Either tomorrow or Saturday but if the fellas can't roll, might be next weekend. My best friend is dying to see it but of course he bought tickets for he and his wife to see dirty dancing this weekend
Mad Max spoiler discussion (We praten over de film in hier)
- Thread starter StraxStrax
- Start date
Either tomorrow or Saturday but if the fellas can't roll, might be next weekend. My best friend is dying to see it but of course he bought tickets for he and his wife to see dirty dancing this weekend
TheGodling
Los Ingobernables de Sala de Cine
I came, I saw, and then I came again. 
Action movie of the year? Try movie of the year. Try movie of the decade. Try movie that needs to be taught at film school so these motherfukkers WILL learn!
How often have you watched an action scene, and every shot, hell, every frame, that your eye captures, is brimming with the most insane details, so many and so imaginative that the world doesn't just feel alive, it feels real. Everything is right. The costumes they wear, the devices they use, the vehicles they've constructed, the slang they speak in, the Mad Max world has gone madder than ever before and there's not a moment in the movie where it doesn't emphasize that. It is a visual treat in every sense of the world and 30 years after the last Mad Max movie George Miller firmly reinstates himself as one of the most powerful action directors as well as one of the supreme visual storytellers working in cinema today. It's eyegasms galore!
At the heart there's the debate of the moment, is it really Max' movie or is it Furiosa's? The answer is simple, it's both. Like The Road Warrior we follow Max, but the story isn't really about him. He just wants to survive, and finds himself relying on others when he much rather wouldn't, out of his fear of refinding an inch of his humanity, only to have it taken away from him again. Furiosa is the leader of said others, and as such is the key to making the plot move forward. She's also the strongest action female lead since the OG Sarah Connor. She certainly shines more than Max, but it makes sense storywise. She's driven by hope, even if she's well aware of the harsh reality. Max is defeaten and broken, and he acts as such. This Max has gone a bit madder too since we last saw him, haunted a bit more by the nightmares of his past, and it's what separates him from Gibson's Max, who was a lot more clean shaven and a lot more firm. Hardy's Max is more introverted, who rarely speaks, and when he does he does so in a gravely voice as if he's only opened his mouth to eat sand and dust these past years. And Hardy, in all his silence, sells every look, every expression, every rare word, so much that his greatest moment of bad-assedry isn't even shown, we merely see him walk off into it, and return, and the mere fact that we know what he was facing, is enough.
The action meanwhile makes so much sense it's scary. It always feels chaotically edited, like you can never really expect what the next shot will be, but there's such meticulous craft to it. At one point we see Max throw some guy of a vehicle and it cuts to a close-up of Furiosa driving the vehicle before them and the outside of her window at the very edge of the frame you can see that guy in the background fall. It's nothing short of madness that Miller always knows exactly where everybody should be in a shot and actually manages to capture that too. Then during a quieter moment he does an overhead shot and reminds you, yes, there are twenty plus vehicles with flamethrowers and spikes actually racing down a desert. It's so relentless that I didn't hear a peep from the audience during the action, as we all sat in silent witness at the endless arrays and barrages of splendid fukkery George Millers bestows upon us.
But rightfully the movie finds some peace in the mid-section to do some expanded world building, give characters something to lose and others something to fight for, and realign the parties for the grand finale. Again, Miller's visual storytelling is at a max here (a mad max, one might say *chuckle*), it's all show and no tell, no time wasted to explain things that make enough sense when you see it. It truly is film making at its absolute finest and again, a lot of film makers could and should learn from this. I can name at least one guy at WB who definitely could use a lesson in stepping back on the exposition, and yes, that's the classic 'taking a shot at Nolan' remark I will try to put in every review I can, @FlyRy.
