#post-apocalyptic dystopian action film

[k-i-l-l-e-r-b-e-e-6-9]

Mad Max 2: The Road Warrior (1981) directed by George Miller. It is the second installment in the Mad Max franchise, with Mel Gibson reprising his role as "Mad" Max Rockatansky.

[schlock-luster-video]

On November 9, 2016, Mad Max: Fury Road was screened at the Nasu Short Film Festival.

Here's some new Nux art to celebrate!

[savage-kult-of-gorthaur]

"...GEORGE HAD BEEN WORKING ON THE PROJECT FOR YEARS. SO HE'D LIVED WITH IT; HE HAD A LOT OF IMAGES IN HIS HEAD."

OVERVIEW: "English costume designer Jenny Beavan has been nominated for nine Academy Awards, but this year’s, for "Mad Max: Fury Road," is unlike any other. The heavy corsetry and thick, wide linens of British costume dramas have been her area of expertise, including her Oscar-winning work for 1986’s "A Room with a View," starring a young Maggie Smith, Helena Bonham Carter, and Simon Callow, and her other nominated films including "The King’s Speech" and "Gosford Park." So what’s it like to move from period to post- apocalyptic? We got on the phone to find out."

-- VANITY FAIR, "How Charlize Theron Taught "Mad Max" Costume Designer Jenny Beavan to Take a Compliment," by Bridget Arsenault, February 26, 2016

VF.com: "You’ve been nominated, what, nine times now? Do you still get that goosebump feeling? Does it still feel the same as it did that first time?"

JENNY BEAVAN: "This was particularly special because as you may know it’s obviously quite different to my normal work, not that I ever wanted to be typecast, but one just tends to be a little bit, and so when I got this opportunity that was fantastic. Yes, I was absolutely thrilled and went sort of weak at the knees."

VF: "Did a lot of the film’s lunacy come from the director, George Miller?"

JENNY: "Of course, absolutely, and George had been working on the project for years. So he’d lived with it; he had a lot of images in his head."

VF: How long do the costumes for a project like this take?"

JB: "This was an unusual one. Absolutely each project is its own thing. "On The King’s Speech," I had five weeks from getting the job to the first day shooting. This, we made everything, and in fact we had all the stuff they’d made previously, but even more importantly, we had all the junk they’d collected. Old car parts, old cutlery. So, I got from Australia something like 200 boxes of junk. Old goggles, old bits of ammunition, just stuff, and we set up a workroom. We found materials, like vellum, which I’ve never worked with before. It’s disgusting, it’s raw leather, really, but it made marvelous masks."

VF: "What specifically was different about working on "Mad Max" to other projects?"

JB: "Not only did it have to look amazing, they had to be able to work in it, they had to have safety built into it. Everyone had to wear goggles in the end because of the sand and you know racing through the desert churning up the sand was dangerous."

VF: "Did you have a moment of feeling overwhelmed?"

JB: "No, a friend told me a long time ago, "We don’t do panic, we do sense of urgency.""

VF: "Can you talk a little about some of the more unusual materials and fabrics, as well as how you found them, where you sourced them?"

JB: "Well, I’ve never had a metal worker and a mold-maker in my costume department before because you don’t need them a lot on "Jane Austen.""

VF: "Who do you design for?"

JB: "I’ve never been asked that before. I think I do it for the director and for the film. I’m a storyteller with clothes, and I just try and do the best job probably to support the actor, for the director, and the film, and I don’t think of the audience."

VF: "How much of a collaboration do you have with the actors?"

JB: "Enormous, if they want to be collaborative, and most of them do. It’s normally you have the ideas, and you present them: it might be a drawing or a mood board or a collection of clothes, and you take it to the actor and then you start with the dialogue, you don’t just throw them into it. And when they say, “Oh yeah, now I know who this person is,” or, “Yeah, you’re helping me understand it,” that’s when the whole thing is just the most marvelous job in the world."

VF: "Do you have a favorite anecdote from set?"

JB: "When Charlize [Theron] came for her fitting in Namibia, she put one on and said, “This feels really great,” and it had to be a sort of corset because she had to put this harness on top of it. I went all sort of English and coy and said, “Oh well, you know, we’ve been trying to make it…” And she just said, “Take the compliment, bitch,” and George Miller literally elevated about a foot in the air; he sort of jumped. She’s just very straight talking, and I just loved it, so I’ve been taking the compliment, bitch, ever since."

