Okay, we revisited The Road Warrior last night, and I need to update my statement in which I said it was better than Fury Road. Story-wise and character-wise, they’re both (to put it charitably) streamlined for speed. But there’s a lot more action in Fury Road, and its action is far more creative. Fury Road is visually gorgeous in a way Road Warrior never approaches. And the world building in Fury Road is astonishing, just the intricate texture of the world and its cultures, all depicted without laborious exposition. Even the political/feminist themes work, as bald and obvious as they are, but then even clumsy progress is progress (a lesson I wish a lot of fanatical progressives would learn).
As for Max himself, both Mel Gibson and Tom Hardy are fine in a role that gives them little to chew on. Gibson’s best character beat is his “You want to get out of here? You talk to me.” Hardy’s is a grudging thumbs-up he gives in an action sequence. Gibson does get to be the actual star of his own movie, though, which Hardy does not (Charlize Theron’s Furiosa isn’t much better as a character, but she does get to carry the plot).
Still ahead, we’ll rewatch Beyond Thunderdome to see how that compares. And they’ve already announced another flick with Hardy. But really, I’m looking forward to the Mad Max game for PS4 a lot more.
I saw it, and if memory is accurate, The Road Warrior remains the best Max film (and Mel Gibson the best Max), but Fury Road is getting people thinking and that’s a good thing. [UPDATE: I changed my mind after rewatching The Road Warrior.] Of course, the “Men’s Rights Activists” are pathetic creatures whose rants have worth only for those looking for a good laugh (and, perhaps in some cases, to establish a case for domestic abuse), like the quoted comment in the image above. There are similar fuckwits on the feminist extremist side of things, like the idiots who attacked Joss Whedon recently. And I respect Anita Sarkesian, and don’t think of her as a militant/unreasonable feminist, but she can be pretty reductively doctrinaire at times. This seems to be one of those times.
To me, yeah, sure it’s a feminist film. But neither it nor its characters are all that deep, and it seems that it had to hit a pretty low bar (promotion tied to Eve Ensler’s involvement, some really basic symbols and themes, passing the Bechdel test) to excite a lot of folks into raving that it’s some sort of revelation. In truth, it’s still just a beautifully crafted cartoon with the barest of ciphers for characters including Max and Furiosa.
Here’s Tina Turner (who could remind you that strong women in a Mad Max flick aren’t anything new) with a song of the week for everybody who can keep their heads out of their asses on the subject…
A few years ago, when the first Captain America film came out, I was visiting my friend Phil Rockstroh. Phil is “a poet, lyricist and philosopher bard living in New York City,” so leftist he makes me look like Ronald Reagan, and he watched the film with me. To him, of course, Steve Rogers was the very major model of a modern jingoistic character designed to arouse fascistic and nationalistic feelings in the weak-minded.
I tried pointing out that Cap had been created by a couple of Jewish kids trying to encourage Americans to stand against the Nazi threat in Europe before America was even in the war. I tried to delineate the progressive values Captain America has shown over the decades, and how at every point in the film, the creators subverted the potential jingoism that can, indeed, be a part of such a character. I predicted that in future films we would see a very strong anti-authoritarian theme at work in not just the Captain America films but in Marvel films in general. And I’m happy to say I was right.
Man of Steel had a lot of problems, and unfortunately Batman v. Superman looks to replicate some of them and add a few more. Which is a shame because Henry Cavill is an awesome Superman and Ben Affleck looks great as Batman.
These folks color-corrected Man of Steel to see how it would look if it were spared Zack Snyder’s monochromatic dreariness. It actually looks like a Superman movie, which would have been nice, though it still would have been a Superman movie in which Clark Kent just stands there and watches his dad be killed by a tornado.
Green Arrow has always been one of my favorite DC heroes, and I’m thrilled that he’s got his own very successful TV show which, to be fair, is a damn sight better than it might have been. But that doesn’t mean that it’s as good as it should be.
My relationship with the show has run hot and cold. I watched the first seven episodes and quit. Later, during the second season, several friends recommended I give it another try, reassuring me it had gotten a lot better, so I went back and watched everything from the point I’d stopped. And I was glad I did, because it was getting better, and by the end of second season, it was pretty great. I went into the third season excited to see what the show’s creators would do next, and then things got painful.
Eleven episodes in, basically halfway through the season, I quit again. That was several weeks ago, and this week I decided to give it another chance to get better again, and I’ve now watched up through the season’s thirteenth episode, “Canaries.” And it’s still not must-see TV.
Before getting into what’s wrong with the show, I want to mention some things that are right about it… Continue reading →
Most readers of this blog are aware of the fact that my Doc Wilde books are, at least to some degree, a love letter to the old hero pulps of the thirties and forties, especially to Lester Dent’s great Doc Savage (who was also a primary influence on Superman, Batman, and many other characters as diverse as James Bond and the Fantastic Four). In recent times, a Doc Savage movie has been planned, to be directed by Shane Black (writer of Lethal Weapon, writer/director of the superlative Kiss Kiss Bang Bang and Iron Man 3).
It’s obvious to me Tim Byrd is the most qualified person to write or consult on a new Doc Savage film. He gets Doc Savage. He’s modified and adapted the Doc Savage oeuvre for his young adult literature needs but what he takes and how he uses it is pretty darn awesome. His story constantly moves forward, stuff happens, thought and research are combined as if by Lester Dent magic, and great Doc Savage details large and small come into play…
Mr. Black, Shane, Dude, hire Tim Byrd to write your movie for you.
Further down the page, he posted this:
This is very gratifying to me. While I consider Doc Wilde to be very much his own man, and in spite of his many similarities to Doc Savage he is also quite different, there is still that strong current of homage crackling through the stories. So having other fans of the old pulps respond to my work in this way tells me I’m doing the job I set out to do.