Mad Max: Fury Road - Lions and Tigers and Tom Hardy and Teal and Orange Oh My

In which we anticipate then celebrate debate etc the cinematic dust-storm that is George Miller's Mad Max: Fury Road

http://cdn.screenrant.com/wp-content/uploads/mad-mad-fury-road-comic-con-poster.jpg

i might buy my tickets tomorrow

Hi My Name Is Tom Hardy I Am Reportedly Very 'Difficult' I Like Long Walks on the Beach and Talking in a Weird Pinchy Voice

It's all I can do not to camp out in front of the movie theater now

brb going to watch trailers at 0.25 speed

Was looking for tickets earlier this evening.

i saw some on sale for thursday may 14th at 10 pm on fandango

I rewatched Mad Max last weekend...gonna rewatch Mad Max 2 this weekend (fuck you all, that's what it's called)

Have been reading interviews that George did last year for publicity etc, trying to find any hint that it's not going to be everything I hope for. So far, so good.

I also read that one of the guys who wrote the screenplay was an extra in the original Mad Max.

hi. IS IT HERE YET IS IT HERE YET IS IT HERE YET

only 22 hours 36 minutes to go

oh and two weeks

hate u

A friend is very concerned that this is coming out the same day as Pitch Perfect 2, considering taking the day off.

tom hardy is one of those people whose face i can't fix in my mind... he looks different in every photo and film i've seen.

i'm trying not to get excited about this since, well, it's not like miller's batting average is 1000%. and it's been a long time since he's made an action movie (and FWIW i count "babe: pig in the city" as an action movie, or half of one anyway).

i guess there are no reviews of this yet, heh? weird to think that many if not most contemporary critics were in short pants when the last (and kind of underrated) mad max film came out.

miller is an interesting director... mad max 2 and lorenzo's oil are two of my favorite films, and they're by the same guy... but they really couldn't be farther apart.

not to mention happy feet

babe is fking great

He didn't do Babe 1

well he co-wrote and produced it

sic do u have some kind of radar for erroneous statements or

http://imgs.xkcd.com/comics/duty_calls.png

Pig In The City is a really good movie, Babe is a competent+ kids story

just repping for Miller in this lets-hope-we-get-the-good-Miller thread

Doing a Morbs and not touching this most pointless of remakes.

it's not a remake

Funny how it feels like one.

a+ morbs impersonation

its where my life is going.

Harsh.

legit enjoyed the trailer, and that's more than enough; I have no desire to/will never see this

Striking. Hadn't heard about this before, at least.

http://io9.com/vagina-monologues-writer-eve-ensler-consulted-on-mad-ma-1701967087

yeah i just read that over the weekend, v interesting layer!

Making the rounds on twitter:

http://pbs.twimg.com/media/CEXiKejUMAAE6Bi.png

didn't even know there was a 3d version

can 3d be over now except for novelty 3d silliness like Drive Angry?

huh. i read an interview where he talked about shooting some 3d stuff

maybe it didnt turn out the way they wanted?

imo 3d is a horrible gimmick unless the movie is made specifically to be awesome in 3d

felt bad, my coworker went to see Avengers on the largest screen/soundsystem that the newest local theater has and he said the 3d glasses make it less interesting than a non-3d feature on a smaller screen! I'd have to agree.

so the early reviews are overwhelmingly positive and they all note the emphasis on real stuntwork, explosions, etc

few complaints that there isn't much story/character development but it seems like that was by design

first two were not super heavy on that either, those dont worry me as much

just as long as its FUCKIN COOL

pleasebegreatpleasebegreatpleasebegreat

everyone hold hands and form a circle

http://www.miamiherald.com/entertainment/article20487258.html
“We also spent a huge amount of time on spatial awareness — making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise.

👏👏👏👏👏

YEEES PLEAAAAASE

be still my heart

<3 this is giving me so much hope

plz dont suck

http://www.villagevoice.com/2015-05-06/film/mad-max-fury-road-review/

But Fury Road somehow is. In the era of greenscreened blockbusters, we have an R-rated studio release on which a 70-year-old director blew hundreds of millions of dollars crashing real cars into each other in Namibia. You know the charge that Furious 7 feels like what you would get if you asked a Hot Wheel-loving ten-year-old to work out the beats of a screenplay? Fury Road is what the kid might dream up at fourteen, stoned at the motocross, keyed up on Mountain Dew and old Conan comics, except instead of writing a script he's lighting those Hot Wheels on fire and chucking them at your face. He's also, touchingly, a feminist and eager for you to know it. Plus he's tireless, touched with some genius, and you would not believe just how many of those cars he has to throw.

oh.... oh my god

:D

*gulp*

so the early reviews are overwhelmingly positive and they all note the emphasis on real stuntwork, explosions, etc

few complaints that there isn't much story/character development but it seems like that was by design

yeah, the reviews are pretty ecstatic. i am fucking stoked.

i need to catch my S.O. up on the previous films before we go see this in the theater.

is there a good blu-ray of The Road Warrior yet? the one I saw a few years ago was kind of "meh."

this is gonna rule

100% so far on RT! http://www.rottentomatoes.com/m/mad_max_fury_road/

There was a 2013 Road Warrior Blu-Ray that got good reviews. I've been thinking about picking that up along with the new Shout Factory Blu-Ray of Mad Max; you can get both from deepdiscount.com for $20 US.

xxpost warner has a single bluray
recently discontinued but still avail & cheapish at $14 on amazon

it's a p dece version, i have it myself

otherwise it's only avail as a combo trilogy

They made 150 cars!

https://www.youtube.com/watch?v=Zgkawcew2u8

http://www.avclub.com/review/fury-road-mad-max-roars-triumphantly-back-theaters-219393

man, it's been a while since i was this pumped for a movie. gonna see this on the biggest screen i can find (though not in 3-D).

MRAs won't let us have nice things http://www.avclub.com/article/mad-men-mad-mad-max-having-mad-women-219391

http://wehuntedthemammoth.com/2015/05/12/furious-about-furiosa-misogynists-are-losing-it-over-charlize-therons-starring-role-in-mad-max-fury-road/

haha that just makes it all the sweeter.

tbh women kicking men's collective ass is one of the things that makes this movie great, so

thats what i'm totally looking forward to! in addition to general chaos, explosions, dystopian beauty, etc.

the less assholes at this movie the better

otm

every now and then I think some of the MRA folks (the less insane ones) have half of a point about something, and then they go and get apoplectic about something like this and it's like ::handwave::

badass mad max film making pissbabies cry, fuck yeah

I want this movie to make some major asshole money.

i think by r-rated standards it should do really well, it also appears to be getting a veritable orgy of good reviews (has a 90 on metacritic)

yes, we know you really want age of adeline to succeed.

xpost

just bought tickets for tomorrow night, stocked for the madness

tried to convince mr veg to do thurs night but no good theaters are showing it close enough to us, so saturday it is

i am psyched enough to try for thursday night but i don't really like lines/huge crowds so... maybe sunday AM?

that's when I usually go to the ci-na-mah

http://static.guim.co.uk/sys-images/Arts/Arts_/Pictures/2011/10/20/1319104367922/Mothers-and-babies-wait-f-007.jpg

I want this movie to make some major asshole money.

McCarthy should do alright out of it.

23 hours 32 minutes ...

i have seen exactly 3 non-kids movies in the theater in the last 5-6 years (inception, iron man, the color of noise amphetamine reptile documentary) but i was pretty stoked about this already and the reviews plus the MRA babies are pushing me over the edge, hope i can get tickets on friday

Hah, my working-the-early-shift-club lets-meet-for-a-pint-or-a-film-at-4:30-before-she-returns-home-to-partner-and-two-small-kids is SO STOKED for this.

add 'friend' after the second dashpocalypse there.

this is playing at 7 pm tonight in town. gonna go with rufus. he's 12. i was 13 when i saw road warrior on the big screen.

SEEING IT TONIGHT AAARGH

this is playing at 7 pm tonight in town. gonna go with rufus. he's 12. i was 13 when i saw road warrior on the big screen.

arse.

it's a 15 certificate here, so i cant take mk2 as he is 12.

they don't let younger ones in with a parent?

those here, UK, are rated 12A

in the US, it's up to the theater's discretion but generally kids can go to any film if accompanied by an adult

NC-17 they don't let kids into. though i can't remember the last time i even saw an NC-17 movie at the movies.

true

i remember when i went and saw Kids in Philly they actually carded me. first and only time that ever happened, i think.

i made my dad take me to see The Jerk when i was a kid. first R rated movie that i HAD to see.

There was a really awkward moment when I was a kid where I was meeting a group of friends at the theater to see a Jackie Chan film, Rumble in the Bronx, I think, and the theater was not letting us in because it was rated R. My parents hadn't quite wandered off and they volunteered to hang out and see the movie with us.

I was kind of mortified, but in retrospect, that was a pretty cool move. Everyone there had seen lots of Jackie Chan -- two of the dudes were born in China and had a giant pile of eighth-generation bootlegs that you had to basically ride the "tracking" button to watch.

me and a friend went to King Ralph on a Saturday matinee and we were the only people in the theater so we threw our shoes at the screen just to see what would happen

i got turned away from a screening of heat (15 cert) when i was 13

jokes on them, because 15 years later i torrented it

xxpost -- and...what happened?

When I was about 12, I saw an arthouse double-feature of Time After Time (PG) and Altered States (R). As the lights went down on the second movie, I was like - wow, I'm getting away with this!

ned - the debate was whether the screen was a cloth-like hanging screen or if it was mounted on a wall, through shoe-based, peer-reviewed research we observed significant billowing of the screen when we through our shoes at john goodman's down-to-earth, feather-ruffling, fish-out-of-water visage. based on these results, we determined that the screen was, in fact, hanging cloth with space behind it.

dying

lol @matt

"shoe-based, peer-reviewed research"

pretty friggin' relentless. definitely made the quiet scenes the quietest scenes on earth. also, i gotta say, Junkie XL might have been the star of this movie for me! it was REALLY loud where i saw it in a really cool way. the stabbiness of the music was really stabby. so cool. there were like 15 people in my backwoods movie house. rufus dug it.

:D

saddest thing i saw tonight was the trailer for new terminator movie. so so sad. guessing it would be the exact opposite of the new mad max experience.

there are some longer trailers that make it look better & more ott, i am somewhat interested

arnold looks like he's 150 years old.

yep

Is it like the terminator playing chess with death or something

seeing this tomorrow if it kills me

it's just every terminator bit mishmashed together judging from the trailer i saw. an endless loop of i'll be back silver cop nonsense that will eventually make me hate movies i used to love.

yeah, new terminator looks gubbidge. the film that will kill me is mad max.

i wish i was more of a charlize fan. she's fine in this i've just never warmed up to her. she could be anyone kinda. like, it's hard for me to think of her in other movies she's made. i know i've seen some. i guess her dirty fingernails oscar bid Monster stands out the most.

you should see Young Adult.

um this movie was completely amazing

ugh can't see it till next week

This movie was utterly bonkers and as much an heir to the first three as a continuation of the insanity MIller brought to "Babe 2."

omg guys there are people here IN COSTUME

loool awesome

every single thing about this movie is perfect

Well, a lil' too much ramping, and I prefer a post-apocalypse minus machine guns, but yeah, it's overwhelmingly pretty badass. At least three or four things (probably more) that made me think, huh, I've never seen anything like that before.

The dark undercurrent of sexual politics is what seals it for me. The most valuable commodity around is no longer oil but simply healthy ovaries.