I'm thinking now if there's anything left I want to add to all this but I think my point's been made very clear. It's greatness, pure greatness, an action movie for the ages, one made so goddamn well that anyone with a keen eye for the technical aspect of film making will simply be in awe. Which is also my subtle way of saying that if you got any complaints about this movie, I can never take you serious again on the entire subject of cinema. Because some things are undeniable, reaching far beyond subjectiveness into the realm of cold hard facts, and the incredibly high level of quality of film making in this motion picture, is one of them.
It was very good actually. I'm not sure in how far Miller knew this was going to end up in 3D but a lot of the shots are framed just naturally perfect for 3D because he almost always has something moving from or towards the camera. There's two shots where he CGI-enhances some stuff to actually have something fly at the screen but overall it felt a lot more 3D than most post-converted movies. I'd still opt for 2D if you have the opportunity (I didn't), but even in that area Miller did better than his peers.
Action movie of the year? Try movie of the year. Try movie of the decade. Try movie that needs to be taught at film school so these motherfukkers WILL learn!
How often have you watched an action scene, and every shot, hell, every frame, that your eye captures, is brimming with the most insane details, so many and so imaginative that the world doesn't just feel alive, it feels real. Everything is right. The costumes they wear, the devices they use, the vehicles they've constructed, the slang they speak in, the Mad Max world has gone madder than ever before and there's not a moment in the movie where it doesn't emphasize that. It is a visual treat in every sense of the world and 30 years after the last Mad Max movie George Miller firmly reinstates himself as one of the most powerful action directors as well as one of the supreme visual storytellers working in cinema today. It's eyegasms galore!
At the heart there's the debate of the moment, is it really Max' movie or is it Furiosa's? The answer is simple, it's both. Like The Road Warrior we follow Max, but the story isn't really about him. He just wants to survive, and finds himself relying on others when he much rather wouldn't, out of his fear of refinding an inch of his humanity, only to have it taken away from him again. Furiosa is the leader of said others, and as such is the key to making the plot move forward. She's also the strongest action female lead since the OG Sarah Connor. She certainly shines more than Max, but it makes sense storywise. She's driven by hope, even if she's well aware of the harsh reality. Max is defeaten and broken, and he acts as such. This Max has gone a bit madder too since we last saw him, haunted a bit more by the nightmares of his past, and it's what separates him from Gibson's Max, who was a lot more clean shaven and a lot more firm. Hardy's Max is more introverted, who rarely speaks, and when he does he does so in a gravely voice as if he's only opened his mouth to eat sand and dust these past years. And Hardy, in all his silence, sells every look, every expression, every rare word, so much that his greatest moment of bad-assedry isn't even shown, we merely see him walk off into it, and return, and the mere fact that we know what he was facing, is enough.
The action meanwhile makes so much sense it's scary. It always feels chaotically edited, like you can never really expect what the next shot will be, but there's such meticulous craft to it. At one point we see Max throw some guy of a vehicle and it cuts to a close-up of Furiosa driving the vehicle before them and the outside of her window at the very edge of the frame you can see that guy in the background fall. It's nothing short of madness that Miller always knows exactly where everybody should be in a shot and actually manages to capture that too. Then during a quieter moment he does an overhead shot and reminds you, yes, there are twenty plus vehicles with flamethrowers and spikes actually racing down a desert. It's so relentless that I didn't hear a peep from the audience during the action, as we all sat in silent witness at the endless arrays and barrages of splendid fukkery George Millers bestows upon us.
But rightfully the movie finds some peace in the mid-section to do some expanded world building, give characters something to lose and others something to fight for, and realign the parties for the grand finale. Again, Miller's visual storytelling is at a max here (a mad max, one might say *chuckle*), it's all show and no tell, no time wasted to explain things that make enough sense when you see it. It truly is film making at its absolute finest and again, a lot of film makers could and should learn from this. I can name at least one guy at WB who definitely could use a lesson in stepping back on the exposition, and yes, that's the classic 'taking a shot at Nolan' remark I will try to put in every review I can, @FlyRy.