Sources: www.pinterest.com/pin/577375614697448750,www.vanityfair.com/hollywood/2016/02/jenny-beavan-mad-max-costumes-interview, www.madmaxcostumes.com/mad-max-fury-road/max-4, etc...

[felixravinstills]

Katniss Everdeen: The Mockingjay

Creator Notes:

Tumblr ate my long ramble about stuff, but here is a more abbreviated version of what it said. This webweaving and the last one paralleling Katniss and Snow as defined in some ways by their actions. Obviously, the two chose to act very differently, but I like how it emphasizes the importance of agency.

Also this doesn't quite capture the dehumanizing nature of becoming a symbol (an attempt was made: 3rd quote and only showing Katniss' face once), but it does focus more on becoming a symbol/message making you larger than life. You are the message, so your actions are the message. Still, Katniss' choices and actions led to people choosing her as a symbol of the ideals of the rebellion.

Did any of that make sense? I'm unsure. This is much simpler than my last webweave, but it's been rotating around in my brain for a while!

This webweaving combines some of my favorite dystopian/post-apocalyptic media:

First and last quote Ch. 27 of Catching Fire

All gifs made by me from the Hunger Games, Catching Fire, and Mockingjay Part 2 films

Second quote Ch. 29 of Nona the Ninth

Third quote Ch. 3 of Mockingjay

Fourth Quote Ulysses' Final Message (Fallout New Vegas)

Penultimate quote Ch. 26 of Catching Fire

[zoroshin]

Akira (1988)

Directed by Katsuhiro Otomo, Akira revolutionized anime with its groundbreaking animation and dystopian storytelling. Set in a post-apocalyptic Tokyo, the film introduced a global audience to the potential of anime beyond traditional genres. Its detailed animation, especially in depicting kinetic action sequences, set a new standard for the industry.

[effypcfcwrites]

Furiosa: A Mad Max Saga

WITNESS ME!!!

... as I write another mini-review of another piece of media that I enjoyed. This time, about a film.

Furiosa is the fifth installment in director George Miller's Mad Max franchise, serving as both a prequel and spin-off to 2015's Mad Max: Fury Road, which I am a huge fan of 'til this day, even more so now since watching it. The movie tells the story of Fury Road's Imperator Furiosa, originally portrayed by Charlize Theron, portrayed here by Anya Taylor-Joy (The Queen's Gambit, The Menu) and Alyla Browne, as a younger version of her. Taylor-Joy stars alongside Chris Hemsworth (Thor, Extraction, The Cabin in The Woods) and Tom Burke (The Musketeers, Strike, Mank).

In the film, set in post-apocalyptic Australia, the warlord Dementus (Hemsworth) kidnaps Furiosa as a child (Browne), executes her mother, and sells her to Immortan Joe as a slave. Within a decade, Furiosa manages to escape slavery, adopts a new identity as a mechanic under Joe's army of irradiated War Boys, eventually becomes a soldier (Taylor-Joy) serving under Praetorian Jack (Burke), then avenges her mother by defeating and capturing Dementus, and is promoted to Imperator afterward, leading up to the events of Fury Road, where she, with the aid of Max Rockatansky (Tom Hardy), helps Joe's "wives" - his remaining sex slaves, referred to in-universe as Breeders - escape to Furiosa's home, the "Green Place of Many Mothers," incurring the wrath of Immortan Joe and his war boys in a lengthy battle across the wasteland.

I saw this film one June weekend ago on a date with my girlfriend, and I must say: personally, there was never a dull moment the whole time, commercial reviews of the film during its opening weekend be damned. Every moment had me at the edge of my seat, in anticipation of what's gonna happen next. Anya Taylor-Joy is well on her way to becoming Hollywood's next big action star. Furiosa's entire character arc, her struggles to survive and rise above, and her desire for revenge were portrayed well. Chris Hemsworth's unhinged delivery as Dementus had truly left its mark on me, as until the time of this writing, my lasting impression of him was his Shakespearean portrayal of Marvel's Norse God of Thunder. It was as if George Miller gave Hemsworth full permission to just let loose as an everyday Aussie, albeit with more villainous bloodlust and melodrama than the average bloke. I swear, the dude goes through so many eras in the movie, that he might as well just compete with Taylor Swift. It had left me both amused and genuinely impressed by his acting chops.