Also, the first of these movies iirc where so many people have either mutated or have cancer.

this was awesome, made my week practically

gah this is making me so happy

living in a world where a new mad max sequel is not shit

1) this was astonishing. every criticism i make should be read in light of that statement.
2) miller was right about the action scenes (that is to say, 90% of the movie) being unusually spatially coherent. for that reason, they were a ton more involving than the usual. but there were some moments i thought went by too quickly, and one was a fairly important one: when the bad guy was killed.
3) i missed color! i mean, it's not like the previous films were "meet me in st. louis" or anything, but i think that miller got kind of seduced by the possibilities of the digital intermediate, and when everything wasn't yellow-and-blue, it was just blue. i have no problem with non-realistic color schemes, but compared to so many other things in this movie, it was dull.
4) kind of wished hardy was just a wee bit more conventionally charismatic here. he seems to taking a page from the christian bale-as-batman book and gruffly mumbled most of his lines in a hard-to-place accent. i see that there was an arc to that, and he not only spoke more lines but spoke them a bit more clearly as the film went on. but that arc could have been a bit more pronounced, i guess.
5) score was pretty pedestrian, but serviceable.
6) ending was -- perhaps inevitably -- a bit rushed/a letdown after what came before.

as for the good things, i hardly know where to start. i guess i'll note that i was surprised by how emotionally affected i was by a few moments. charlize theron realizing that you can't go home again. and the nicholas hoult subplot was very affecting.

was also thinking about how, despite a number of gestures at world-building (such as that epigram at the end), this had so little exposition. we pass through what appear to be several semi-isolated civilizations, and we learn almost nothing about them. compare that to something like the star wars prequels, where the films' entire reason for being seems to be to elaborate these unique worlds (and thus the plot has to hop around among a million different places, to the point of distraction). there were so many suggestive things sketched in this film, but because it was so single-mindedly (and awesomely) dedicated to the mechanics of the chase, they are sketches only.

blah blah blah.

time to revisit this

https://www.youtube.com/watch?v=HaTgQkG3Mmc

i let go of my teal-and-orange objections almost immediately, seemed clear that it was 100% intentional, kinda like accepting the convention of today but turning it up to 11 to demonstrate that unless you're going to turn it up to 11, don't even fucking do it. very much in the spirit of many things in the movie (the design work especially - holy shit, all that design, everywhere, such generosity with STUFF even when you were only going to see it for maybe eight seconds total). felt like when it was night and everything was blue, blue blue blue blue and then for no real reason they have one little YELLOW lantern lit up in the front seat, that was the tip-off that he's clowning the cliche.

was really impressed and moved by the badass nearly all-female hero squad. they just fucking ruled. and no T2 bullshit where badass fucking linda hamilton can shoot the T-1000, and shoot it and shoot it but ohhhhhhhhhh no she's outta bullets, arnold has to finish the job.

well sure the teal and orange was unusually motivated here: sky and sand, basically. but i still thought it introduced some visual dullness that wasn't evident in the other choices miller & co made.

er, i mean: https://www.youtube.com/watch?v=5wBTdfAkqGU

I am so fuckin psyched for this

Holy fucking shit this was INCREDIBLE! I am still on a high from it as this post will demonstrate.

It's up there with Road Warrior as the best in the series, the best action film in a decade and definitely my fave film of the year so far. I also can't think of a long awaited franchise return that anywhere near equals it.

The first 40 minutes are just so utterly relentless, so much overcranked camera, so much insanity, so much hilarity - this is directed by a 70 year old HELLO HOLLYWOOD WHERE ARE YOUR BALLS.

If you adore lovingly crafted 70s-80s classic hollywood sci-fi/fantasy, the amount of love put into the production and character design here will make you cry. And despite the craziness, there are also moments of real quiet beauty and reflection.

SEE THIS IN THE CINEMA! It is ridiculously incredible in every way!!!! Aaaargh I WANT TO SEE IT AGAIN NOW.

Serious question: should I load up on booze or sugar or both?

you probably don't even need to!

this movie takes as long to get going with the action as the trailers do. maybe it takes the movie two seconds longer, i don't know.

there's brilliantly zero setup for what sets the chase in motion, it just sort of begins and we pick up the info we need quite clearly along the way. it's one long chase but there are like half a dozen parts to it, along with an incredible knockdown sorta three-sided fight near the beginning. there's one chase which is basically like…they're running from one group and that group falls off and immediately this second group is on them and…idk.

the character and vehicle designs are amazing. there's this supernaturally eerie moment when they're crossing what used to be a forest or something at night, and these people, uh. walk by and it's just a brilliant throwaway bit, just what you see and what the characters don't even mention or explain iirc.

i'm hard pressed to think of a better pure action movie in recent years or...decades?

this movie was fuckin awesome. i haven't read a single post in this thread. i accidentally bought ticket for the 3D version, though. 3D sucks

the ending was kinda bleh, though

tom hardy is great, i thought. it's an occasionally funny performance and a remarkable physical performace. charlize theron, man. sigourney weaver in aliens levels of good.

also loved the slightly more-aged-now Aussie character actors popping up here and there - accent wise the film the leads are very messy, but other than them it's all pretty bloody aussie.

one of the best chase bits = competing cars seeing who can suck up nitro from a can faster and spit it into their engines to gain the lead.

i want to take every single person i know to see this.

thought the 3d didn't get in the way too much, one or two fun little trickshots but overall not a big issue

are there like mad max comics or something that this was based on? b/c the world seemed way too developed for a blockbuster series reboot deal

Okay, if this is going to be "cool things that are in the film" I might peace out here, keep it down until the film has actually been out for 24 hours folks?

sucks that everyone died at the end tho

hated that they bought Jar Jar back for this one

Efforts to lower my expectations greatly appreciated (watches clock for next 10 hours)

accent wise the film the leads are very messy

theron was doing her american accent. hardy... i dunno. he sort of split the difference b/t aussie, brit, and mealy-mouthed something-or-other.

for cinephiles i caught at least three extremely rarified john ford references in this thing

actually one is sort of obvious

Stagecoach, I'm guessing?

is Tom Hardy nude in this

You're asking if we go beyond Thunderdong

recommend a double bill by retconing Locke as a pre-apocalypse prequel

there were so many suggestive things sketched in this film

I loved this, and thought it further underscored Miller's genius as a visual storyteller. There were so many little fleeting things in here with so little explanation, but unlike your usual Hollywood random chaos generators, they all made sense. For example, the hierarchy of the various civilizations, or the mechanics of the car chase people on those pole vault things, or the "blood banks," or the chrome spray paint, that chastity belt, the tattoo on Max's back, and so on. So many random, seemingly incidental details backed up or revealed through action rather than dialogue or exposition.

And yeah, lots of Stagecoach. Also, need to the note the flat-out fight choreography, too. Not just the car stuff, but all the stuff of people fighting while pinned down, or chained together, etc. Almost like Jackie Chan levels of invention.

I did sort of wish it was an all Aussie accent fest, but whatevs. Tina Turner set the stage for the evolution of post apocalyptic outback speech, and besides, this movie might as well take place on Mars.

I think many action film directors could learn a lot from studying Miller. The theater I was at has pre-show stuff on the screen that's mostly clips from other films that are either related or in the same general genre and some of the more recent clips including chase scenes had absolutely zero thrills compared to a ten second clip from The Road Warrior!

Not to mention the work the film did showing instead of telling. There were all kinds of background characters, places, and situations that had no expository dialogue but were completely clear in intent.

I almost blinked and missed Immortan Joe's defeat, but tbh having him get killed in a lightning quick flash of violence was kind of fitting

Something carried over from the first three that I appreciated is that the baddies essentially have no fear and show no pain. One of my fave moments from the second film comes when that henchman tries to catch the boomerang and loses his fingers. Everyone starts laughing at him, and then he, cradling his bloody hand, starts laughing, too. Or Ironbar in the third movie, who takes a lickin' and keeps on tickin'. The implication being, more or less, that if you've made it this far, it takes a lot to stop you, typically no less than an explosive car crash but usually much more than that. It also fits into the establishment of a society of survivors, some weak and totally helpless, the others strong and totally ruthless.

btw there's a joke in the wives' name scheme

Splendid
Capable
Fragile
Hope
Five Wives

I don't get it.

the fifth name choice is completely uninspired and is just called Five Wives

*one of these things is not like the other* music plays

That's not her name, though? At least I didn't think so.

Rosie Huntington-Whiteley as The Splendid Angharad
Riley Keough as Capable
Zoë Kravitz as Toast the Knowing
Abbey Lee as The Dag
Courtney Eaton as Cheedo the Fragile

I took them off Rotten Tomatoes, could be wrong! Or maybe Joe had different names for them

mea culpa, I have been misled by the errors of crowdsourced info

The joke's on you!

i guess her dirty fingernails oscar bid Monster stands out the most.

she won, you know

She's one of my favorite actors, and she's been in so much random stuff. And probably my favorite "Between Two Ferns," too. Totally game for good stuff and garbage alike.

Charlize Theron holding up the grand tradition of very good actors winning Oscars for their worst performances.

well I guess her turn in Arrested Development wasn't eligble

she is almost /too real/ in Young Adult

her life is kind of the complete opposite of that character's, which makes it more impressive

seeing in one hour. stoked

got my ticket for tonight!

so i totally missed the fact that Immortan Joe actor = Toecutter until reading a review after

I'm going tonight. Haven't been to the cinema in years.

ao scott says see it in 3D--is he wrong?

the director says not to see it in 3D. so... take your pick, i guess.

I was worried about seeing it like that but I thought it was totally fine in 3-D. but I'm planning on seeing it in 2-D, probably like five times.

dammit i'm going to be in the country all weekend.

might have to ramp the civic off a bridge abutment

Seeing this in a few hrs!

i'm not one of those people who gangs up on a critic who doesn't like some blockbuster i happen to like, but jeez mick lasalle: http://www.sfgate.com/movies/article/Clever-touches-enliven-two-hour-Mad-Max-6263383.php

(he's kind of infamously terrible anyway)

i mean there are a number of objections one could reasonably make to this film, and some other folks have made them. but i don't think mick lasalle gets cinema.

he does seem to have notice the subtle ramping/frame-rate shifts that at first i thought was the DCP going a little funny.

mick lasalle is a twit

i guess it's no danny collins

I'm usually one of those people who admires critics taking a stand against 98% Tomatometer blockbusters. But this time ...

or chappie

(facepalm)

Yet “Chappie” is invested with such humanity, such a seemingly effortless delicacy of feeling, that it makes one suspect that, even if movies continue in this machine direction, they’ll never fully give way to machines. When you get to the level of art, there’s a human strain that’s irreducible, that has to be there, or else there’s nothing.

lots of there there

chappie

effortless delicacy of feeling

mick lasalle makes more sense if you read it in andy rooney's voice

oh the overcranked camera is so unsubtle, thats why its awesome - totally a reminder of the first two films - and just makes everything seem more intense. relentless is the word.

actually sorry - technically its the opposite of overcranking isn't it? come on film scholars.

that Road Warrior clip that played before my showing had overcranked camera! it's definitely awesome

I don't care what it is, it's awesome

what's an overcranked camera?

undercranked iirc

Yes.

there are some obvious instances of under and overcranking, as in the earlier mad max films, but there are also some subtler instances of frame-rate shifts, even in non-action scenes.

what's an overcranked camera?

― kurt kobaïan (upper mississippi sh@kedown)

visit the gay thread

http://en.wikipedia.org/wiki/Slow_motion

Reckon I'll go catch a matinee of this in a little while.

waiting for a Randian interpretation of this movie that frames Immortan Joe as the hero...

he seemed to have his own feudal society that wasn't doing that bad

I mean sure, he was the leader of a death cult, but he was the only person for thousands of miles in any direction who had successfully grown a plant

the only person for thousands of miles in any direction who had successfully grown a plant

wait what? what are people eating?

beetles and lizards

and what do they eat, sand?

*makes v-sign in front of mouth, sticks tongue thru it*

i like to think of the guitar dude in this movie as a homage to Deliverance. loved the guitar dude by the way....

Believe the hype

the literalism of the guitar dude, and that it worked, was a high point

This was awesome. See it on the biggest screen possible.

Also make sure to see it true Surround Sound, with volume cranked up to 10. This movie should be a lock for the Sound Mixing Oscar.

There's ramping in this, and then there's also overcranking. Overcranking is, I believe, where things are sort of sped up, for illusion, a la the car chases in the first two films, paid homage in this one. Ramping is more stylized, a la "300," and to my eye more "contemporary," and I also I think more cheesy. Like this amatuer example:

https://www.youtube.com/watch?v=o0Lb0qpF80A

The ramping I most noticed at the beginning, but I can't remember if I just got used to it or if it went away.

I'd like to think that in this world people have sort of evolved beyond the need for food. They're not quite human anymore.

this might be my favorite in the series. holy shit...what a visually stimulating film with just the right emotional beats.

and lol at the chronic guitar player guy....

discussed upthread, but as i understand it, film is undercranked (fewer frames exposed per unit of time) to make the action look faster when played back at a fixed frame rate. overcranking (more frames exposed) is what you do for slo-mo. not that i'm any kind of expert.

there are some obvious instances of undercranking in Chaplin

both are used to great effect in Crank

Fitting, as Miller always cited Keaton's "The General" as an inspiration for RW's car chases.

xpost

Fitting as Miller always cited Keaton's crank as an inspiration for RWF's Fox and His Friends.

in the silent era there wasn't a single standard speed, either for shooting or projection. for a long time, cameras were hand-cranked, so the speed of cranking the film through the camera actually determined the speed of motion that would eventually be on screen. if you crank faster, you're exposing more frames per second of action, so the result in projection would be slow motion. if you crank slower, the result will be fast motion.

throughout the silent era certain segments or scenes would be subtly or not-so-subtly sped up or slowed down, sometimes somewhat irregularly. actually, you see this quite a bit in the sound era too, but only for scenes that were shot "wild" (without synch sound)...for obvious reasons.

and even when they motorized cameras you could still override the motor and crank it manually. usually. of course nearly all of the speed-of-motion effects in contemporary films are achieved digitally, in post-production.

there is some ramping in this film, for sure (as there was, avant la lettre, in road warrior), but it's used differently from e.g. 300.

and i think the play with speed of motion is much more pervasive in this film than in other recent films, to the point where it's not even an "effect" anymore and really just one of miller's basic filmmaking tools.