I'm thinking now if there's anything left I want to add to all this but I think my point's been made very clear. It's greatness, pure greatness, an action movie for the ages, one made so goddamn well that anyone with a keen eye for the technical aspect of film making will simply be in awe. Which is also my subtle way of saying that if you got any complaints about this movie, I can never take you serious again on the entire subject of cinema. Because some things are undeniable, reaching far beyond subjectiveness into the realm of cold hard facts, and the incredibly high level of quality of film making in this motion picture, is one of them.
It was very good actually. I'm not sure in how far Miller knew this was going to end up in 3D but a lot of the shots are framed just naturally perfect for 3D because he almost always has something moving from or towards the camera. There's two shots where he CGI-enhances some stuff to actually have something fly at the screen but overall it felt a lot more 3D than most post-converted movies. I'd still opt for 2D if you have the opportunity (I didn't), but even in that area Miller did better than his peers.
I came, I saw, and then I came again.
Action movie of the year? Try movie of the year. Try movie of the decade. Try movie that needs to be taught at film school so these motherfukkers WILL learn!
How often have you watched an action scene, and every shot, hell, every frame, that your eye captures, is brimming with the most insane details, so many and so imaginative that the world doesn't just feel alive, it feels real. Everything is right. The costumes they wear, the devices they use, the vehicles they've constructed, the slang they speak in, the Mad Max world has gone madder than ever before and there's not a moment in the movie where it doesn't emphasize that. It is a visual treat in every sense of the world and 30 years after the last Mad Max movie George Miller firmly reinstates himself as one of the most powerful action directors as well as one of the supreme visual storytellers working in cinema today. It's eyegasms galore!
At the heart there's the debate of the moment, is it really Max' movie or is it Furiosa's? The answer is simple, it's both. Like The Road Warrior we follow Max, but the story isn't really about him. He just wants to survive, and finds himself relying on others when he much rather wouldn't, out of his fear of refinding an inch of his humanity, only to have it taken away from him again. Furiosa is the leader of said others, and as such is the key to making the plot move forward. She's also the strongest action female lead since the OG Sarah Connor. She certainly shines more than Max, but it makes sense storywise. She's driven by hope, even if she's well aware of the harsh reality. Max is defeaten and broken, and he acts as such. This Max has gone a bit madder too since we last saw him, haunted a bit more by the nightmares of his past, and it's what separates him from Gibson's Max, who was a lot more clean shaven and a lot more firm. Hardy's Max is more introverted, who rarely speaks, and when he does he does so in a gravely voice as if he's only opened his mouth to eat sand and dust these past years. And Hardy, in all his silence, sells every look, every expression, every rare word, so much that his greatest moment of bad-assedry isn't even shown, we merely see him walk off into it, and return, and the mere fact that we know what he was facing, is enough.
The action meanwhile makes so much sense it's scary. It always feels chaotically edited, like you can never really expect what the next shot will be, but there's such meticulous craft to it. At one point we see Max throw some guy of a vehicle and it cuts to a close-up of Furiosa driving the vehicle before them and the outside of her window at the very edge of the frame you can see that guy in the background fall. It's nothing short of madness that Miller always knows exactly where everybody should be in a shot and actually manages to capture that too. Then during a quieter moment he does an overhead shot and reminds you, yes, there are twenty plus vehicles with flamethrowers and spikes actually racing down a desert. It's so relentless that I didn't hear a peep from the audience during the action, as we all sat in silent witness at the endless arrays and barrages of splendid fukkery George Millers bestows upon us.
But rightfully the movie finds some peace in the mid-section to do some expanded world building, give characters something to lose and others something to fight for, and realign the parties for the grand finale. Again, Miller's visual storytelling is at a max here (a mad max, one might say *chuckle*), it's all show and no tell, no time wasted to explain things that make enough sense when you see it. It truly is film making at its absolute finest and again, a lot of film makers could and should learn from this. I can name at least one guy at WB who definitely could use a lesson in stepping back on the exposition, and yes, that's the classic 'taking a shot at Nolan' remark I will try to put in every review I can, @FlyRy.
