Like an earlier harbinger of the potential pitfalls of mother! marketing as something it’s not, the vaguely apocalyptic drama It Comes at Night is a paranoid thriller that is so bleak and absent resolution that you’ll wonder why anyone bothered. It’s not a bad film, and actually writer/director Trey Edward Shults has a knowing command on how to raise and develop tension with very precise camerawork and visual composition. The slow inspection of offscreen noise is still ready to build tension. The story has promise. Joel Edgerton is the father of a family trying to eek out an existence after the spreading of a deadly plague. He has a strict series of guidelines to protect his family members and keep them secure. This is put into jeopardy when he meets another family and invites them into his home. The rest of the film follows the slow dismantling of trust and the rise in suspicion and how it ruins both families. That’s essentially the movie. There is no “it” of the It Comes at Night. The post-apocalyptic element is at best tertiary to the plot, and the titular warning seems odd considering sickness can arrive at all hours. I think the reason audiences seemed to froth wildly at the mouth over this movie is due to its grossly misleading marketing. I re-watched the trailer and all of the supernatural imagery, which is extensively highlighted, is from dream sequences, and one dream sequence within a dream sequence. There’s a moment where the grandfather’s dog runs off into the woods at barks at an unseen force. You hear strange sounds but you never see anything, and this becomes just another unresolved, underdeveloped element. This is more a Twilight Zone parable about the destructive nature of man. The look of the film is moody, the performances are good, but I felt underwhelmed by the end and questioned the point of it all. It Comes at Night is okay. I can’t see what people loved and I can’t see what people hated, though I can see more of the aversion.
Nate’s Grade: C+
Allow me to begin with a confession. I had to see Mad Max: Fury Road again. I knew minutes into the film that my appetite would not be quenched and I needed to see it again, which I did less than 12 hours later. A week later I saw it a third time in the theater. The reason I did this is obvious in one regard – it’s a highly enjoyable, pulse-pounding, amazing spectacle of first-class stuntwork and mad genius so rarely accomplished on such a large, splendid scale of destruction. The other reason, from a writing standpoint, is that I needed to see the movie again or else my review of Fury Road was going to consist of nothing but an unending stream of positive adjectives vomited upon the page in excitement. And for you, dear reader, I wanted to do better. Also, I wanted to see Mad Max: Fury Road again and I honestly wouldn’t mind in the slightest seeing it again.
In the post-apocalyptic future, Immortan Joe (Hugh Keays-Byrne) is an aging warlord with his own fiefdom. He controls the water supply and has an army of gearhead warriors to enforce his rule. His trusted driver, Imperator Furiosa (Charlize Theron), is leading a caravan for supplies when she goes rogue, driving off into the desert. Furiosa has taken Immortan Joe’s “property,” namely his five wives. Enraged, Immortan Joe gathers a posse of death vehicles and riders and heads off to reclaim his “property.” Max (Tom Hardy) is a drifter thrust into the middle of this conflict when he’s strapped to a car and driven out into the desert, part of the Immortan Joe rapid response forces.
There are few things more exhilarating in the realm of motion pictures than a well-executed, well-developed action sequence, and Mad Max: Fury Road is a blistering, awe-inspiring masterpiece of brilliant carnage. What director George Miller has achieved onscreen is visionary. The level of execution is so rarely seen at such a large scale, and with so many moving parts, that I was delighted and curious how something this extraordinary could escape the risk-averse studio system. I’m trying my best to restrain myself from sheer hyperbole, but this is an instant classic in the world of action cinema and a definite top five all-time action film (for those keeping track, I would say last year’s Raid sequel would also qualify for that status). The movie provided me a font of joy that did not let up until the end credits ushered me out of the theater. The action sequences are epic in their scale, with dozens of different vehicles in hot pursuit, and yet Miller brilliantly orients his audience to every moment of his symphony of demolition. There are so many different parts to the action but the audience knows everything that happens. The sheer sense of momentum and pacing is overwhelming and giddy. The action sequences develop organically, with new consequences throwing our characters into different and dire directions. There’s also a startling amount of variety with the action sequences. Fury Road has been described as a two-hour chase film, and that’s accurate to a degree, but there are breaks in between the sequences, small moments to catch your breath and learn more about our characters and their hostile world. Each sequence is different enough that the action doesn’t ever feel redundant, even when the third act literally requires the characters to backtrack. The adrenaline just doesn’t turn off from the get-go, and Miller keeps throwing out new tricks, new stunts, and new cars to astound and amaze. Simply put, Fury Road shames other American film releases.