Gonna check out the crank in about 30 minutes.

have a lovely day!

http://en.wikifur.com/wiki/Furries_Off_Road

The point at which you realise that some of the music is, ah, diegetic is one of the many great moments in this fucking astonishing film.

that two note string stab that kept popping up killed me every time.

kinda reminded me of this business from leos carax's pola x with an army of guitarists (including bill callahan) playing scott walker:

https://www.youtube.com/watch?v=80xOJ2I2oVc

Cot damn. Along with every other aging nerd of my generation, I've seen the playroom of my adolescence raided for parts so many times now that the prospect no longer offends and rarely entices me. Star Trek, Star Wars, Raiders, Alien, whatever. Take it all, churn it to shit, see if I care. After the heartbreaking artistic faceplant that was Prometheus, I'd pretty much given up on these sorts of retried treats. I should have known better. If there's anyone who can tool a bloody- knuckle, road-raging death machine out of spare parts, it's George fucking Miller. I feel like an overstressed carbeurator into which some lunatic has just spat a mouthful of pure nitro. A lovely day indeed.

I saw it in 3-D, which was cool, mostly because I now get to go back and see it in plain old movie-D. And stare vacantly into that stupendous vortex of CRAZY-ASS NONSTOP VEHICULAR MAYHEM like the sweaty, crack-brained adolescent I once was (and of course always will be). Holy shit you guys. I mean like for real.

Caveat: this movie would have been improved significantly had some sensible person simply taken a small red pen to each instance of the words "hope" and "redemption". For a movie so praised for its visual storytelling, Fury Road lays on the thematic underlining with a hefty trowel. Minor quibble, though. I mean, somebody gets a credit for "Wheels and Skulls".

carax should direct the next mad max IMO.

xpost

lays on the thematic underlining with a hefty trowe

well, the /two/ instances when they mention 'redemption' are pretty on the nose, but it's not like they talk about it over and over again

Man I hate posting by phone :[

Lol, occurs to me that this is pretty much a do-over on Thunderdome, all kooky and baroque, with a villainous monarch and a big reach for redemptive uplift. If so, I'll take it.

I think what I loved most was the dispensing of explanations, of letting weirdness signify without exposition. An obese dude in a car neurotic about ledgers? A tribe of aging Amazons? Why is Furiosa and Joe's relationship? This was the first time in years that I was dropped into a movie and, like, forced to learn its language and mores. The best part? At the end I was no closer.

contenderizer: it was two lines.

Miller has talked a lot about how he is really into the idea of Mad Max as a form of visual storytelling, transcending language/culture - the deliberate lack of dialogue/exposition & related ramping up in the visual spectacle gives more people a way in to enjoy the movie. I am really excited that he seems to have pulled that off

tomorrow morning 11:15am i will have my own lovely day and i cannot fucking wait

may rewatch road warrior tonight just bc i am so excite

you don't need another hero!

contenderizer: it was two lines.

with "hope", four or five. thing is, i am delicate and wince easily. kept thinking this was supposed to be a show-don't-tell type thing. let's get to ramming.

Mitigated by the smart decision to let every actor not Theron and the women mumble lines.

Here's one of my demurs: although the editing is superb, the action isn't as legible as y'all have said.

toys of all this cars

i was gonna say, half of the times max is talking about "hope" he sounds like this: "mmmmmmgggmmmhopemmmmwhazzitheperrrrhop."

Tom Hardy's pink mouth is an effective visual effect.

i would like to rewatch this with subtitles

i couldn't make out about half of the dialogue (bad guys mostly)

I understood it all

my curse

A detail I loved was the weird stilt-walkers in the former green lands. Only shown in one shot as the rig drives by and not explained at all, but they add to this sense that the desert is actually a rich ecosystem and full of hidden life.

yep!

If only Tom Hardy had kept the mask on. I thought he was really good before he started having lines.

kinda wanted the storm scene and the crow walker scene to go on forever.

carax should direct the next mad max IMO

The closest we'll ever get to that is Luc Besson's Le Dernier Combat.

I think what I loved most was the dispensing of explanations, of letting weirdness signify without exposition. An obese dude in a car neurotic about ledgers? A tribe of aging Amazons? Why is Furiosa and Joe's relationship? This was the first time in years that I was dropped into a movie and, like, forced to learn its language and mores. The best part? At the end I was no closer.

― The burrito of ennui (Alfred, Lord Sotosyn), Friday, May 15, 2015 8:51 PM (3 hours ago) Bookmark Flag Post Permalink

yeah, this is exactly what i loved about the movie, and why it felt like it was based on a graphic novel or something, it seemed suggestive of a world that someone built over time. i never saw thunderdome, though, so idk to what extend the ideas were borrowed from that

Loved this. How about a round of applause for a modern reboot not chock full of winky "easter eggs" & "fan service"?

don't call it a reboot

or comeback

Every single second of this movie where people were in cars was amazing. Every second the characters spent talking was not. Thankfully that was only the squishy middle and the shitty coda. But wow those chases.

it felt like it was based on a graphic novel or something

co-writer (and designer of much of the film's world): http://en.wikipedia.org/wiki/Brendan_McCarthy

they storyboarded the whole thing; like, the storyboard WAS the script so in a sense it is kind of a comic book of sorts

rewatched Road Warrior...I AM SO READY FOR THIS

This was pretty great.

Only explicit callback I caught, aside from recasting the villain from the first movie, was ... the music box? And maybe the shotgun misfiring?

One weird thing (of many weird things): those flashbacks/visions Max keeps seeing, they are almost all of a little girl, but once (I think?) they're of an old aborigine.

They're of a lot of things - whether this is the original Max or not, it's clear that he's seen a lot of people die.

I think one of the early visions might be of one of the later deaths? Oh well I guess I'll have to see it again to be sure.

Hardy's definitely the worst thing in this

Hoult the MVP

Hardy's definitely the worst thing in this

Better.

I did find myself confused a little during the climactic battle - one character's fate in particular I'm still unclear on - but otherwise this was as enjoyable as all have indicated.

I'm a little annoyed at the pre-post mortems shocked at the triumph of the built for broad box office sing-a-long slog Pitch Perfect 2 over a hard-R Road Warrior movie. Well, yeah.

i think the only movie i've ever seen with tom hardy in it is blackhawk down. and that was his first movie. fun fact: he used to be a crack addict!

he's playing the kray brothers in an upcoming movie. just like spandau ballet did. britain needs to get a new crime legend.

finally saw the brit football hooligan movie starring jax teller and the hobbit. you guys ever see that? it's pretty good. directed by the woman who directed the excellent punisher movie. i don't think i knew that jax was british in real life!

installment of a 30-year-old "franchise" not gonna get maximal Generation Instagram box office

you should watch Bronson, scott!

Beginning to feel like that's only decent Hardy performance and even that I am wondering how much is just Refn editing.

Jax is a terrible actor and I hated that football hooligan film.

Hardy was great in The Drop tbh

and Locke!

maybe i just liked that hooligan movie cuz i'm an oi! fan...

i think i didn't watch bronson because i read that there were "fantasy sequences"...

for some reason that made me not want to watch it. i adored valhalla rising and i am a drive fan for sure. i stopped watching only god forgives. thought it was really dumb. and kinda pointless. like a von trier action movie or something. still want to see the pusher movies.

he's pretty good in Locke but that movie is maddening.

kinda weird that he's made so many movies i've never seen. i watch a lot of movies.

but then i see stuff like...screenplay by nick cave and starring shia laboof...and i know why i haven't seen some of them....

I liked him as Heathcliff in the Masterpiece version of Wuthering Heights. But there's something about him that bugs me...he always seems kinda sullen & sulky

also mimi leder movies with antonio banderas that go straight to a redbox outside the cvs...

Xpost He mumbles in that one too.

The bootlegger movie.

Lawless is kinda fun, but weirdly insubstantial. It's certainly no Proposition.

he mumbles in the drop too but it's right for the part

i didn't see inception cuz i'm allergic to leo. and i never enjoy batman movies so didn't see his big bad bane role.

sweet shitting christ this movie is amazing. amazing

still want to see the pusher movies.
--scott seward

They're amazing.

it just occurred to me that the last george miller movie i saw in the movie theater was the witches of eastwick!

i don't think i saw the happy feets at the movies but all the kid movies are a blur....maybe i did...

last movie with people in it anyway!

Babe 2 has people in it. I saw that movie I want to say on Christmas day. The theatre audience was me and my wife, a couple with a crying kid, and some dude alone who just laughed the entire time. That sums up the movie pretty well!

lol

http://i.imgur.com/9ilgCJd.png

some dude alone who just laughed the entire time.

totally in character imo

Watching Hardy in Lawless I found myself wishing they'd cast Vin Diesel instead.

"Always Cast Vin Diesel" is my official motto.

His problem in Mad Max is that he isn't even convincingly sullen. He just looks confused.

That's not her name, though? At least I didn't think so.

Rosie Huntington-Whiteley as The Splendid Angharad
Riley Keough as Capable
Zoë Kravitz as Toast the Knowing
Abbey Lee as The Dag
Courtney Eaton as Cheedo the Fragile

>
>
The dag is a slagging term isn't it?
Maybe taht has been answered in the interim. But I thought dag was used to describe the kind of creature one copped off with through seeing through beer goggles.
maybe this will be explained when I see the film which will hopefully be very soon, next few days. Don't think I'm going to make it into Sunday morning showing tomorrow so probably the early Monday or Tuesday one.

J.G. Ballard's daughter is on twitter praising the heck out of this movie

she knows what's up.

If only Tom Hardy had kept the mask on. I thought he was really good before he started having lines.

― jmm, Friday, May 15, 2015 8:22 PM (Yesterday)

Hardy's definitely the worst thing in this...Hoult the MVP

― Number None, Saturday, May 16, 2015 2:42 AM (9 hours ago)

Yeah, Hardy really is a weak link. Was dying for him to take off that damn mask...until he did and started saying things. I first saw him in Refn's Bronson and agree w/ others upthread that it's still the only reason to think he might be a capable actor. Theron is effective if not exactly charismatic as what amounts to Mad Maxine, while Hoult gives the film a human center and is by far the most interesting and engaging screen presence. Want a Nux-centric sequel.

Doesn't he pretty obviously die?

His problem in Mad Max is that he isn't even convincingly sullen. He just looks confused.

― jmm, Saturday, May 16, 2015 11:04 AM (1 hour ago)

delivery of his big line (you know, towards the end, to furiosa) is so completely and strangely botched. how hard can it be to introduce yourself?

Doesn't he pretty obviously die?

― ultimate american sock (mh), Saturday, May 16, 2015 12:54 PM (32 seconds ago)

yes, but only pretty obviously. comic book rules.

co-writer (and designer of much of the film's world): http://en.wikipedia.org/wiki/Brendan_McCarthy

― he quipped with heat (amateurist), Friday, May 15, 2015 10:17 PM (Yesterday)

the new mccarthyism has been one of my favorite artists in comix for over 20 years. so great to see his name on this.

looking forward to the vegemite review

i'm guessing ALL CAPS.

She's plenty charismatic. If it weren't for Theron, I wouldn't have been pissed off the theater audience by jamming my ear onto the screen to make out what Hardy's saying.

A detail I loved was the weird stilt-walkers in the former green lands. Only shown in one shot as the rig drives by and not explained at all, but they add to this sense that the desert is actually a rich ecosystem and full of hidden life.

― jmm, Friday, May 15, 2015 7:39 PM (Yesterday)

OTM! I've always treasured The Adventures of Buckaroo Banzai as a exemplar of this approach. During an early scene, a newly-inducted member of the Hong Kong Cavaliers is given a whirlwind tour of their lab. He notices a strange object trapped between a pair of pressure plates. "Why is there a watermelon there?", he asks. Reno, his guide, says only "I'll tell you later. He never does, of course. It's just a throwaway gag, but it neatly encapsulates the film's world-building strategy. Nothing is really explained. Instead, we're simply thrown through a series of strange situations and have to pick up what we can as we go. This forces us to make connections, fill in the gaps, and what we can imagine is limitless.