The setting, backdrop, and score are also worthy of my praise. The whole thing just served as a welcome expansion of Fury Road's wonderfully bleak dystopian landscape. No words can ever do justice to Junkie XL's musical accompaniment; it just complements the film's tense high-octane action and more somber dramatic moments really well.

Simply put, I would say that this movie is just one big modern-day Greek epic, and it shall ride forever shiny and chrome, along the hallowed halls of Valhalla.

[adamwatchesmovies]

Uglies (2024)

Oh, the Young Adult Post-Apocalyptic Dystopian/Fantasy Novel Film Adaptation genre. How I’ve missed you. Uglies is a film cut from the same cloth as Divergent and The Darkest Minds. Its villains are obvious, which makes everything that follows evident. The romance and "shocking" revelations that follow are sure to have you rolling your eyes. Any potential it might’ve had is buried in overused ideas. Even if you haven’t seen where this clone's original genetic material comes from, you’ll be holding back laughs. I can’t wait for the sequel.

After the planet’s dwindling natural resources nearly caused civilization to collapse, a new society emerged to solve all of humanity’s problems. Genetically modified orchids provide free, renewable energy and humanity’s worst traits are expunged after they undergo extensive cosmetic surgery at the age of sixteen. Tally (Joey King) cannot wait to become one of the “Pretties” but when her best friend, Peris (Chase Stokes), undergoes the procedure, she has second thoughts. His personality has completely changed. Her uncertainty doesn’t go unnoticed. The city's lead scientist, Dr. Cable (Laverne Cox) assigns her a mission - she will remain one of the "Uglies" until she infiltrates the rebel group that lives in the surrounding wilderness and discovers the location of their leader, a terrorist named David (Keith Powers).

There are some good ideas there. Until you’re sixteen years old, you’re forced to live outside the city in restrictive dormitories. You’re told by the authorities that you need to be fixed and that you don’t fit in but that someday, you will. Once you undergo the surgery, you’ll start a new life “over there” with all the beautiful people living in this place you’re not allowed to visit but know is filled with non-stop revelry, fireworks and fun. If you grew up in a society that broke you down mentally every day, you’d do just about anything to get that carrot they've been dangling. Wanting to belong is something we can all relate to. With everyone over the age of sixteen either part of the corrupt governing body or brainwashed, it makes perfect sense for young heroes to be the driving force of rebellion and change.

The problem is that when we see this world in action - and I’m going to blame director McG here - every cell in your body says “This is wrong”. You take one look at Joey King. She looks fine. The “Pretties”, however, have a distinct sheen of special effects and makeup and the way they act/talk makes you immediately uneasy. When Dr. Cable tells Tally she can’t have the things she’s always wanted until she investigates this mysterious terrorist who operates outside the city, you know who the villain is. Even before we meet Dr. Cable, you’ve got this entire society figured out. From minute one, you’re waiting for our protagonist to catch up to you and scenes of flying skateboards can't make up the difference.

In the film’s defense, it’s got a good message. It’s what's on the inside that counts, and as a bonus, it doesn’t beat you over the head with it. The performances are… fine, so are the special effects. It’s not like anyone acts illogically or there are glaring technical errors, it’s that you feel like everything in this movie is beneath you. There are no interesting twists or revelations. There's nothing new to see. We never dig into Tally’s psyche enough for us to doubt our initial impression of this society. This world's sales pitch isn't good enough to make you think "You know, maybe they're an idea here worth exploring". No one who isn't brainwashed could see the idea of “Uglies” and “Pretties” as a good thing but the society isn't even sinister enough to be interesting and the secondary crisis is the definition of "underwhelming".

For me, the joy in Uglies, The 5th Wave, The Mortal Instruments: The City of Bones, etc. comes from seeing the boxes I know it will check get checked. Does the enemy become the friend? Does the transparently evil-looking character turn out to be evil? Are the protagonists anguished, system-smashing teens? Is there a plot-relevant scar or tattoo? Will victory come at the expense of a vaguely important, but ultimately useless supporting character? Is there a city surrounded by walls or a barrier? Will the first love romance get broken up? What’s the film’s equivalent of “Muggle” and what are the factions called? I’ve made a game out of it, where everyone watching gets random cards and the one who gets the most points once the credits start rolling wins.

