, giving the character a commanding presence while showing some vulnerability. Unlike characters like Rey or Captain Marvel, Furiosa is a strong female character who isn’t 100% invincible. It helps that she and Hardy are given equal amounts of screen time and play off each other well. Also, while his casting is a nice callback to the original, Hugh Keays-Byrne is fantastic as the ruthless Immortan Joe. Even the secondary characters, from Nicholas Hoult’s Nux to the five wives, are memorable.

    In a time where almost every action movie overuses CGI, Miller and company manage to stage some elaborate sequences practically. Everything from the vehicles and stunts to the pyrotechnics and even the Doof Warrior’s guitar is authentic and fully functional. Sure, there’s some CGI here and there, but it’s used to enhance the practical effects rather than be a crutch. From a technical level, everything is perfect, from the sound design and score to the production and vehicle designs. Also, while the film is one big chase, the story is surprisingly rich, and the world feels fleshed out. Plus, the film clocks in at only two hours, which is quite a shock for a modern blockbuster. Some of the action and editing can get overwhelming, but that’s more of a nitpick than a legitimate complaint. Overall, Mad Max: Fury Road is what other action movies should aspire to be.

     

    Buy Mad Max: Fury Road from Amazon: https://amzn.to/4e92pCX.

    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″ sticky_enabled=”0″]

    Where to watch Mad Max: Fury Road (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.

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    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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