Billboard Music Awards: Taylor Swift plays tough chick in new video starring celebs

18 May 2015 | Author: | No comments yet »

Taylor Swift Debuts Star-Studded ”Bad Blood” Music Video at the 2015 Billboard Music Awards—See What All the Hype Is About!.

After teasing the star-studded cast with an array of scintillating posters for over a week, ‘s music video for “Bad Blood” is now ready for our viewing pleasure—thank goodness! We could hardly keep our composure these past couple of days, what with all of the celebrity cameos that were leaked one by one, and now the masterpiece is here in all its dramatic glory. With a steady drip-feed of teasers over the past week, the big reveal for Taylor Swift’s kick-ass music video finally dropped, kicking off the 2015 Billboard Awards. Epic in scale, the Tarantino-esque production, directed by Joseph Kahn, the cameo-laden clip features Swift and an entourage of famous faces including Lena Dunham, Hailee Steinfeld, Cindy Crawford, Mariska Hargitay, Jessica Alba and more.

The high-action futuristic thriller features several martial-arts style sequences, opening with Swift battling Selena Gomez, playing a character called Arsyn, who pushes Swift out of a high-rise window. Each celebrity had their own alter ago in the Joseph Kahn-directed clip, and the character posters echoed a bit of a Sin City-esque vibe with the red, black and white color scheme. Rebooting the post-apocalyptic snarl of Mad Max 30 years after the original trilogy concluded, the Australian filmmaker has finally brought to fruition a revved-up vision of gloriously twisted design, propulsive momentum and resonant mythmaking. Technically, it’s 120 minutes long, but more accurately it runs for 400 or so kilometres, a there-and-back series of massed car chases punctuated by the clash of metal and blast of weapons.

As has happened repeatedly with James Bond, Tom Hardy plays the new incarnation of a familiar icon, “Mad” Max Rockatansky, the former highway patrol officer turned lone warrior in an endless desert that houses the desperate remnants of mankind. Max remains haunted by the death of his wife and child in civilisation’s final days, but now his nightmarish visions explicitly propel him towards redemption. Shooting in the Namibian desert, Miller delivers the key first sequence in a single panoramic shot: Max trying, and failing, to outrun a gang of howling, otherworldly pursuers. It emphasises not only the scale of the production – like Lawrence of Arabia, Fury Road uses the desert’s vast, beautiful sparseness to suggest the fragility of existence, although these cars go considerably faster than camels – but also the urgency of the storytelling.

Max becomes the prisoner of the Way Boys, a teenage death cult who worship Immortan Joe (Hugh Keays-Byrne, Mad Max’s Toecutter in 1979), a warlord who runs the Citadel, an elevated fortress whose access to water provides power alongside the self-descriptive Gas Town and Bullet Farm. Max’s blood is literally draining into Nux (Nicholas Hoult), a dying War Boy, so when Joe dispatches his army to track down his lieutenant, Imperator Furiousa (Charlize Theron, with an arm digitally removed), who has absconded with a big rig and his harem of five wives, the reckless youths tie Max to the front of their retro-fitted car, a bloodline twisted around the chains. Precious liquids – be they blood, fuel or breast milk – are recurring elements in this arid but richly red outback, and Miller’s production team fleshes out this arrestingly strange world visually; the characters are too busy driving and fighting, usually simultaneously, to offer explanation. The tone is sometimes delirious, even with Hardy playing Max with an almost doleful air of taciturn resilience, but the film’s physical heft is paramount.

Whether shot from alongside a spiked hubcap or high above, the dozens of vehicles wending their way across the desert, and the debris from their numerous high speed collisions, appear genuine. The pair are both warriors, but from the first sighting of the wives draped in virginal white and removing chastity belts, gender fuels the movie’s thematic pull. Furiosa, herself a “stolen” child, is determined to deliver Joe’s slaves to a better place, and in a world destroyed by male madness – Nux appears to never have conversed with a woman – females deliver the promise of renewal. Like all of Max’s allies, the growing band of resourceful women he fights alongside are temporary comrades, but their battles are just one of the many ways the filmmakers have delivered a thundering, thrilling blockbuster that doesn’t just drift off into fantasy.

Mad Max: Fury Road is relevant, rigorous and distinctly Australian – when the fast need to go faster, they scream “fang it!” George Miller hears them loud and clear.

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