Uglies is not worth your time, not when you could re-watch the Hunger Games, Harry Potter or even the Twilight and Maze Runner films but when/if the sequel comes out, I’ll be there. I want to see what comes next so when it comes to Uglies, do as I say, not as I do. (October 4, 2024)

[liquidgirl13]

Ghost

"We Don't Need Another Hero"

(Official Audio) on YouTube

We Don't Need Another Hero

Out of the ruins

Out from the wreckage

Can't make the same mistake this time

We are the children

The last generation (the last generation, generation)

We are the ones they left behind

And, I wonder when we are ever gonna change, change

Living under the fear, 'til nothing else remains

We don't need another hero

We don't need to know the way home

All we want is life beyond Thunderdome

Looking for something, we can rely on

There's gotta be something better out there

Ooh, love and compassion

Their day is coming (coming)

All else are castles built in the air

And, I wonder when we are ever gonna change, change

Living under the fear, 'til nothing else remains

All the children say

We don't need another hero

We don't need to know the way home

All we want is life beyond Thunderdome

So, what do we do with our lives

We leave only a mark

Will our story shine like a light or end in the dark?

Give it all or nothing

We don't need another hero (hero, hero)

We don't need to know the way home

All we want is life beyond Thunderdome

All the children say

We don't need another hero (we don't need another hero)

We don't need to know the way home, ooh

All we want is life beyond Thunderdome

Source: Musixmatch

Songwriters: גרייניק אבי / Britten,terence Ernest / Lyle,graham Hamilton

We Don’t Need Another Hero lyrics © Wb Music Corp.

Mad Max Beyond Thunderdome 

is a 1985 Australian post-apocalyptic dystopian action film directed by George Miller and George Ogilvie and written by Miller and Terry Hayes.[4] It stars Mel Gibson and Tina Turner in a story of a lone roving warrior who is exiled into the desert, and there encounters an isolated child cargo cult, centred on a crashed Boeing 747 and its deceased captain. -Wikipedia

[uths-ethnol-spam]

mad max: fury road and journey

hi. as a french student, i attend to english class as a foreign language and i submitted an oral presentation on a piece of media in relation to our theme: Journey, Travel, Exile. despite the compelling topic, the class had been incredibly dull this semester. i figured i might as well post the text somewhere, if it interests some people in the fandom.

anyway! there are mistakes here and there, sorry about that. :))

MAD MAX: FURY ROAD. GEORGE MILLER. 2015

Journeys depicted in cinema are about going from one place to another; they often mirror the protagonist’s own inner and emotional journey — hence the satisfaction of finally witnessing the protagonist’s arrival: it symbolises the completion of the character’s story after three or five acts.

So what about a movie revealing about two thirds into the story that actually, the journey doesn't end here, because the characters are meant to go back from where they came? How does this depiction of journey match the inner journey of the protagonist?

This question is quite central in MAD MAX: FURY ROAD, and some even expressed criticism about the fact that what was announced as a journey is, basically, a round-trip. 

MAD MAX: FURY ROAD, directed by George Miller and released in 2015, is the fourth opus of the MAD MAX series started back in the eighties. The multi awards-winning action movie features Charlize Theron as Imperator Furiosa and Tom Hardy as Max, in the post-punk dystopian “Wasteland” : after a nuclear war, a handful of men have taken possession of means of production and of vital resources, keeping survivors as slaves and fanatic soldiers. But the specificity of this post-apocalyptic feudal society lies in the key importance of motorised vehicles: in the deadly desert, a car is a symbol of freedom and independence. 

Max has been captured by the main antagonist and war lord Immortan Joe, and his iconic car now belongs to the lord’s mechanical cavalry; as for Imperator Furiosa, she drives the War Rig and intends to recklessly flee to the Green Place, bringing with her Immortan Joe’s “Wives”. Starts consequently the epic high-speed car chase, which is the beating heart of this action movie.