The stuntwork is another facet that just raises the bar when it comes to action movies. Miller emphasized practical effects whenever possible, and the emphasis pay off with a heightened sense of realism onscreen. It’s real cars being smashed to real bits, real stuntmen being tossed around. In an age of CGI over saturation, it’s all too easy to become numb to big screen spectacle because of how hollow it all comes across visually. Just this past month with the Avengers sequel, I knew that all the fight scenes were mostly CGI or actors against green screens, and it eases off the enjoyment of the moment. Don’t even get me started on the deluge of CGI carnage in the last Hobbit film. Real physical objects and physical interaction offer so much more believability in an age of increasing disbelief with special effects. With Miller’s focus on practical effects first and foremost, it brings that sense of crazy excitement back and it ensures that Fury Road will hold up better over time.
I also appreciated just how much thought Miller and his team put into crafting their world. Every detail feels like it adds to the overall richness of Miller’s vision. The designs of the cars, the use of scrap, the fact that a pulley system is operated with children running up giant wheels, it all contributes to making the world better realized and more alive. The level of thought put into weird and deadly concepts in this movie is fantastic. Once the main characters pass through a bog of land, we see people dressed in cloaks traversing the land on stilts, and it’s little passing details such as this that make the movie feel more complete. I enjoyed that one of Max’s heroic attributes is that he’s specified for his blood type, being O the universal donor. The fact that Miller finds a satisfying way to bring this attribute back as a payoff is also appreciated. I also enjoyed how Miller expands upon the family of Immortan Joe, with his bevy of freakish sons and brothers and peculiarities. I enjoyed the fact that Miller isn’t afraid to embrace the weird of his dystopia, symbolized best by a blind guitar player attached to a roaming wall of speakers who can shoot flames out of his instrument. Every time the movie cut back to this guitar playing pace setter, I smiled, and I smiled a lot during this movie.
Some have grumbled that Max is a supporting player in a movie that bears his name, but I would argue he is a co-lead and the real star is rightfully Imperator Furiosa. Max is not replaced with Furiosa, rather they have an inter-dependant relationship where they’re both vulnerable and they both come to trust the other but without a romantic mingling. These are both wounded, shaken, mistrusting, and volatile people, and to watch their shared sense of teamwork and the gradual opening and reliance upon one another, it is itself an affecting and emotionally satisfying relationship. But back to Furiosa, it’s really her story because she is the one with the personal connection to the mission. Max has always kind of been a wandering warrior who finds himself in other people’s battles. Consider him a post-apocalyptic Man with No Name. Furiosa is the leader who has planned and implemented the escape from Immortan Joe, and it’s she that deserves our attention. I enjoyed the fact that Miller doesn’t even have to explain her past. We know she’s suffered trauma, physical and likely sexual, and he assumes the audience does not need Furiosa’s past abuse spelled out specifically for them, or seen in grisly flashback. She’s a strong woman who is far from helpless with one arm. This is a story about women liberating themselves from sexual slavery under a corrupt patriarchy (more on the thematic relevance below). Theron is our leader and the ferocity in her eyes is all you need to believe that this woman will do whatever it takes for freedom.
The other aspect that’s very clear is that Fury Road is a decidedly feminist film but it never stoops to preaching or even directly calling attention to its efforts. It’s a ruined world where men with unchecked power have exploited the vulnerable, where women are treated as “property” and valued for breeding purposes. Our heroes are by and large women who have rejected their roles in this society or are fleeing their impositions. And with Furiosa as lead, it paints a more than convincing picture of women being just as capable and badass in the post-apocalypse (I want to go as Furiosa for Halloween). It’s a movie that portrays women struggling against an unjust system that devalues them but Fury Road doesn’t wallow in their suffering. It doesn’t have to in order to get its points across. It also treats the wives in a manner that lacks being sexualized. Immortan Joe has treated them as property but Miller treats them as human beings, even going as far as to give them distinguished personalities. They play a role in the action rather than damsels in need of saving. I’m not saying they approach three-dimensional characters but they’re certainly not just eye candy. There’s a sequence where they wash each other with a hose, and you could see the myriad ways this moment would go tawdry for some cheap titillation, but the film steers clear of that and moves on to the bigger picture. What the Men’s Rights Activists (sadly this is actually a thing) seem to have lost in their caterwauling is that feminism is not a zero-sum game; one person gaining stature and opportunity does not mean it’s taken away from another. Just because Furiosa is strong it doesn’t make Max weak. Furiosa being a compelling lead character does not diminish Max. It makes him an even better character because he recognizes her value and his own limitations, like a scene where he voluntarily hands over a rifle because he knows she’s the better marksman. No one has to explicitly point and say, “Girls can do it too.”