Star Wars might be the king of this. During the film's opening scenes, we bounce off fantastical spacecraft, plunge through laser warfare, glimpse possible friends and foes, and are suddenly dumped out into space from which we tumble to a trackless desert. There we wander lost until being scooped up by weird little monsters and trapped in a fortress-sized garbage truck among a bunch of junked robots. We're then auctioned off to wonder about "moisture vaporators" and "womp rats". We don't have to be told that Tatooine is a backwater or understand anything about Leia's mission. Everything becomes clear to us from context, and as in Buckaroo Banzai, the film manages to imply a coherent world far larger and more elaborate than anything we're actually shown onscreen.

She's plenty charismatic.

I accept your correction. She's plenty charismatic but lacks the hangdog charm that Gibson brought to a similar role. That's what I was trying (and failing) to say.

but she's not supposed to be hangdog! She would hang dogs!

yeah, but charm is a crucial intangible in these sorts of stoic, squinty-eyed action films. gibson had it, so did eastwood, and it's a big part of why their better films are so fondly remembered.

The casting of Hardy is a flaw the movie overcomes with Theron.

btw here's Phil on the film in the "Last (x) movies you saw" thread:

Um, let's see...they could have just named Charlize Theron's character Maxine and left Hardy out of it entirely (which I'd have been fine with, both as a movie and because I fucking hate Tom Hardy). More than that, though, the worldbuilding was utterly nonsensical (how'd the villain get a giant metal bank-vault door up the side of a mountain? How come all these people are incapable of farming or doing any other survival-type activities, but have endless hours to customize their cars? What do they eat? When/where do they shit?), to the point that it made me wonder how come they don't put Matthew Barney movies in multiplexes if people are so willing to gobble down this kind of jabbering nonsense as long as it's superficially pretty and has girls 'n' cars 'n' guns. (It was only just barely pretty to look at, by the way, and yeah, fine, there were actual cars moving down an actual desert "road," but they were basically painted into such an absurdly fake background landscape half the time—shit, that fucking storm looked like something out of Sin City, and so did the "GasTown" and "Bullet Farm" villains, while I'm on the subject—so half the physicality was lost on me because my brain was going, if the colors are this phony, how can I trust any of the other shit I'm seeing?) It's gonna take a lot of re-viewings of The Road Warrior—which at least looked like it took place in an actual world actual people actually lived in—to scrub the taste of this one away.

― the top man in the language department (誤訳侮辱), Saturday, May 16, 2015 3:17 PM

i dunno, i just enjoyed the Speed on a truck quality of it. the plot is basically: they went someplace. then they went back. which i like. cuz i'm kind of a simpleton.

This was a huge amount of fun in the moment, but I definitely get where 誤訳侮辱 is coming from. It reminded me a lot of Scott McCloud's "Destroy!", a 32-page context-free fight scene.

http://www.scottmccloud.com/2-print/older/destroy/destroy.jpg

I got the idea when I first heard people complaining about a Marvel comic called SuperBoxers and claiming that it was "nothing but senseless violence from beginning to end." I thought this sounded cool, but was disappointed, upon acquiring a copy, to discover that SuperBoxers included a plot, characterization, and other distractions. It wasn't PURE. Destroy!! was my attempt to get it right.

Still, definitely worth seeing, and the big screen experience is a must. I seriously doubt I'll ever watch this at home.

or maybe it just didn't give me any time to question anything. i was too busy being fourteen years old. i was watching Shooter the other night and basically every second of that movie is implausible. and they gave me plenty of time to have that register. and i'm a big fuqua fan in general.

okay, now i want to find a copy of Destroy!! even Lobo and Judge Dredd often had too much plot for me.

which is why i adored that last Dredd movie so much. perfection!

More than that, though, the worldbuilding was utterly nonsensical (how'd the villain get a giant metal bank-vault door up the side of a mountain? How come all these people are incapable of farming or doing any other survival-type activities, but have endless hours to customize their cars? What do they eat? When/where do they shit?), to the point that it made me wonder how come they don't put Matthew Barney movies in multiplexes if people are so willing to gobble down this kind of jabbering nonsense as long as it's superficially pretty and has girls 'n' cars 'n' guns.

Nonsense is a good thing, and believable matters not at all. Does it feel right, that's the question. I think it does.

It felt right, but it also felt as much like a formal exercise as a story.

i thought it was a little mean that she didn't want to rescue the milk maidens and just took the babes with her to amazon town. that's about the only thinking i did while i watched the movie.

How did they build the pyramids, etc

"how'd the villain get a giant metal bank-vault door up the side of a mountain?"

This can't be a serious criticism?

I mean, it all makes as much sense as The Road Warrior, in which everyone fights over gasoline - the film's scarce and precious Macguffin - yet they are all constantly driving round and around and around just for the fun of it. Who cares?

Well, this was FUCKING AWESOME.

also to be charitable, maybe the vault was already up there, like the whole complex is some obscure survival from the pre-apocalypse.

Honestly, if you're going to enjoy movies like this you have to just go with some of these things

Yeah, I saw someone complain that 160 days on a motorcycle is sure to get you to the coast in Australia, which of course presumes this movie is even set in Australia, or that the oceans are still filled with water, etc. Besides, if they can winch up huge trucks and cars, they can winch up a metal door or whatever. Similarly, settling up civilizations in this post-apoc world would be pretty easy. It's protecting yourself from the crazies that makes life tough. So it's not just a matter of farming, it's a matter of protecting the farm from the lunatics that want to take it from you. The system set-up in this world is strictly totalitarian, with the strong "protecting" the weak in exchange for servitude.

Surprised no one's complained about Furiosa's arm. "There's no way they have the technology to make a cyber arm, boo."

First I need to fulfill my obligatory all-caps quota

OMG OMG IT FINALLY HAPPENED AND IT WAS EVERYTHING I DREAMED OF. AND MORE.

LIKE DID I SERIOUSLY ACTUALLY JUST SEE THAT IN A MOVIE THEATER

:D

There were so many things that I loved about this, and only one small gripe.

The fluidity and constant motion of this movie was fucking incredible. Exhilarating. We got in the car afterwards and I wanted to race everyone, lol.
And the audacity of those vehicles. My god. It's like The Cars That Ate Paris x 10,000. And the thing that just delighted me was that everything from the first movies is in there but on a beautifully grand scale; the money is well and truly on the screen and the level of detail is just thrilling.

Having Hugh Keays-Byrne back was an awesome touch -- and even with all of the makeup appliances and the fact that you don't actually get to see his mouth at all, he still gave a great performance. And there were so many great cameos --- fucking QUENTIN even.

Am really impressed by the storyline for Theron and the girls; Theron kicked so much ass in this, I really enjoyed what she did here.

Overall this was fun fun fun. We laughed constantly through it -- dunno that the whole audience really caught as much of the humor as i expected them to. But there was a woman with about 5 little kids with her, all of them under 10. And you could hear them laughing through the movie so I guess that's something lol.

My thing with the deep analysis of the apocalyptic world is that it willfully ignores the biggest truth about Miller's Mad Max. He's making cartoons with humans. If you stick with that it keeps you out of the whole 'Well you KNOW: if they didn't drive all those CARS they wouldn't need all that GASOLINE and why don't they stick to farmland and ride horses and why pump the water all the way up into a mountain if it's coming out of the ground' etc

BECAUSE IT LOOKS FUCKING COOL YOU GITS

My small gripe is that Tom Hardy didn't bring much, if anything, to the table. I think a lot of it has to do with what was happening on set. Hardy apparently wanted a lot more micro-directing from Miller than he got and to me it showed on screen (background here: http://www.vanityfair.com/hollywood/2015/05/tom-hardy-mad-max-apology)

Granted Max doesn't have a huge role in this movie, but he's the through-line and I wanted to care. He's the spine. The fact that I cared at all about Max was only on the back of the previous movies. Hardy just made me miss the hell out of Gibson. Or at least made me miss an actor with a bit more maturity who maybe needed a little less babysitting. idk. That might be unfair. I just feel like the scale of the movie, plus how noticeably other actors around Hardy, including Theron were really going for it made Hardy's lack of energy much more noticeable.

It's not so much charisma that was needed. He just needed to be believable and he wasn't.

But otherwise: GEORGE MILLER YOU LITTLE RIPPER

oh and PS: a dag is basically just a dork. someone who is kinda silly and unfashionable. or more literally: poo that hangs off a sheep's bum.

ew

:D

http://www.susiewatsondesigns.co.uk/GCJ005-Greeting-Card-Thank-Ewe-1200.jpg

Hardy sucked, everything else rocked

Two hour Q&A with DP John Seale (who came out of retirement for this!) and his second unit director:

https://vimeo.com/127381179

Also, nice interview with Seale here: http://www.hitfix.com/in-contention/how-mad-max-fury-road-lured-oscar-winner-john-seale-back-behind-the-camera

George has an amazing idea of how the film should look. Technically, he asked us to center frame at all times. Whatever the point of interest was in every shot, whether a close-up or a wide shot, that had to be in the center of frame, so that as he cut it — and it's cut very fast, as you know; I think the average length of the shots in the movie is 2.3 seconds, George told me — he didn't want the audience to have to search for that point of interest. The cuts would occur and your eyes didn't have to move from one cut to the other. I found it fascinating.

gah so cool

My ADD bf wanted to see this but lost interest after the first half hour. I didn't expect to like it so much but was transfixed. Idk what that says but something something feminism.

Fucking badass Theron going home to her Many Mothers amazon roots I was FEELING IT. There were about 5 different places it could have ended tho instead of going all the way back but I guess with the actiony literalism it had to reach that conclusion.

the biker women really elevated the movie, and i loved how proudly weather-beaten & wizened they were. like now this cast is 50% women & oh hey they are ALL going to kick your asses

OK Theron's accent sucked as much as Hardy's. Isn't she SA? That would have been great.

Veg OTM re cameos - "haa, that's Quentin!" was like "haa, that's Cookie!" in #2

holy shit guitar mental was played by iOTA!

i didnt even cop that theron was even trying an accent! lol. hardy's was garbage, he sounded south african...four words into his narration at the beginning i was like "dude, stop"

xpost whoa i had no idea! awesome

he used to live upstairs from me

Theron is doing an American accent throughout

great photos in here

http://www.esquire.com/entertainment/movies/news/a35036/mad-max-fury-road-behind-the-scenes-stunt-pics/

theron's stunt double took an INSANE photo from inside war rig, flames & an airborne motorbike just like aaaahhhh \m/ feverdream

So Hardy wanted some actual direction? What a diva

it didnt seem to bother anyone else

MEDIOCRE!!!!

That bootlegger movie is so ridic & fun

Armond has words for the yahoos in the audience:

When Spielberg decides to scare you, you’d better duck.” But the millions of people excited by the Internet trailer for George Miller’s Mad Max: Fury Road aren’t just ducking, they’re bowing down. The odd thing is, film culture has changed so much since the 1993 Jurassic Park that trailers (a tool of marketing) have become the end-point of interest in movies. Jurassic Park’s F/X spectacle was the event; now the sell is the event. Those who were teased by Fury Road’s trailer will surely prefer it to the two-hour-plus movie. Who can blame them? But that preference signifies a huge problem.

Fury Road continues the end-of-civilization premise from Miller’s 1980s Mad Max films, which starred Mel Gibson (Beyond Thunderdome was the best of them). Tom Hardy, playing survivalist-loner Max, joins a group of runaway female concubines, led by Charlize Theron’s Imperator Furiosa, zooming for peace and regeneration in a dystopian world. With few explanatory narrative details other than the elaborate cartoonish freakdom (“Mankind has gone rogue! The Earth is sour! Who killed the world?!”), it’s all just nonstop road-rage violence. Director-writer Miller capitulates to the low instincts he originally pandered to more than 30 years ago. He’s gotten better at it — demonstrating lotsa panache — but the problem is that popular taste has degraded into an appetite for outlandish destruction and fantastic cruelty. The pop audience (and not just youth) has become like the crazed yahoos Miller depicts on screen without exactly satirizing them.

when even Armond is forced to admit a movie's got panache you know you've got a solid consensus

but he doesnt think it's THE GREATEST FILM IN YEARS

what a disaster for Mad Max

saw it again yesterday. even better...I want fucking toys from this thing.

well, they can't all be 300: Rise of an Empire. xps

Those who were teased by Fury Road’s trailer will surely prefer it to the two-hour-plus movie.