Of course, the chase is both a setting for the characters to evolve, and a metaphor of this journey. It is exemplified by the quote at the end: "Where must we go... we who wander this Wasteland in search of our better selves?" But the whole movie also focuses on two other noteworthy elements: what is it like to have no home to return to, hence being perpetually exiled? And what are the mechanics of travel in this collapsed society? Indeed, Miller and the creative team focused on the materialistic dimension of journey — the cars, how they function, and to what extent they inform the public about their driver.

Keeping all of that in mind, we’ll study how the audience’s expectations about this tumultuous journey — relying on a materialistic and spectacular depiction — are subverted into the very heart of the narrative structure, in order to unfold Furiosa’s and Max’s inner journey.

We’ll proceed that way: 

First, we’ll focus on the global approach of journey, exile and migration in the movie, from a thematic and a structural point of view, and how it impacts the narrative.

But the means of the journey are as important as the ends: that’s why we’ll see how filming and showing the journey enable Miller to draw parallels with our own relationship to movement, vehicles and consequently, modern society.

Finally, the means of one’s journey is intrinsically linked to their inner journey, so to speak. We will thus explore how Furiosa and Max evolve as characters throughout the chase, but also to what extent they actually can escape their condition as drivers in the Wasteland.

Out here, everything hurts.  Journey from a thematic and structural perspective

Migration and exile: overarching themes

In this devastated land, migrations — individuals and groups moving from a place to settle in another — are an important dimension of one’s life. The population relying on Immortan Joe for water migrated to the Citadel but depend on the tyrant’s whims and wishes. The nuclear and ecological disasters forced the remaining population to move and eventually, submit in order to barely survive — we’ll come back to that.

The theme of exile is also tackled at the very beginning of the movie. Max is presented as a man with no home anymore — a stateless man. As the audience discovers, it is also sort of Furiosa’s case: she has been taken from her home as a child, and now fully intends to go back. The two lead characters are uprooted, in a desert maybe too dry to let anyone grow anymore. 

Finally, Furiosa and Immortan Joe’s Wives rely on the Rock Riders, who are sort of people smugglers, to cross a canyon: movement and travel in this world is controlled not by a state, but by lords, tribes… informal groups holding power on limited territory thanks to violence. The people smugglers too are an obstacle for Furiosa to overcome.

Subversion of the traditional journey narrative

But the most obvious type of journey or travel one thinks of when watching MAD MAX: FURY ROAD, is the chase. The chase seems at first to structure the narrative as Imperator Furiosa announces she wants to go to “The Green Place”, home. But the third and supposedly last of the three acts turns out to be short-lived: a plot-twist forces the story to go through two more acts, hence a subversion of the narrative.

The first act is Furiosa’s breakout: she leaves Immortan Joe’s Citadel, but the tyrant, his war boys, and other lords are chasing her. The second act focuses on how Furiosa, Max, the Wives and a War Boy succeed in escaping the antagonists: they are now heading to the Green Place, Furiosa’s birthplace. 

As the third act begins, we are expecting the difficult end and final arrival to this utopian world, a space for everyone to grow and settle for good. But the third act is very short and ends on Furiosa’s despair as she discovers that going home is no longer possible. 

Hence the unexpected need for a fourth and fifth act: the dramatic and epic journey back to the Citadel, and the arrival as the characters themselves have opened up and fought for what they thought they would never fight.

Travel, exile and migration are thus important elements in the overall narrative: they are themes directly addressed in the story, and they even bend the traditional hero journey. 

It’s a detour. Filming the means and symbols of journey

The means of the journey — and not just the ends — are themselves a theme explored in MAD MAX: FURY ROAD: they contribute to the depiction of the Wasteland, centred around movement, and a parallel must be drawn with a modern perspective on our own use of means of transportation.

Creative means of transportation and creative process to model the Wasteland

One the strength of the movie is doubtlessly its depiction of travel. Great effort has been put into the choreography of the chase by the creative team and Miller himself, but also in the conception of the motorised vehicles — and even other means of roaming.

The cars all have their specificity and identity. Furiosa’s War Rig probably is the best example: every detail inside and outside of the car is meaningful for the character, but also adapted to the Wasteland — for instance, Furiosa can extinguish fire thanks to the hinged front of the truck, using sand to smother it.

But two other striking elements caught my eye: the Crow Fishers and the Pole Cats.