I'm thinking now if there's anything left I want to add to all this but I think my point's been made very clear. It's greatness, pure greatness, an action movie for the ages, one made so goddamn well that anyone with a keen eye for the technical aspect of film making will simply be in awe. Which is also my subtle way of saying that if you got any complaints about this movie, I can never take you serious again on the entire subject of cinema. Because some things are undeniable, reaching far beyond subjectiveness into the realm of cold hard facts, and the incredibly high level of quality of film making in this motion picture, is one of them.
It was very good actually. I'm not sure in how far Miller knew this was going to end up in 3D but a lot of the shots are framed just naturally perfect for 3D because he almost always has something moving from or towards the camera. There's two shots where he CGI-enhances some stuff to actually have something fly at the screen but overall it felt a lot more 3D than most post-converted movies. I'd still opt for 2D if you have the opportunity (I didn't), but even in that area Miller did better than his peers.
at the nolan shoti wanted to go 2D but the theater i want to see it at is playing almost all of them in 3d except 2 showings that day
as for the rest
the real question though..will you cop the blu-ray though?
I came, I saw, and then I came again.
Action movie of the year? Try movie of the year. Try movie of the decade. Try movie that needs to be taught at film school so these motherfukkers WILL learn!
How often have you watched an action scene, and every shot, hell, every frame, that your eye captures, is brimming with the most insane details, so many and so imaginative that the world doesn't just feel alive, it feels real. Everything is right. The costumes they wear, the devices they use, the vehicles they've constructed, the slang they speak in, the Mad Max world has gone madder than ever before and there's not a moment in the movie where it doesn't emphasize that. It is a visual treat in every sense of the world and 30 years after the last Mad Max movie George Miller firmly reinstates himself as one of the most powerful action directors as well as one of the supreme visual storytellers working in cinema today. It's eyegasms galore!
At the heart there's the debate of the moment, is it really Max' movie or is it Furiosa's? The answer is simple, it's both. Like The Road Warrior we follow Max, but the story isn't really about him. He just wants to survive, and finds himself relying on others when he much rather wouldn't, out of his fear of refinding an inch of his humanity, only to have it taken away from him again. Furiosa is the leader of said others, and as such is the key to making the plot move forward. She's also the strongest action female lead since the OG Sarah Connor. She certainly shines more than Max, but it makes sense storywise. She's driven by hope, even if she's well aware of the harsh reality. Max is defeaten and broken, and he acts as such. This Max has gone a bit madder too since we last saw him, haunted a bit more by the nightmares of his past, and it's what separates him from Gibson's Max, who was a lot more clean shaven and a lot more firm. Hardy's Max is more introverted, who rarely speaks, and when he does he does so in a gravely voice as if he's only opened his mouth to eat sand and dust these past years. And Hardy, in all his silence, sells every look, every expression, every rare word, so much that his greatest moment of bad-assedry isn't even shown, we merely see him walk off into it, and return, and the mere fact that we know what he was facing, is enough.
The action meanwhile makes so much sense it's scary. It always feels chaotically edited, like you can never really expect what the next shot will be, but there's such meticulous craft to it. At one point we see Max throw some guy of a vehicle and it cuts to a close-up of Furiosa driving the vehicle before them and the outside of her window at the very edge of the frame you can see that guy in the background fall. It's nothing short of madness that Miller always knows exactly where everybody should be in a shot and actually manages to capture that too. Then during a quieter moment he does an overhead shot and reminds you, yes, there are twenty plus vehicles with flamethrowers and spikes actually racing down a desert. It's so relentless that I didn't hear a peep from the audience during the action, as we all sat in silent witness at the endless arrays and barrages of splendid fukkery George Millers bestows upon us.