Says who?

I know it's Armond, but c'mon

*shreds on guitar, shoots flames*

<3

trailer was nowhere near as good as the movie. when I saw the trailer I was excited by what clearly looked like a return to the Road Warrior style, but I was expecting a movie that hits most of the right beats, stumbles a bit, and is enjoyable mostly for having Mad Max in 2015 and being "better than it had any right to be", a 70% Rotten Tomatoes type "kinda just there" flick. Not something that I'm probably going to see three times in a week addicted OMG is this really happening film.

Yeah exactly

"Remember me?"

Miller’s 1980s Mad Max films, which starred Mel Gibson (Beyond Thunderdome was the best of them)

oh armondpaws

i know someone IRL who says the same.

if you think having a strong opinion about which Mad Max is illuminating, GAFL

is best is illuminating

xxxpost I really loved Theron's performance, especially her facial expressions that were way more penetrating than the few dialogue-heavy pathos-y scenes. Her look at the end after she is stabbed and presumably gravely wounded, the look of "have to keep going" and just remaining alive long enough to finish the mission was powerful.

tell us more about how 'above' these films you are

"if you think having a strong opinion about which Mad Max is illuminating, GAFL"

Aren't you pretty much undermining your entire reason for existence with this statement?

damn, YOU GOT ME!

So far brendan mccarthy's involvement is the sole factor piquing my curiosity. Really dunno if i can tolerate this color scheme for the length of a whole movie.

from what i've gleaned from interviews his involvement with the movie happened over a decade ago. here he talks about his designs for it and how other creative teams refined/changed them as years of development passed:

http://www.comicbookresources.com/?page=article&id=54991

yeah, I met him (microbriefly) around '01 and he'd been out here working on it for a year or two

Shakey - I was put off the whole thing by the colour grading in the trailer but it is really part of an effctive visual aesthetic

he recently posted a few design images... many of which date from 97.

http://artbrendan.com/portfolio-items/mad-max-fury-road/

yes, but only pretty obviously. comic book rules.

That is one of the odd things about this, it's a film about violence with no deaths (and a chaste film about rape).

thought it was cool that george miller's wife edited this movie. and that he asked her to do it because he didn't want it to look like every other movie. and that she had never edited an action movie before. grrrrrl pwr!

(probably already mentioned on here somewhere...)

i know someone IRL who says the same.

Ebert liked "Thunderdome" best of the three, too: http://www.rogerebert.com/reviews/mad-max-beyond-thunderdome-1985

Me, I love "Thunderdome," and think this one as as much in common with that one as it does with "RW" (the original "MM" being the most exploitation-y outlier).

*shreds on guitar, shoots flames*

― ultimate american sock (mh), Sunday, 17 May 2015 15:07 (3 hours ago) Permalink

I liked this a lot too. There was a moment where I felt like I was going to fall into the screen(not 3d, I've still never seen a 3d film); never felt that before. Especially odd as it was not a scene looking downwards but straight ahead.

I liked Hoult a lot in this.

If I had to quibble, I think the big storm was too early in the film; it was the highpoint for me and I don't think anything later on topped it despite all the brilliant elaborate action.

I assume Miller is making this the last Mad Max?

Just want to state again I'm still annoyed at people who recommended 300: Rise of an Empire, saying stuff like "it's way funner than you'd imagine and outrageously camp". It isn't, it's just as dull or duller than you'd expect.

He apparently has more Mad Max scripts in store, and Hardy is signed on for sequels. Next one is called Mad Max: Furiosa.

I stopped noticing the 3D after like five minutes, except for the odd times when a projectile or musical instrument flew at the screen. That seems to be my experience with 3D movies. Avatar was the same.

i heard an interview where he said he has 1 screenplay + 1 novella, so at least 2 more sequels

he said the next one was tentatively titled mad max:wasteland

my favorite thing in the whole movie was that spectacular crash inside the storm where stuff keeps on exploding as it flies past like slow mo fireworks

my jaw was on the floor

Miller got on twitter tonight, acrued ten times my followers in 9 minutes.

i have been trying to remember if i saw Thunderdome in the theater or not. i was only 9 when it came out so i am not sure.
i have a feeling that this is my first cinematic Mad Max which is kinda weird!

also when Mr Veg and I first spoke on the phone after many years of emailing one of the first things he asked me to say was "Remember lingerie?" and "Ay ay ay"
It was kind of rad that we got to experience this one for the first time together

If the sequels come around I really hope he's able to keep this level of quality. It's really weird to see a big action blockbuster that I like and doesn't feel compromised. I hope it stays that way.

yup, this was awesome

after this he can do whatever the fuck he wants

Did this do better or worse than predicted at the box office this weekend? 45 million in the U.S. feels pretty low even taking into account the audience limiter that is an R rating.

I imagine this will have legs though. Plenty of positive word of mouth.

it did 44

it was only predicted to do 40-50 bcz of it being R Rated etc

i feel like it may have legs through sheer word of mouth tho

this is too violent for me to take my 9-year-old to, right?

every 9 year old is different. i wouldn't have taken mine. wait, he just turned 10. but i still wouldn't have taken him.

took my 12 year old.

well, that depends on box office, i suppose.

i've been guilty of this too, but people showing up merely to express how "above" the subject under discussion they are are really leaving the opposite impression.

people who discount the validity and craft of kinetic cinema—-and think they're smarter for it--will have to reckon with eisenstein.

xpost -- i meant what miller gets to do next depends on box office.

i'd be willing to bet that a studio would bankroll another mad max, but i could also imagine miller losing interest if it becomes a drawn-out process. he's 70 y.o. after all.

then again, he worked on this one for years

there was a crowd of like 5 or 6 little kids (bw ages of 8-10 i would guess) in my theater

they all seemed to like it

cyrus is weird about what he gets freaked out by. but he's not big on guns. he didn't like the new avengers movie. he saw that today. he liked guardians of the galaxy a lot. but who didn't? he had friends over for a birthday sleepover and they watched Avatar. they took like ten intermissions though because in case you forgot Avatar is 8 hours long.

(basically he still likes animated stuff a lot. we watched frozen again the other day. which is fine by me.)

It's weirdly neither sadistic nor particularly explicitly violent, given how it is really nothing but non-stop violence. But I would never gauge what my kids could or should see based on the idiots who take little children to all sorts of shit they should not see.

I've seen more than one headline referencing the fact that it got "PItch slapped" at the box office.

Weird way to frame it. Doubt there's a significant audience overlap. Hard to resist that killer pun I guess.

he liked guardians of the galaxy a lot. but who didn't?

wait can i take my 9-year-old to that because i myself would like to see it

this was full stop a masterpiece of its form

& to be clear I do not say that about like the average marvel blockbuster or w/e (even though guardians came close to legit classic level despite being beholden to marvel studio rules etc etc), this is something else

Only problem with the storm scene is I couldn't help grieving a bit for Furiosa's crew, especially her driver's side helper. She was their trusted Imperator and they'd just battled Buzzards together, and then they got sacrificed. ;_;

I assume Miller is making this the last Mad Max?

4 and 5 were meant to be shot together, but I think that fell over when they had to move to Africa to shoot

Hardy is signed for another 2 iirc

i felt bad for those motorcycle dudes in the hills, they kind of got screwed

how badass to be riding dirtbikes in that terrain though. sandpeople PAH

I must have been younger than 9 the last time I saw Mad Max 2 and Thunderdome in full. For most of my kid/teen years I just hated the series because it looked so miserable and ugly to me, but I could totally dig Fist Of The Northstar because everyone looked so statuesque, cool and it had all the extreme martial arts too(cartoons and comics, not the live action film. I bet Tetsuo Hara is loving this new film).
The box set of the first three is in my home so I'll watch those soon. To be honest I probably would have watched them sooner if not for the whole Mel Gibson thing, which also dampened any enthusiasm for this film until I heard more about it.

Is Waterworld any good or a deserved flop?

Waterworld is bad but i like it anyway.

It's not totally terrible iirc (boilerplate RW on water), but it's also not really worth your time.

i like The Postman too.

he is what he is now but mel gibson is a VERY good reason to watch the original max movies. you can't take your eyes off of him.

well, they can't all be 300: Rise of an Empire. xps

― fuck me, archipelago (Simon H.), Sunday, May 17, 2015 9:49 AM (Yesterday) Bookmark Flag Post Permalink

hahahaha lmao

Due to the runaway costs of the production and its expensive price tag, some critics dubbed it "Fishtar"[14] and "Kevin's Gate",[15] alluding to the flops Ishtar and Heaven's Gate, although the film debuted at the box office at #1.[16][17] With a budget of $172 million (not including marketing and distribution costs for a total outlay of $235 million),[2] the film grossed $88 million at the North American box office. The film did better overseas, with $176 million at the foreign box office, for a worldwide total of $264 million.[3] However, even though this figure surpasses the total costs spent by the studio, it does not take into account the percentage of box office gross that theaters retain, which is generally up to half;[2] but after factoring in home video sales and TV broadcast rights among other revenue streams, Waterworld eventually broke even.

Current reputation of Ishtar + Heaven's Gate >>>>>>>>>> reputation of Waterworld. Maybe the latter needs another decade before people call it underrated?

Waterworld has some kinda cool sets and boats that looked like a pain to make, but not so cool that you'd be able to tell it was the 9th most expensive movie ever.

It's still notable that after becoming a reasonably well-regarded actor, Costner's true dream was to start making post-apocalyptic films in the vein of Mad Max

waterworld with an actor as charismatic as mel gibson mightve been p good

Or a director as good as Miller.

he'd still have had to contend with having suspiciously labial gills behind his ears though, which no amount of charisma can really overcome xp

remember when Jeanne Tripplehorn was a thing

http://media.salon.com/2015/02/jupiter_ascending3.jpg

"Maybe instead, if he was, say, some sort of water dog mutant ... ?"

It's not totally terrible iirc (boilerplate RW on water), but it's also not really worth your time.

― Josh in Chicago, Monday, May 18, 2015 9:36 AM Bookmark Flag Post Permalink

this is OTM - not a great action flick, but there are some fun sequences, Dennis Hopper chewing scenery, and generally it looks pretty good. Maybe a bit set-bound, one of those late pre-CGI movies where no matter how expensive it was, through contemporary eyes it feels weird how much time they spend in a given theme-park attraction locale. Funny teal-and-orange inverse of Fury Road actually, with all that blue water and all these swarthy tan humans. I'd watch it before true spaghetti apocalypse stuff like Warrior of the Lost World.

It pushes patience at 135 minutes though - there's a lean, 90-minute, really goofy jet-ski bandit movie somewhere in there but Costner's portentous unlikeable lead really slows things down. See a few scattered posts here: The 1990s science fiction movie poll

Not to get my Morbs on, but one of the things I really liked about Fury Road (and I suppose previous Mad Maxes) is the lack of Big Name scenery chewing villains - you get a bad guy, and he has a certain style, but you don't get the impression that anyone demanded a scene where he really lets you See His Point Of View. It's enough that Immortan Joe's point of view is "come back here with my stuff".

Doof Warrior needed a soliloquy though.

His guitar did the talking - for both of them!

could have been WAY more guitar, diegetic or not, and less standard orchestral score tbh

this is no jupiter ascending

I walked out of WAterworld early thinking it was way too much a Mad Max on water. & had some naff cliches in like the baddies being smokers cos they had a tankerload of cigarettes. i remember having seen it for the first time after seeing Dennis Hopper in Paris trout, both films in one day as i used to do quite a bit at the time and wondering why they'd wasted him in this film.

I moved int a house about 12 years ago with a guy who watched it pretty frequently I think , or was that the Postman? Also watched Dune quite a bit I think. Just found it odd that he'd choose to rewatch a film I couldn't really get through becauiuse i found it pretty poor.

I know nobody who watched The Postman once.

I feel like really complex backstories for characters are sometimes an indicator that you expect your audience to have dead imaginations

or who wouldn't rather be getting a drink and dinner with the 10 minutes saved.

I saw the new mad max today and it is pretty good. I did check the length of it about an hour and a half in, thinking it was going to be 3 hours. That was around the time he was in the desert with the women bikers. So maybe i was unconsciously thinking it dragged slightly. Consciously I thought I was enjoying it pretty much throughout.
It looks beautiful and most of it has you on the edge of your seat I think.

I was wondering if I should have moved closer to the screen before the film started since it wasn't in the largest screen in the multiplex. But I stayed where i was at the back of the seats and enjoyed it. maybe I will go and see it again in a larger screen if I get the chance.