The former, the Crow Fishers, are men wayfaring thanks to stilts. Their disquieting way of wandering stands in sharp contrast with every other characters’: this detail (just one shot!) shows how every surviving human adapted their means of travelling depending on their environment. 

The latter, the Pole Cats, are the men using swinging poles fixed to vehicles to swiftly attack the protagonists: their agility is remarkable and clearly exemplifies Miller’s will to show great spectacle. 

The chase itself, finally, is filmed in order to be simply remarkable, breathtaking and constantly frenzied. All of the vehicles are real, which is today extremely rare in the industry, hence the amazing effects and materialistic, raw dimension of the film. The use of fast motion (when the action filmed is sped up — a very eighties style of filming and editing), close ups, panoramas, travelings, steadicam… are all means to offer to the spectator an incredible experience of journeying in the Wasteland. 

Fanaticism, symbolism: depiction of movement and travel to question our own 

But there’s also a symbolic dimension of journey in-universe, hence a depiction of movement to question our own. Indeed, there’s a religious belief in the Citadel, focused around speed and driving cars, which of course evokes futurism and facism. Immortan Joe’s fascist reign is fueled by the War Boys fanaticism, praying before taking from the altar a wheel that seems sacred to them. 

To this religious symbolism is superimposed a political one: the means of migration belong to Immortan Joe who keeps them at the top of his fortress. A motorised vehicle for him is not just a means to go somewhere: it testifies of his domination and control of the resources (human and otherwise). The Doof Wagon and its iconic Coma-Doof Warrior demonstrates how Immortan Joe is the man who controls the gas, and that using it with such extravagance is his right. As Colin Gibson (production designer) says, “car have always been about power”.

Obvious parallels are meant to be drawn here. This movie seems to critique severely the disastrous and inequitable use of resources — think of the immigrants needing water we talked about earlier. “Then who killed the world?” Angharad ironically asks at some point, one of Joe’s Wives, clearly thinking of the tyrant and his kind. The glorious spectacle of the chase is also the symbol of a decaying world, destroyed — as it is reminded — by a nuclear and ecological calamity.

Well, you keep moving. Two drivers’ inner journey

All of that being said, this spectacular depiction of the journey mirrors the characters’ inner journey and evolution: but it appears that the periple itself changes deeply both Furiosa and Max, because these individuals, even though they want to escape their condition, can’t help but be submitted by the Wasteland — and hence, be drivers.

Furiosa’s and Max’s progression displayed through the chase 

Both Furiosa and Max are based on archetypes they escape from throughout the pursuit. Max is the lone wolf, wandering on his own, and his initial refusal to help Furiosa and the Wives hammers home that he does not belong to any community anymore. Furiosa seems to be the idealist: the prospect of freedom promised by her native country, the Green Place, keeps her moving.

But both evolve and learn to trust each other. Max eventually proposes himself to “slow down” the chasers, putting himself on the frontline and ready to sacrifice himself in order to save the small community he grew attached to. The stateless man found a shelter to their side.

As for Furiosa, she brutally learns that the Green Place is no more and that her only way of survival is taking back the Citadel. The pragmatic choice of transforming the place that once was her prison, Joe’s former base, is also an adieu to her hopes of travelling away.

The pursuit is a perfect context of this evolution, as the characters have no choice but to adapt or to die. 

Humans unable to escape their path: one’s road is never independant from the world

Nevertheless, the end may seem bitter, especially on Max’s side. Indeed, even though he defeated the bad guy, the protagonist is shown again and again in the movie as a driver, unable to evolve past that — and consequently, is destined to be submitted to the Wasteland. 

The heavy symbolism of the driver clings as firmly to the War Boys as it does to Max: the shot after Max’s “retaliation” makes him appear as a ghost-like figure, almost otherworldly, holding the wheel — and it underlines how that dimension is part and parcel of him. When Furiosa and Max part, the protagonist walks against the current of the crowd — once again a symbol of his eventual loneliness, despite the temporary respite alongside Furiosa: he is ready to drive again, far from here, an eternal nomad.

Finally, the disparition of the Green Place is loaded with symbolic, even religious meaning. This edenic utopia does not exist: in this sublunary space, the overwhelming feeling of dereliction is a weight on Furiosa's shoulders. There is no alternative: Furiosa has no choice but to be part of the Wasteland she had tried to escape all along.