But rightfully the movie finds some peace in the mid-section to do some expanded world building, give characters something to lose and others something to fight for, and realign the parties for the grand finale. Again, Miller's visual storytelling is at a max here (a mad max, one might say *chuckle*), it's all show and no tell, no time wasted to explain things that make enough sense when you see it. It truly is film making at its absolute finest and again, a lot of film makers could and should learn from this. I can name at least one guy at WB who definitely could use a lesson in stepping back on the exposition, and yes, that's the classic 'taking a shot at Nolan' remark I will try to put in every review I can, @FlyRy.
I'm thinking now if there's anything left I want to add to all this but I think my point's been made very clear. It's greatness, pure greatness, an action movie for the ages, one made so goddamn well that anyone with a keen eye for the technical aspect of film making will simply be in awe. Which is also my subtle way of saying that if you got any complaints about this movie, I can never take you serious again on the entire subject of cinema. Because some things are undeniable, reaching far beyond subjectiveness into the realm of cold hard facts, and the incredibly high level of quality of film making in this motion picture, is one of them.
It was very good actually. I'm not sure in how far Miller knew this was going to end up in 3D but a lot of the shots are framed just naturally perfect for 3D because he almost always has something moving from or towards the camera. There's two shots where he CGI-enhances some stuff to actually have something fly at the screen but overall it felt a lot more 3D than most post-converted movies. I'd still opt for 2D if you have the opportunity (I didn't), but even in that area Miller did better than his peers.
I'm not reading this whole thing on the strength of not reading reviews before I check a flick, but the Val Venis reference
The way people are talking I might have to see this in IMAX
TheGodling
Los Ingobernables de Sala de Cine
i wanted to go 2D but the theater i want to see it at is playing almost all of them in 3d except 2 showings that day
as for the rest
the real question though..will you cop the blu-ray though?
Funny you should ask because although I own the entire trilogy on DVD, that has long been one my list of "Should I or shouldn't I pick them up on Blu-Ray as well?". And that consideration is a big enough deal in its own right for me, lol.
NobodyReally
Superstar
Got our tickets for tonight at 7pm
"It's rare for me – as a guy who's privileged enough to write about films regularly – to find myself at a loss for words after seeing a movie. Love it or hate it, I can usually jot down five hundred words and be done with it as soon as I can get to a laptop, but MAD MAX: FURY ROAD threw me for a loop. I knew I was going to like it. Heck, I knew I'd probably love it, but I truly did not expect to find myself so shook-up and maybe it's because I feel like I've just witnessed the birth of a full-on action classic. I feel like I did when I walked out of THE MATRIX in '99, or the way people probably did when they saw DIE HARD in theaters in 1988, or (appropriately) THE ROAD WARRIOR in 1982. Make no mistake, FURY ROAD is on par with those films and the closest to a modern action classic then I've seen in some time."
"It's rare for me – as a guy who's privileged enough to write about films regularly – to find myself at a loss for words after seeing a movie. Love it or hate it, I can usually jot down five hundred words and be done with it as soon as I can get to a laptop, but MAD MAX: FURY ROAD threw me for a loop. I knew I was going to like it. Heck, I knew I'd probably love it, but I truly did not expect to find myself so shook-up and maybe it's because I feel like I've just witnessed the birth of a full-on action classic. I feel like I did when I walked out of THE MATRIX in '99, or the way people probably did when they saw DIE HARD in theaters in 1988, or (appropriately) THE ROAD WARRIOR in 1982. Make no mistake, FURY ROAD is on par with those films and the closest to a modern action classic then I've seen in some time."
OmegaK2099
Gettin' It In
hope to see it at 7
TheGodling
Los Ingobernables de Sala de Cine
About to watch it again in about an hour. :gawdling:
i'm convinced you live in the theater breh.. you sleep up top like hugo did in the train station
didn't you do the 27 hour marvel marathon?