"I know nobody who watched The Postman once."

you know me!

i could see the waterworld set from my house when i was a kid. like a little city. one day they blew it up. never saw the movie.

present day mel gibson & his behaviour should have little to no bearing on watching the first 3 movies imo

for me late 70's/80's mel is on par with 80's kurt russell. totally magnetic

Thunderdome is sort of the Big Trouble in Little China of the Mad Max series.

how dare u

No doubt the dialogue alone has a certain manic WD RIchter vibe to it. Always reminded me, in fact, of this Dave Kehr take on BTiLC:

The dialogue, by W.D. Richter (The Adventures of Buckaroo Banzai), has a loopy originality, but because it bears no resemblance to any known form of human expression it just works as a barrier: everyone seems to be sharing a private camp joke, and we can't identify with anyone the way we need to for the action to have any real sense of exhilaration

Except in both cases I believe the exact opposite!

I don't have anything to say about this that hasn't been said better elsewhere in this thread. Awesome, relentless, tons of fun. I've only seen...I think The Road Warrior? before this, which didn't affect my enjoyment one iota. Definitely more motivated to check out the older ones now. I love the Babe films. Maybe he'll get to do another on the back of Fury Road's assured success (which I think he always intended to do before Pig In The City undeservedly bombed).

The music was the only thing I wasn't entirely feeling. The score was a little too boilerplate at times, and the guitar dude was (sorry) maybe a little too Doofy for me.

This movie was a perfect argument for simplicity of plot. "Some people escape from a place, they defeat the people who pursued them from that place, and then they return to the place." So much can be built on the back of that, clearly.

The film's plot is basically that needlepoint he makes for Furiosa 2/3 of the way through.

I want one of Imortan Joe's steering wheels.

see you in valhalla, Hammer Smashed Bagels

he is what he is now but mel gibson is a VERY good reason to watch the original max movies. you can't take your eyes off of him.

I thought Hardy was plenty compelling to watch but

https://pbs.twimg.com/media/CFQtbV1UMAA6-FH.jpg

I thought Hardy was perfectly fine in this, BTW. He pulled off the half-feral dude who's essentially decent but stuck in a world that constantly chips away at the utility of decency.

his big character arc went from "oh shit I gotta get out of here" to "I will help these women get out of here"

Arcs, while inarguably present with some of the characters, seem kinda beside the point in this movie.

arcs are for cars

large chunks of the entire tetralogy, sans most of the first flick, aren't even really about Max. he's not really much more heroic than anybody else in the films, just better at being a badass and changing his mind at the last minute.

Yeah, his position here is to know slightly less than us about what's going on.

unrelated: is it finally time for external one-shoulderpad leather jackets to become a thing?

xpost the gumbo is a bit like Road Warrior.

1) interfere with well-meaning people in an attempt to acquire something (gasoline, removal of clamps)
2) do something that appears heroic to them in an attempt to save his own ass
3) refuse to help with cause and/or directly hinder cause, only to go along with it due to there being no alternative
4) peacing out and going off to brood
5) coming back in the final third

when Joe's mask got torn off I was half-expecting someone to shout "Look, it's Enrico Pallozzo!"

nrelated: is it finally time for external one-shoulderpad leather jackets to become a thing?

― difficult-difficult lemon-difficult (VegemiteGrrl), Monday, May 18, 2015 9:38 PM (3 minutes ago) Bookmark Flag Post Permalink

God I hope so

Bullet Farmer was also a badass but a terrible shot

I thought he played Max in this in a constant state of PTSD/shellshock. Like, Furiosa was clearly Mad Max - cool, unflappable, capable. Max is the guy who has had to do so much to survive that he's been reduced to a survival instinct and nothing more. Plus, not just lucky, but fully cognizant that that's the only reason he's alive. Also,, spending a long stretch of time strapped to the front of a speeding car with an iron mask and IV drip draining his blood will leave a guy frazzled. He's like Lawrence of Arabia after he's been assaulted by the Turks.

http://www.scene-stealers.com/wp-content/uploads/2011/07/011-Lawrence-of-Arabia-1962-Lawrence-After-the-Slaughter-of-the-Turks.jpg

Was watching Thunderdome this morning, and yeah, I'll concede - hasn't all held up super well. But I still think this new one has more in common with it than with RW. Thunderdome of course has Thunderdome, plus a great car chase at the end.

Did anyone catch Nux's explanation for turning against Joe? I think he said something about being dishonoured and unable to go back because it was his own blood bag driving the vehicle which killed Splendid. But that doesn't seem like enough justification for a religiously fanatical follower of Joe to turn all the way against him. The real reason is probably his crushing on Capable, but I can't remember if the movie tells us that.

wasn't it because he was so devoted to pleasing Joe and he failed spectacularly and got called "mediocre" and immediately fell out of favor with Joe? I merely assumed it was because he felt that Valhalla was out of his reach now and that he was butthurt that his idol was an asshole and that he couldn't possibly please him.

speaking of bullet farmer i forgot one thing i meant to exclaim in allcaps

MUTHAFUCKIN CAR-TANK

so awesome

Otm.

Per the War Boys, they are basically suicide bombers. Failure to die is tantamount to total failure. When he didn't die he basically had no reason to live, but the kindness of Capable helped him go on.

Plus, he eventually got to serve his term in service of a different idol.

Was old Mel Gibson a different person? He didn't transform did he?
But yeah, fair enough. Don't know why I'm more bothered watching Arnie and Mel Gibson than Klaus Kinski. Makes no sense.
I think Gibson was Heath Ledger's favourite actor.

Don't remember much about Waterworld apart from Jeanne Tripplehorn's bum (unless it was somebody else naked). Only know her from Big Love.

Pig In The City was probably the most surprising thing to hear is actually supposed to be a really good film. It just looked so different and nutty.

everyone is a different person.

or theyre not.

either way its a dumb way to retrograde a movie

xpost lol whatever dude, i think yr being obtuse on purpose

and how does heath ledger lend weight to this

ledger invoked!

I love how Max remembered the shit about Nux's steering wheel late in the movie, it was like Miller slapping us on the back of the head Gibbs style like "don't tell me you don't remember that"

(I almost never do this - haven't since the 1990s - but if this particular flick is still in theatres 2-3 weeks from now, I may watch it again.)

Sorry, I didn't think that post through. Not trying to argue.

Ledger has nothing to do with any argument. I just mentioned it for its own sake. Sorry again.

ah Jesus you're doing it all wrong now

i liked it when max brought young baldy a replacement boot

Max is all about the little things, the details.

https://www.youtube.com/watch?v=KP-6ewtJcdk#action=share

Just got out of this. Jesus Christ.

It is the action movie messiah.

I just got out of this and I'm still a little too ecstatically hyped up for coherent thought, but: did anybody else get a big Jodorowsky vibe from this? Wondering how much of that is Brendan McCarthy's doing...

Oh and! Two tiny little callbacks that made me want to stand up in my seat and cheer, because I am a huge fucking dork: the bit early on where Nux headbutts Max and we get a single all-white frame at the point of impact (like Wez nutting that Clint Howard-looking guy in Road Warrior), and a bit about halfway through where one of Max's guilt-montage nightmares includes a clip of the Night Rider's eyes bugging out from the first movie.

Man, there were so many callbacks in this, and I got a kick out of it. Only the music box had me actually mumble "Nice callback" out loud.

Also, Megan Gale was so fuckin' beautiful with such awesome warrior woman hair(having a character named "The Valkyrie" and previously being up for Miller's JLA film as Wonder Woman was a nice touch) that we went straight-on Western where she starts offing dudes with a .3030

http://i.dailymail.co.uk/i/pix/2014/07/28/article-2707869-200CBA9D00000578-764_634x337.jpg

I've never seen Beyond Thunderdome except for a tv movie broadcast when I was teenager, and I just remember feeling how sad everything seemed, since this was a dead, burned-out world with nothing left except hollow shells of people & cities. Plus I got hella creeped out when the kids showed the Captain graffiti.

Neat interview with Miller:

http://happysadconfused.wolfpop.com/audio/25412/george-miller

i was just coming here to post that! really good stuff - miller describes fury road as a silent movie with sound effects and music, which seems pretty apt.

i liked how the characters seemed to be figuring out the basic details of the story at about the same pace i was

http://www.madmaxmovies.com/forum/download/file.php?id=2294

Had no idea this site existed: http://www.madmaxmovies.com/

That was the most positive RLM review I've ever seen.

That's sort of why I posted it! At one point they ask, should be just stop early? Because they really have to stretch to say anything negative.

http://inthesetimes.com/article/17960/actually-mad-max-fury-road-isnt-that-feminist

Not seeing or anything but came across. Provided a couple of hearty lols on a quite evening.

XP phew

i wd like to "madmax" everyone who says "callback," fucking worst lazyass fakeword of the 21st century

it's a REFERENCE

Is that a callback to all the other times you've lodged that complaint?

Our bad.

it's an hommage, OL

everyone invited to morbs' pityparty

will follow 10:30 am discount matinee of Fury Road.

I enjoyed looking at Hardy's beautiful body in that corny MMA fighter brotherlove potboiler, with Nick Nolte bellowing and crying in the b.g.

Eventually we meet some “spunky” old women from the Green Place. They’re huggy, but also ride motorcycles and talk tough. This is the comedic reversal of the clichés about endlessly nurturing women, but only gets us to another cliché: making older women unexpectedly and amusingly badass, like nice white-haired grandmothers suddenly cursing or break-dancing or singing hip-hop songs in Adam Sandler comedies.

I disagree here. It didn't seem to me that the Vuvalini were presented this way. If anything their deadliness is sort of understated, or presented as self-evident. The movie doesn't assume that we need convincing.

Yeah, I stopped reading that article after I got to like the 6th thing that rang false. I'm not sure if that was even the halfway point.

can't tell if rong or purposefully rong

spunky
huggy
amusingly

was not esp impressed with this. it started off well but then seemed to lose contact with max being the main character entirely. which on one hand is oh so brave and very of the moment and challenging in how the main character in an ostensibly macho movie actually isnt the main character but the female lead (who seemed to be acting as if she was part of a much better movie), but also kind of annoying, as i actually like the mad max character and thought that yknow, a film with mad max in the title would be mostly about that person. also, while i liked the sets, the costumes, and the characters in general, i didnt care about anything that happened in this film. it was just one never ending noisy and very boring car chase. i like silent movies, and i like car chase movies, but this was just grindingly one-note. and car chase movies like gumball rally at least had things like jokes. in its favour though, i liked the punkiness (if only as it reminded me of films from three decades back). but everything else was just like other recent blockbusters, i.e non stop explosions and bombast, which quickly got tiring.

i felt fatigued at the end of it, like i did after the fights in pacific rim. this is a film for video gamers.

and sin city fans. kept thinking robert rodriguez might be involved somewhere.

i might have liked it more if it was trimmed under 90 mins...

Went again with a friend who brought a pack of Doritos and consumed them at regular intervals - made it clear that a surprising amount of the film is actually pretty quiet.

yes there are small portions of quiet, before another 20 min sequence of shit getting smashed

Some of them were quite long - but they did involve women, and none of the women were named Max, so I can see your attention might have wandered.

I re-watched bits of The Running Man on Film 4 last night. Just thought how dystopias are really boring to me these days, don't get much mileage out of this stuff. In Mad Max it has this layer of supposed feminism on top, which is in line with several films a year that just sell it on this 'is it feminist' question that (in this instance) is supposedly going to correct the wrong of all those lame-y 80s actions flicks. Thought the piece I linked to (which yeah seemed deaf as a straight reading) didn't really tap into any cynicism over the way this stuff is flogged.

The feminist dimension in Alien is carried out after the event, lotsa readings to that film appear despite the film's intentions.

there was nothing esp fresh about the dystopia in MMFR, but i suppose thats forgiveable seeing as its a franchise that started a few decades back. im all for feminist action movies, or female-centred action movies at least, but it seems like it was shoehorned in for this one.

kermode seems OTM -
While the first Mad Max was essentially a stripped-down Roger Corman revenge movie (high on concept, low on budget), this head-banging $150m fourth instalment – part (non)sequel, part reinvention – inclines more toward the retina-scorching, eardrum-bashing territory of Michael Bay, the casting of pouty Transformers: Dark of the Moon star Rosie Huntington-Whiteley as The Splendid Angharad setting talismanic alarm bells ringing.

Putting the pedal to the metal for 90 minutes is one thing, but at two hours it’s more of a slog, battle-fatigue teetering on the edge of burn-out and even boredom. More problematically, for all its avowed feminist credentials Miller’s film can’t quite reconcile its horrors-of-patriarchy narrative with its exotic fashion-shoot depiction of “The Wives”, leaving its gender politics weirdly conflicted.