Conclusion

"Where must we go... we who wander this Wasteland in search of our better selves?" asks the end of the movie. I think that the characters’ better selves (especially Furiosa’s and Max’s) emerge when they are together, because they find the human remains buried under all the sand. The spectacular MAD MAX: FURY ROAD seems to be, eventually, asking the audience to go on their own path as wanderers, showing how things may become if we stop moving, and thus, acting for a better future. Thank you.

so here it is... it would be waste just to share it in class. besides, this is the extended version, as i take about 15 minutes to read all of this out loud. god

i may have been caricatural here and there — and i KNOW that some of it is factually incorrect, specifically about Joe's control of gas. but you know, sometimes one HAS to lie during an oral presentation

[purvianpat-asmediastudies]

Week 13- Genre

This week we learnt about genre- what it is, its elements and hybridity. Genre refers to the different categories within various media forms. Film, music, newspapers, etc. all have their own types within them.

For example-

Some film genres are western, horror, action, comedy, and many more.

Newspapers have 3 genres: tabloids, mid-market tabloids and broadsheets

Each genre has its own conventions that makes the media texts more recognizable. These conventions are formed due to a set of expectations developed by the audience through prior consumption.

There are certain elements that indicate certain genres. Here are the elements involved in a typical Sci-fi movie:

Setting- Futuristic cities (eg. Blade Runner), alien worlds or outer space (eg. Star Wars), a post apocalyptic world (eg. The Matrix), etc.

Iconography- Advanced technology, spaceships and futuristic vehicles, weapons and gadgets, and dystopian imagery.

Narrative- In most sci-fi films a futuristic world is introduced. The hero uncovers a hidden truth like an alien threat or corrupt activity. They battle against powerful forces, determining the fate of humanity in their world.

Characters- The chosen one (eg. Neo in The matrix), The rogue explorer (eg. Han Solo in Star Wars), The alien entity (eg. E.T. in E.T. the Extra-Terrestrial), The AI (R2-D2 in Star Wars), and many more.

GENRE HYBRIDITY

Genre hybridity simply refers to the mixing of genres. This allows producers to expand their target audience asthe conventions of the different genres will also blend together pleasing different audiences.

Some of the different genres that are typically blended are:

Fantasy + Horror (eg. Pan's Labyrinth)

Action + Comedy (eg. Deadpool)

Romantic + Comedy (eg. Notting Hill)

Similarly there are multiple such mixes between genre.

This was everything we learnf about genre this week! Thankyou for reading. See you next week!

[k-i-l-l-e-r-b-e-e-6-9]

Mad Max: Fury Road (2015) co-written, co-produced, and directed by George Miller.

[schlock-luster-video]

On December 22, 2016, the Shiny and Chrome Edition of Mad Max: Fury Road was released in South Korea.

Here's some new Bullet Farmer art to celebrate!

[mi4012ravinkaperera]

Assessment 01  - independent work

IN THE SHADOWS OF THE MOON

“In the shadow of the moon” fil the opening scene opens with a haunting vision of Philadelphia  in 2024, flooded with destruction , fire raging across the city and an eerie sense of  “DOOM”. The view of collapsing buildings , smoke-filled skies and scattered pieces of rubbish and remains,  immediately raises the question >>> “What led to this devastation?” Before the audience can process the devastation the film suddenly jumps back to the year 1988, introducing a officer Thomas Lockhart, a young and ambitious cop eager to prove himself.  This sudden shift from a apocalypse future to a seemingly normal past creates a stark contrast that fuels tension throughout the film…

From the moment Lockhart begins investigating a string of inexplicable murders, the weight of the opening scene looms over the narrative. Every clue he uncovers and every decision he makes feels like a step toward the catastrophic future the audience has already glimpsed. His obsession with solving the case intensifies, leading him down a relentless path that spans decades. As time jumps forward and the mystery deepens, it becomes increasingly clear that the line between hero and villain is blurred

THEMES AND SYMBOLISM IN THE OPENING SCENE  

The opening scene of In the Shadow of the Moon is rich in symbolism and themes that set the tone for the entire film.

Fate and Inevitability - The chaotic vision of Philadelphia in 2024 foreshadows an unavoidable disaster, reinforcing the theme of predestination. The audience is left wondering whether the events leading to this destruction can be altered or if they are inevitable.