There’s also a fascinating commentary on the danger of religious fundamentalism with the war boys. These powder-white young men are Immortan Joe’s armed forces and they are promised a swift appearance at the gates of their paradise if they die in battle (“Witness me!” is their exclamation before sacrifice). They spray paint their faces chrome (“Eternal, shiny and chrome”) and then go in for the kamikaze kill. Again, the theme is ripe and obvious but without requiring characters to comment. Nux (Nicholas Hoult, wonderfully deranged and then sincere) actually has the closest thing to a character arc, going from hopeful martyr to independent thinker. He begins as a clumsy yet determined antagonist and becomes a resourceful and unexpected ally.
This is practically a flawless film on a technical level. The cinematography by John Seale (Cold Mountain) is bright with lush colors that pop on the big screen. We’ve been treated to far too many color degraded films, so it’s nice to view a movie that wants to use all the colors at its disposal. The musical score by Junkie XL (300: Rise of an Empire) is stirring and pulse-pounding with its heavy percussion, but there’s a languid melody that returns again and again that is emotionally resonant. It’s surprising how the score will punctuate the bombast and wailing guitars with a lovely string arrangement, like when we rush into the sandstorm and a car is blown into the sky. The editing is outstanding by Margaret Sixel (Happy Feet) and she keeps the audience informed with every new twist and turn, and with so many moving parts and changing dynamics, that is a miracle itself. The production design by Colin Gibson beautifully expands and informs this strange world. There isn’t a department in Fury Road that wasn’t at the top of their game.
If I had to quibble, I could accept the argument that Mad Max: Fury Road lacks the substance to be considerably more than an exhilarating action ride. The dialogue can be a bit on-the-nose, Hardy mumbles through a majority of his miniscule lines, and the characters aren’t as fleshed out as they could be and the plot is rather bare bones. However, I view its narrative economy as a virtue, as there isn’t a moment or scene wasted in telling this breakneck tour de force of post-apocalyptic demolition. Rarely does an artist get to work at this level in the studio system let alone succeed with a final product that still manages to be strange, mordant, uncompromising, and completely riveting. This is a near-perfect action movie and a thrilling high-wire act of practical filmmaking bravado. Mad Max: Fury Road is the standard I am going to judge all summer movies by for the rest of the year, and I imagine many will be found wanting. I could continue to heap praise on the movie but the most persuasive stance I can make is that if you fail to see Fury Road on the big screen, you will always regret this decision. I am a disciple of Fury Road and witness my brethren and me. This movie was made for the biggest screen, the loudest sound system, and an endless bucket of popcorn.
Nate’s Grade: A
After all the hype and the derision from my friends, I finally saw Steven Soderbergh’s male stripper opus Magic Mike, and it does not pain me to say, as a red-blooded heterosexual male, that I found it mostly enjoyable. I understand the detractors, many of whom were let down by the relentless, frothing hype generating the film’s box-office success. The characters are fairly shallow, and almost all of the supporting players are one-dimensional; many of the male strippers only have their abs and a name to work with as far as characterization. There’s also the general absurd nature of the world of male stripping, where women are whipped into a frenzy and men almost comically gyrate atop them, or in some instances, literally pick them in the air to swing their junk into. The last act also rushes all sorts of storylines: the rookie’s fall from grace, Mike (Channing Tatum) coming to the realization to leave the business, a hastily thrown together romance. With all that said, I was always interested in just watching the ins and outs of this profession put on screen. And when the plot falters, there are always the impossible charms of Tatum to bring me back. Matthew McConaughey is also fascinating to watch as a mixture of showman, zen artist, and sexual being. I even found the dance/stripping sequences to be worthwhile as few insights into the various characters. While being less than magical, Magic Mike’s shortcomings don’t take away from what it has to offer. That may be the most unintended inuenduous statement I’ve ever written for a film review.
Nate’s Grade: B-