Well in Alien I don't think this stuff was thought about v much, or was it? Can't now recall what I picked up on its production history. Ultimately it didn't matter.

In this people are forcing the angle to sell a ticket. #notbuyingit

xp

xxp - it's central to the plot! It is the plot - literally nothing past the first 5 minutes is caused by anything other than Furiosa moving the women. If anything, Max is shoehorned in, which I thought was your initial complaint?

god forbid gender politics be presented as a conflicted thing

I didn't find the loudness remotely exhausting. Actually I was prepared for quite a bit more after people were saying it was non-stop.
I know it's really difficult and people actually have to make this stuff but I could have done with 10 minutes less of the quiet scenes and an hour more ramped up madness and something to top the storm at the beginning.
But I'm more than happy with it as is.

I wouldn't be surprised if Miller saw Redline.
https://youtube.com/watch?v=2t26m_Q6ENo

Redline has way more of a problem with too much story and character motivation scenes that spoil the overall momentum the film would have been more comfortable with.

i was a little dubious when i saw the wives for the first time - it really does look like a desert fashion shoot - but their appearance does make sense given that they've just escaped from immortan joe, for whom they were sex objects in a very literal sense, and one of the many differences between miller's approach and bay's is that bay's camera is constantly leering at his female leads and that doesn't really happen in fury road outside of their first appearance. plus they actually, y'know, have agency and shit

I liked the touch of axle grease as war paint, which seemed both a cool moment and a thematic fit.

And something else Kermode said which is the crucial difference between this and Bay: the action doesn't feel totally weightless and lacking a real sense of physicality.
Actually I haven't seen a Bay film but that rings true for quite a lot of films and Peter Jackson's Hobbit and King Kong films. Jelly replicas of characters flopping, tumbling and spinning around the screen.

just found out that riley keough, who played capable, is a) elvis' granddaughter and b) married to the stuntman who played the guitar-playing doof warrior

I thought the high-gloss seemingly unearthly reveal shot of the wives was great; they were a desert mirage and a literal unbelievable vision to Max

otm

yeah, if they were shot like that for the whole movie kermode would have a good point but they definitely aren't

kermode's mention of weirdly conflicted gender politics also rings a little hollow right after running down 'pouty' rosie huntington-whiteley for the crime of being in a terrible michael bay movie

Looks like that doof warrior guitar player is a bit different to a stuntman and is a recording artist on his 5th solo lp. I also read that he once beat Hugh Jackman in a musical category for an Australian tv awards thing
https://uk.yahoo.com/movies/mad-max-fury-road-guitar-player-actor-doof-warrior-118997835292.html

Seems he was actually playing guitar throughout, but not what you hear which was overdubbed later.

Though Ms. Keough is married to a Mad Max stuntman - just not one who played the Doof Warrior.

yeah, you're right - according to imdb her husband ben smith-peterson played 'Chanting War Boy / Red Flare Warrior' as well as being a stuntman.

iOTA is enormously more successful as a performer than as a recording artist

One image that has stuck with me, per some of the above, is the first chance one of the wives has to finally remove her horrific chastity belt, she flings it to the sand with total disgust. Just another unspoken indication of all she's had to put up with that the movie does not make explicit (get the memo, Game of Thrones).

i am likely to see this a third time this week

Yeah, and when they have to take off after the rig with all due speed, one of them takes the chance to kick the belt before heading off.

I don't think we've linked this interview with Junkie XL yet, but I really enjoyed the impression I got of how nervously excited he was to find out he was working on a Mad Max film.

This one:

http://m.billboard.com/entry/view/id/125253

http://i.imgur.com/jRt7eGM.jpg

https://www.etsy.com/listing/233643275/mad-max-fury-road-cats-9x12in-print

looool love it

On the movie's treatment of Furiosa's disability http://nospockdasgay.tumblr.com/post/119381643753/my-reaction-to-mad-max-fury-road-and-the-utter

Thanks for that. I saw a guy in the parking lot with a prosthetic metal foot/ankle, and honestly my first thought was wondering what he would think about Mad Max.

gonna have to start enforcing different threads for fucking think pieces and movies

jeez ur touchy

i really liked that tumblr post

yeah, that's not a think piece, that's the best "woo this movie was awesome" post by a regular punter

general point, but guilty on cranky

<3

Anita Sarkeesian's response to the movie is a bit disappointing. By her reasoning, a feminist action movie is pretty much a contradiction in terms. Action movies inevitably glorify violence. https://twitter.com/femfreq/status/600780052666535936

Seeing this at the Drive-In tomorrow night. SO STOKED!

violence can be a feminist value, ask hilary clinton

also i find the whole question "is or isn't this movie feminist?" to be reductive and not very productive but there's also obviously plenty of stuff in the film that might be considered "feminist" that isn't simply about women being licensed to kick ass.

i guess i'm in broad, resigned agreement that maybe action films don't speak to the finest parts of our nature but you could say that about most things. a world with only humanistic politically correct art is... kind of inconceivable, actually.

otm

yah, good post.

that's all i got.

enjoyed this a lot, of course. first movie since Rise of the Planet of the Apes that really wedded legit action chops to a totally righteous political angle.

reductio ad absurdum of sarkeesian take is that any representation of patriarchy (or capital, or power) is gonna be overly simplistic and reductive by its very nature. for me, on the contrary, the great advantage of a movie like is actually how simplistic and bare bones it is, which gives it a political edge which is kind of bracing. i think this is one of the most genuinely leftist blockbuster films i've ever seen. it's not irigaray but then we already have that, we certainly didn't have a movie like this before.

I get where sarkeesian is coming from, and the rest of the tweets make some other points which I wouldn't dismiss out of hand. I don't think the film is quite so have-its-cake-and-eat-it-too, though, and, I dunno. At the very least you could make the argument that if there's going to be escapist violent movies in theaters, I'll take the one (and there is basically only one, I think) where the vicarious thrill/catharsis of escapist violence is tied directly to the triumph and liberation of women vs. patriarchal abusers. But okay: I'm down, in principle, with this very tough-minded angle that insists that escapist violence is the problem, not who does it. I certainly don't begrudge Sarkeesian, who has to think about violence a lot more than I do, that position. If that's your angle, then the whole genre is pretty much off-limits and by all means, you should use the film that's being celebrated for its apparently progressive stance as your test case, to point up just how high the standards should be.

But yeah, I personally am not going to follow that road. I think there are at least kinds of feminism in this movie, and ones I support. I loved, loved loved loved that it was an action movie where the protagonist cast was almost entirely female, was dramatically mixed in age, were working together for a common goal (escape from patriarchy, forge alternative way of life) with no catfight bullshit (Bechdel alarm didn't even hum for a second). There's this powerful feeling of female solidarity in this movie, and I think it's worth applauding that, and noting that it's not something we see on the screen a lot, in this genre or most 'commercial' genres. That could be in spite of other things that one thinks it's lacking, but I don't think it should be discounted. My girlfriend left the theater really moved, by her account - this was a movie/performance she didn't even know she'd been yearning for until now. Not on the level of that nospockdasgay post above, but in some kinda continuum with it. Those are powerful feelings IMO and I'd be hesitant to dismiss them.

The only real wrong note to me was the particular way Max falls in with them. I thought the show-don't-tell storytelling did a good job of establishing why and how Furiosa would come to believe that this guy who appears to be a brutal murderer from the wasteland is, in fact, a reliable companion who was only really out of his mind at the time and is now coming back from the headspace of "just survival"... but that first scene of holding them at gunpoint still felt icky while it was playing out, and I'm not sure it was necessary. I don't really know Mad Max as a character, and I'm a little soft on my Wild West movie story structures generally, but surely he could have been introduced in some more neutral way that establishes him as having some kind of moral code that sets him apart from Joe and company? Nothing that would break the movie, or undermine the above, but, you know how The Good in The Good, the Bad and the Ugly isn't really all that good, it's just that he evidently has some kind of rules or discipline for himself of what he will and won't do, and this already sets him apart from The Bad? Something like that.

I think it helps that she already saw him as a victimized "bloodbag" so she knows that, at least, they should really be able to get on the same side with a little nudge.

Yeah, she even offers release from his trapjaw apparatus.

miller is using the stereotype on purpose though. he pans the camera over the girls in a specific way to create an expectation of "these kinds of movies" ...an expectation that *isnt met*

to me it navigates between those who are familiar with max and audiences who arent

like Dr Casino, if you dont know max or his history you trust the signifiers & believe the girls are in danger

anyone whose seen the other movies knows that the signifiers are a ruse & that the girls are safe

the sum total of the movie & it's treatment of the girls overall i think balances whatever momentary discomfort that initial scene brings

Clint is the good looking dude in GBU and he's certainly less of a sadist than Van Cleef, but other than that I wouldn't say there is much honorable about dude.

Oh, no, I mean I don't admire him, but it's something the film more or less explicitly demands that you struggle with. It's like a weird mental puzzle: In what ethical universe is THIS guy the Good? You're compelled to look back through the film and locate what he could have done that was so great. I've always disliked the way he leaves Tuco stranded in the first place, motivating the latter's later, sadistic reversal: why is that necessary?

I guess I was thinking of things like how he lets Tuco rave on about his great brother and what a great relationship they have, since he knows it'll make him feel better... or when he tries to save Shorty, effectively an innocent to the audience since we know nothing about him at all ("Sorry, Shorty"). And of course, at the end, he's in a position to take all the money and just bail, but, after still more brutal torment of Tuco, he leaves him with his share. I think the idea is supposed to be that in this shitty fucked-up wilderness life they all lead, that's way more good than anybody else has? I'm sure there are whole threads on this though, sorry y'all.

The v feminist friend I saw the film with the second time pointed out that it wouldn't have killed them to have shown an explicitly complicit woman - we can assume that Furiosa was one by her thirst for redemption, but even that comes kind of out of left field.

" I don't really know Mad Max as a character, and I'm a little soft on my Wild West movie story structures generally, but surely he could have been introduced in some more neutral way that establishes him as having some kind of moral code that sets him apart from Joe and company? Nothing that would break the movie, or undermine the above, but, you know how The Good in The Good, the Bad and the Ugly isn't really all that good, it's just that he evidently has some kind of rules or discipline for himself of what he will and won't do, and this already sets him apart from The Bad? Something like that."

i wouldnt have minded that too. i get that max is basically reduced to a sidekick like so many female characters in action movies usually are, but yknow, its still a mad max film!

There is quite a space to be filled in between humanistic PC art and the blockbuster.

iirc Most of the MM films have had strong women and mixed groups of all ages who are working together and show solidarity. Those aspects seem to be really focused in but iirc its been around.

xp

A detail I loved was the weird stilt-walkers in the former green lands. Only shown in one shot as the rig drives by and not explained at all, but they add to this sense that the desert is actually a rich ecosystem and full of hidden life.

Husband and I saw the stilt people and reading about the shepherds of the Landes.

http://www.illustratedpast.com/people/Stilt-Walkers/shepherds.jpg

I loved this film, and I thought Tom Hardy was perfectly fine in it, given that his character is a bit stunned and confused for one reason or another throughout much of it. I'd be interested in seeing him in another one to see if that's how he's playing Max generally, or if that was just his decision for this one film.

don't really know Mad Max as a character, and I'm a little soft on my Wild West movie story structures generally, but surely he could have been introduced in some more neutral way that establishes him as having some kind of moral code that sets him apart from Joe and company?

I don't think everything in the film has to be read as originating from westerns, does it? I saw this more as a pisstake of all those romantic comedies where they start off hating each other, but then they get together at the end. That little detail towards the end where she pulls the knife out of herself at the same time as he pulls the bolt out of himself made me laugh, because it reminded me of cheesy "their actions match! Surely now they will realise they are in love!" moments in romantic comedies (I can't think of any of these specific moments off hand, but I could probably dig some up if required).

They even had the "his best friend and her best friend fall in love" trope, along with the "getting input from older and wiser women" trope.

*and remembered reading about

Idiot.

all these comments are making me think i saw a different movie, one that was far cleverer, funnier, sharper, wittier, profound, politically switched on, and more radical than what i actually did see. maybe blockbusters just arent for me anymore.

id like to see jane campion direct the next mad max.

I haven't seen anything by Sarkeesian in a few years but reductive looked like something she did a lot. I heard that she had annoyed lots of feminists with her opinions on sex workers and some people seem to be referring to that in that Twitter thread.
But I do have a certain amount of sympathy for that kind of stance on violence in entertainment but I think it's far too fun to shun completely.

