The Oscars are on Sunday, aka, The Night Leonardo DiCaprio Will Finally Win The One Popularity Contest That Has Eluded Him. This has been the tightest race in recent memory, with very few sure things. Best Picture is still wide open, the Supporting Actress race is closer than Alicia Vikander would like it to be, and the technical/craft categories are going to be an all-out brawl between The Revenant and Mad Max: Fury Road.
After a thirty year hiatus director George Miller returns to cinemas with the long-awaited fourth installment in his Mad Max franchise, Mad Max: Fury Road. This movie had a famously troubled production, going over budget and falling behind schedule, but sometimes nightmarish film shoots end up producing true cinematic gems (see also: Apocalypse Now, Jaws, The Hurt Locker), and this is undoubtedly the case with Fury Road. It’s a gonzo blockbuster of epic scale that pushes reset on the CGI-dominated spectacle of mainstream movies. It’s simultaneously a dumb movie about people in a wasteland chasing each other in souped-up cars, and a smart movie about feminine assertiveness and agency. Fury Road is gorgeous and exhilarating, but it’s also an elegantly told story that requires no exposition to understand. Continue reading “The elegant visual insanity of Mad Max: Fury Road”