The Secret To Mad Max: Fury Road’s Absolutely Terrifying Villain

18 May 2015 | Author: | No comments yet »

Mad Max: Fury Road review: a thundering, thrilling blockbuster.

LOS ANGELES — The ladies of “Pitch Perfect 2″ hit all the right notes opening weekend, amassing a $70.3 million debut, according to Rentrak estimates Sunday. The Elizabeth Banks-directed sequel to the 2012 sleeper hit and video-on-demand phenomenon cost Universal Pictures only $29 million to produce and was expected to open in the $50 million range. Universal’s a cappella sequel earned more in its first weekend than the US$65 million that the original Pitch Perfect pulled in during its entire North American theatrical run. 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. The first film, for comparison, grossed only $65 million domestically across its entire run. “It’s aca-awesome,” said Universal Pictures’ President of Domestic Distribution Nick Carpou, using one of the catchphrases of the film about a cappella singing. “We knew that the film would be a success, but there’s something that happens when movies grow in their success beyond a range that’s easily predictable.

The film, starring Anna Kendrick and Rebel Wilson opened with sales of $70.3 million in U.S. and Canadian theaters, Rentrak Corp. said Sunday in an e-mailed statement. Photo: RICHARD CARTWRIGHT/Universal Pictures via Associated Press Heading into the weekend, analysts expected the sequel to premiere in the $40 million range. That topped forecasts and beat the $44.4 million opening for “Mad Max: Fury Road,” a critically acclaimed Warner Bros. reboot of the 1980s dystopian action film that propelled Mel Gibson to fame. Like the first Austin Powers film, Pitch Perfect put up big numbers on home entertainment platforms, allowing people to catch up with a movie they may have missed while it was in theatese.

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. It marks Elizabeth Banks’ feature film directorial debut and is the second-highest opening for a film by a female director, behind only Sam Taylor-Johnson’s Fifty Shades of Grey, which kicked off with US$85.2 million last winter. 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. Its animated July feature “Minions,” spun off from “Despicable Me,” is forecast to be the No. 2 hit of the season. “We’re on track for a record-breaking summer and the strong box-office performances of ‘‘Pitch Perfect 2,’’ which drew females under 25, and ‘‘Mad Max,’’ drawing males over 25, are stepping stones on the path to that record,” said Paul Dergarabedian, a media analyst with Rentrak. 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.

In “Pitch Perfect 2,” the all-girl Barden Bellas have to sing their way back to glory after a mishap in front of an audience including the U.S. president. The Warner Bros release capitalised on rapturous critical notices with some reviewers tossing around words like “genius” and “masterpiece”. “It’s a film where there’s a lot of applause at the end of the movie,” said Dan Fellman, Warner Bros domestic distribution chief. “A lot of people coming to the movie went purely on the reviews.

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. The conversation about it is so strong about what an incredible ride this is that it’s going to propel us right into the meat of the summer.” Mad Max: Fury Road needed the critical notices, because three decades separated chapters in the apocalyptic franchise and original star Mel Gibson aged out of the role/had one intemperate outburst too many and had to be replaced by Tom Hardy. 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.

Fellman said that many of the showings ended with applause, only adding to the hope that word of mouth will contribute to a lengthy and successful run. “Each film absolutely found its target audience,” Dergarabedian said. “They were running on parallel tracks, and both exceeded expectations by not cannibalizing each other. Moreover, the film carries an R rating which prevents teenagers from attending the picture without a parent or guardian, potentially limiting its audience.

It was the perfect release strategy for two very different, high-profile films … it really paid off handsomely.” After opening in China six days ago, the “Avengers” sequel brought in $185 million internationally in its fourth weekend. 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 dystopian movie, filled with extended car-chase scenes as Max and Furiosa flee an evil ruler across a post-apocalyptic desert, is the fourth of the “Mad Max” franchise that originally starred Mel Gibson in the 1970s and 1980s. “Fury Road” was distributed by Time Warner Inc.

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. Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC. 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. In “Fury Road,” Tom Hardy takes on the role of Max Rockatansky, roaming a barren desert when he is caught up with Imperator Furiosa, played by Charlize Theron. With a mechanical arm, shaved head and face covered in grease, Furiosa is a rebel, fleeing the warlord Immortan Joe, played by Hugh Keays-Byrne, who controls a citadel and starts a new road war that engulfs Max.

To subscribe to the Philippine Daily Inquirer newspaper in the Philippines, call +63 2 896-6000 for Metro Manila and Metro Cebu or email your subscription request here. 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. Among art house releases, Bleecker Street’s I’ll See You in My Dreams, a bittersweet comedy with Blythe Danner, opened in limited release to US$49,340 from three theatres for a per-screen average of US$16,447. Photo: Reuters On paper, it looked enticing: a high-stakes drama of love and loss by Gus Van Sant starring Oscar winner Matthew McConaughey and Australian Naomi Watts and mostly set in Japan.

But , premiering Saturday in competition for the Palme d’Or at the Cannes Film Festival, has landed with a thud at its press previews, garnering the first big boos of this year’s edition. The picture, also featuring Japanese actor Ken Watanabe, drew unintended laughs and derisive whistles from the Cannes crowd, never shy about audibly expressing its views. “I love logic, I love science. McConaughey’s career has been flying high since he bagged an Academy award last year for Dallas Buyers Club and critical adulation for his role in the television series True Detective.

In the film, Arthur performs a Google search looking for “the perfect place to die” and ends up wandering through a dense forest near the foothills of Mount Fuji that attracts dozens of depressed people each year. Through conversations about their lives (mainly Arthur’s, in fact) and flashbacks, Van Sant shows Arthur’s downward spiral back in Massachusetts with an alcoholic wife, played by Watts, and a stalling academic career. Takumi leads Arthur on a rough hike that becomes a spiritual journey to examine where it all went wrong, complete with dialogue offering platitudes about science not offering all the answers to life’s questions.

A plot twist that most viewers saw coming and a sentimental ending accompanied by swelling string music seemed to nix Van Sant’s shot at claiming a second Palme d’Or after his 2003 triumph with Elephant. I was imagining everyone was the same person as the one who wrote it and I was like now I know where we stand – it was kind of nice but then I got nervous later.”

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