Husband and I saw the stilt people and reading about the shepherds of the Landes.

Cool, nice spot. I've spent way too much time in the last week thinking about that scene.

The roads were non-existent and the ground was marshy and uneven

Just like in the movie! This is one thing I was wondering about, how stilts would be practical in a desert marsh. I was imagining the mud as being very deep and thick, with no solid bottom near the surface, so that stilts would be about the least practical thing. But maybe there are enough rocks and stuff that stilts are the best way to get across.

The movie correlates them with the crows. Made me wonder if the two work together to scavenge stuff. Are they possibly on their way to check out the crash site?

Oh, and it's also a cool moment of contrast, demonstrating that not everyone's survival strategy in the wasteland depends on speed.

I really enjoyed Max's face and motions as he tried to use that file to get his mask off.

and how he was trying to get it off while casually walking on the roof of a truck hurtling across the desert at 100 miles an hour, like he was fiddling with a stuck zipper

Mad Max's morality can basically be broken down, after the first film, as the guy that doesn't shoot first but still puts his survival above all else. If anything, his reluctance to shoot first is what saves his bacon. In Road Warrior he surrenders himself to the oil pump folk by giving up all his weapons, because he sees an opportunity. In Thunderdome, he again gives up all his weapons, because he is convinced it is to his advantage. In this one, he knows he can't start the truck by himself, but he also knows the truck is his only way to keep moving, so his compromise, until he trusts everyone else - and if anything, that's what keeps him the protagonist, that we know he's trustworthy and yet everyone else needs to earn his trust, even if what we see playing out is the opposite - is to keep the gun pinned on people he knows are fast and likely armed until he's comfortable enough to let his guard down.

Still remembering the framing where we see, as Max does, one of the brides blocking the view until there's a flash of Furiosa at full speed towards him.

Something else I liked was how quickly she relayed the kill switch code to him, as if she recognized by then he's such a smart survivor that he's sure to remember the sequence. Similar things in other movies, I always think, no way will they remember. But here? Intentionally or not, it worked as a character beat.

my first thought was "that's actually the self-destruct code"

surely he could have been introduced in some more neutral way that establishes him as having some kind of moral code that sets him apart from Joe and company

all you know about him is that he wasn't part of that society, and his only intersection with it was being hunted, beaten, victimised and turned into a utility by Joe and company, so there's no reason to assume that he's the same as them

There was a good guilty lol when Joe chromes up Nux and sends him on his way only for Nux to almost fall off the rig. Joe yells, "Mediocre!"

haha that was great!

joe otm tbh, no room for half-measures in the war boys

i missed that! i think i missed a lot of what was said. was it my theater or was a lot of the dialogue (such as it was) hard to make out?

it was like the climax of nux's entire life and he just totally blows it

lol yes

i also loved the few, but well-positioned, little moments when max gives great little "wtf" reaction shots, the kind bruce willis has made a career out of

by the way does anybody have a hot take on wtf max's accent was supposed to be?? he basically sounds american and then every now and again there's a flat vowel that sounds like.. i dunno, south efrikan or something

my hot take is tom hardy is a lunatic

heresy to some perhaps but i need to see this some time when i'm less stoned, and in fewer dimensions

There's a croak to much of it.

Also, with the chrome spray paint thing, is it just me but was that just spray paint, or a particular steroid/hyperstim mixed with the paint? Its used multiple times, but the one guy who gets two bolts in the head/neck almost dies, huffs the shit, then flies into a berserker rage and goes out in a ball of jumping fire.

https://laurarbassett.files.wordpress.com/2012/03/charlie_dayman_huffing_always_sunny.jpg

yeah i basically pictured it as poppers

http://birthmoviesdeath.com/2015/05/19/mad-max-fury-road-as-reviewed-by-my-70-year-old-mother-in-law

One thing I can say for the new Mad Max, Mad Max Fury Road, is that it didn’t put me to sleep. I usually find a few moments to nod off during movies now that I’m older, but Mad Max Fury Road kept me wide awake the whole time. And I like the new guy, Tom Hardy. Mel Gibson was always so grubby. I don’t like grubby...

But women still need men, no matter what the feminists say.

*sigh*

LOL they do not say that Bill O'Reilly says that

hardy sounded like an unmasked bane most of the time to me

lol there is definitely one line where he does sound like Bane.

saw this a third time today. still brought joy.

regarding Nux's motivation, which was debated upthread, he actually does lay it out pretty specifically (guess I just forgot). mentions that Imortan Joe (as recanted upthread) saw the war machine being driven by his 'blood bag', which also killed his favorite 'wife'. and that he had three chances at immortality and failed all three times, and that he thought he was meant for greater things in this world. so it's obvious he feels like he's blown the opportunity with his hero but discovers a definite future with the folks on the war machine rig.

http://i.imgur.com/XthjVQX.jpg

yeah that can't be good for you

STRAYER M8

wait I got that wrong

STRAYA M8

man what if the tumors had less to do with post-apocalyptic radiation and everything to do with the fact they were spraying paint in their mouths

btw I read the first Fury Road comic and it's all narrative wordiness but pretty decent! it's ostensibly about Nux but really chronicles who Immortan Joe is

tl;dr he's a warlord with a face mask

next movie will deal with max bringing more robust occupational health and safety procedures to the wasteland xp

My favorite factoid is that this was filmed in Namibia which is where this was also filmed

https://www.youtube.com/watch?v=gER7xe11nz8

unfortunately: http://www.slate.com/articles/technology/future_tense/2013/02/mad_max_fury_road_filming_and_environmental_damage_in_namibia.html

(if you don't like slate, there are articles about that in a lot of other places)

http://www.theawl.com/2015/05/the-startling-humanism-of-mad-max-fury-road

a lot of reaching in that article. she posits it as a post-9/11 allegory, and sees the "war boys" as stand-ins for young (american? australian?) men being sent off to fight wars in the middle east. but one could just as easily see them as stand-ins for ISIS martyrs, or whatever.

i find this kind of discussion around blockbusters kind of interesting at the remove, but i don't have anything invested in it. my experience of the film would not be particularly altered or enhanced if i understood it to be an allegory, coherent or otherwise. i don't feel like there's really anything at stake.

"What Miller is really doing is teaching men, not only women, how to rise above the patriarchy."

-- i mean, that's just dumb. the film isn't "teaching" anyone anything.

i feel like the movie indulges a bit of the chasing after cultural significance that mars the nolan batman movies, but barely and forgivably so. it seems more like miller is taking his observations of the world and using them to make the fantastical world of "mad max" more compelling, whereas nolan is largely placing allegorical elements in his films to give them a patina of "importance". but in both cases it all seems like so much think-piece fodder that (again) has little to do with how i experienced the film.

I dunno. I'm always thrilled to see representations of women and men in relationships that are, for lack of a better word, feminist, and it's especially rare in an action movie. So that essay resonated for me. Like a lot of men just don't have good models for how feminism will make their lives better, and to see an example of a man who a lot of dudes would aspire to be (as fucked up as that is!) and how he benefits from a healthy-ish relationship with women is doing more than giving an action movie a little more emotional oomph. In a lot of ways that relationship provided the oomph of the whole movie, maybe even more than the guitar dude. Maybe.

i just think it's weird that if you want to see "models" of gender solidarity etc. that the go-to example would be a dystopian sci-fi action film. it's not as though there's any lack of such models in the real world.

but there's definitely a lack of those models in popular media right? especially in action movies. and wouldn't having good models in your escapist self-projection fantasies be even more important than in dramas or non-fiction?

This is pretty great

http://www.outlawvern.com/2015/05/22/righteous-fury/

I enjoyed that. Interesting site.

Yeah, we construct our view of reality not immediately experienced day to day from narrative & culture, right? Our idea of other places, other cultures, other times tends to get based on the (pop) culture we consume, particular film, since that's the most intense/graphic depiction of something to our senses.

Might as well put the positive models in the genre/media being consumed since there ain't as much emphasis on their inclusion from plenty of other stuff consumed similarly.

it's not as though there's any lack of such models in the real world.

Also, I think putting those ideas into a narrative communicates and imprints them far stronger into somebody's brain, since we think in narrative. I read a bunch(way too much) about cognitive weirdness and communication and one of the points repeatedly made by authors like Georges Lakoff and Marshall is that left-leaning politics tends to be weaker at reaching folks not already in the camp, since the ideas aren't expressed thru narrative made personal, but rather as more detached/abstract facts or concepts, if you will.

feel like the movie indulges a bit of the chasing after cultural significance that mars the nolan batman movies,

No way, I don't seem the at all alike. The Nolan Batman movies are steeped in portent, and DO YOU SEE moments, and speeches. This one offers none of that BS and what ambitious stuff in conveys it does so in service of car chases. The Nolan Fury Road would have been set entirely in that swamp.

Sorry, typos.

Oh man, Vern brings up a name that had been rattling round in my head for like a week now: MICHELLE YEOH, yo.

Part of why I dug Furiosa so much wasn't just that she could ruthlessly slaughter dudes with the best of them, but that she was fuckin' _good at shit._ She was, to borrow the name of another character, more capable than pretty much everybody else(including Capable).

She was technically, emotionally, and violently more capable than
everybody else; she was handy, even with her false hand(with a combination wrench built in!). She was good, and good at.

Similarly with Michelle Yeoh. Michelle Yeoh was as capable(if not more so) than everyone in her films. The worlds of her films took the form of particular genre, so in the set of rules coding reality in that genre, she excelled.

Getting caught up in the fact that the genre was martial arts mistakes form for function, which as Vern mentions, many others have grabbed onto when they try to ape or decry those kinds of characters in genre films.

that was the distinction i was trying to make myself. i think like most blockbusters "mad max: fury road" is faintly opportunistic, but in general it uses its political appropriations in service of creating a compelling story (and building a world), while nolan typically uses it as bait to lend his films a psuedo-significance.

xpost

kingfish, i'm afraid you'll still have to color me skeptical in re. the utility of "progressive" narratives in popular cinema. esp. because the themes are usually abstracted and displaced to the extent that folks can read a wide range of things into them. of course that freedom of interpretation isn't unlimited--witness the uproar from the MRA folks (which i think has been cynically magnified by websites looking for clickbait). but i'm not really sure that the film has any real emancipatory charge, nor should we really expect it to.

p.s. https://twitter.com/NickPinkerton/status/601039811345002498

arrrgh my first graf (beginning with "that was the distinction i was trying to make myself...") is in response to josh in chicago.

i should have written 'topical appropriations' rather than 'political appropriations'

Oh I don't know if it does, but better it have it than not. Im cynical about this shit and think the standard for action flicks is automatic terribleness, so it's cool that at least there's this one thing.

okay this was grebt

I assure you, no magnification is required for MRAs' capacity for butt-hurt.

a lot of reaching in that article. she posits it as a post-9/11 allegory, and sees the "war boys" as stand-ins for young (american? australian?) men being sent off to fight wars in the middle east. but one could just as easily see them as stand-ins for ISIS martyrs, or whatever.

to the extent that you can feel any kind of compassion for young male ISIS martyrs i dont think this undermines her argument: "exploited, poisoned and oppressed, but doesn’t see or understand that yet"

This movie was amazing, cool design for all the characters, great action, good feminist message of not keeping women as sex slaves, all-in-all a lot of fun.

That "My Mother-in-Law Reviewing This" makes me think of a similar thing someone did on the Onion a few times recently where they had their dad do the interview. I guess it's starting to be a trend for culture opinion piece writers to just have their parents do their work for them.

Adam & Joe was 20 years ago

that was fucking incredible

tho my parting thought was they missed a real trick not finishing on the littlest hobo theme

haaaaahahah

were there ppl ITT who could not follow any of this iirc?

charlize theron, struggling at work, takes a round trip home to see her folks. traffic's a nightmare.

I'd like to point out that in this so-called "feminist" action movie, a man saves the day by giving the ladies directions.

um obviously he's an escape specialist and once they realize that they utilize his talents

if they saved a dude who was a dentist and one of them needed a tooth extraction they wouldn't be less feminist for letting him pull that tooth

something something #notyourshield

point's been made upthread but I def find the conversation around "how feminist is it" and "is it the right kind of feminism" less interesting now that I've seen it and had a chance to absorb a little. like, it also does really well by seniors! and amputees!

Joeks aside, it feels like ages since we've had a popcorner worth talking about at all. Enjoyed this tons more than I expected.

I assure you, no magnification is required for MRAs' capacity for butt-hurt.

― Andrew Farrell, Saturday, 23 May 2015 08:11 (Yesterday) Permalink