Obsession and Consequences – The burning city represents the devastating cost of obsession. As the film progresses, it becomes clear that the protagonist, Lockhart, plays a key role in the events leading up to this moment. His relentless pursuit of the truth mirrors the fires consuming the city—both fueled by an unstoppable force.

Time and Cycles – The stark contrast between the post-apocalyptic future and the relatively normal past suggests a cyclical nature to the story. This visual contrast hints at the film’s exploration of how actions ripple across time, affecting the future in ways the characters may not foresee.

Moral Ambiguity – The scene does not reveal whether the destruction is the result of good or evil actions, setting up the film’s theme of moral complexity. It challenges the audience to question whether the protagonist’s pursuit of justice is truly righteous or if it contributes to the very catastrophe he seeks to prevent.

>> ( this is Lockhart ) <<

As Lockhart’s investigation continues, the tension mounts, and the audience is left wondering whether he is preventing the future disaster or unknowingly causing it. The film masterfully plays with this uncertainty, making every moment feel like a countdown to the inevitable. His choices, once driven by a desire to protect, begin to spiral into something darker, revealing the unintended consequences of obsession. By the time the film returns to 2024, the true meaning of the opening scene becomes clear. The destruction was not just an abstract dystopian event—it was the direct result of Lockhart’s journey, shaped by his relentless pursuit of the truth. The cyclical nature of the story reinforces its tragic themes, showing how fate and obsession intertwine in ways that cannot be undone. What began as a simple investigation evolves into a profound meditation on destiny, sacrifice, and the unintended ripple effects of one man’s actions.

>>> this is the opening scene for the film " In the Shadows Of the Moon" enjoyyyy

the assessment is to Rework the opening scene from a different angle to the original opening scene of the chosen film and the plot/ characters should remain the same.

as you can see i have one film that i have chosen to do that and i have 2 more yayyy!! my brain is working soo much my brain it self can't keep up :')

there will be more updated today ( coz its like 1:00 am :>)

I Back with the last update!! YIPPYYY

Reworked Opening Scene – In the Shadow of the Moon

Scene Description (Alternative Opening)

Instead of opening with a wide shot of a destroyed Philadelphia in 2024, the scene begins in a dimly lit apartment. A police radio crackles in the background. The camera moves through the room, revealing newspaper clippings pinned to a wall—each one featuring mysterious deaths over the years. A detective's notebook, its pages filled with frantic scribbles and symbols, lies open beside an old coffee cup.

Suddenly, an explosion rumbles in the distance, shaking the apartment windows. The detective—Thomas Lockhart—rushes to the window. Through the glass, we see fire spreading across the city, sirens wailing, and the skyline burning. The camera lingers on his weary face as he exhales sharply, the weight of years of obsession evident in his eyes.

The scene then transitions seamlessly—without a hard cut—into 1988. The warm glow of streetlights replaces the burning city, and we see a younger Lockhart, full of ambition, racing toward his first crime scene. The audience recognizes the same determination in his face, but now it is youthful and eager, untouched by the burden of years.

How This Alternative Opening Contributes to the Original Storyline

Stronger Character Focus – Instead of starting with a broad view of destruction, this version immediately introduces Lockhart’s personal struggle. It centers on his obsession and how deeply the case has consumed him over the years.

Seamless Time Transition – Instead of an abrupt cut from 2024 to 1988, the transition is smoother, creating a visual and emotional link between the older, broken Lockhart and his younger, hopeful self. This makes the audience more invested in his journey.

Foreshadowing and Mystery – The presence of newspaper clippings and notebooks gives early hints about the mystery, subtly preparing the audience for the idea that this is not just a regular crime story but something deeper and more complex.

More Emotional Impact – By beginning with a close, intimate moment rather than a large-scale catastrophe, the audience immediately connects with Lockhart. We feel his exhaustion and desperation before we even fully understand what led him to this point.

This reworked opening enhances the original film’s themes of obsession, time, and fate while making the transition between timelines more fluid and emotionally engaging.

{this is one of my favorite opening scene so it was a bit challenging to rework it but i had fun even though my i can see smoke coming from my head }

any who that you for reading !!!

[entertainmentyomovies]

Kalki 2898 AD Movie Review

Introduction

Kalki 2898 AD is a 2024 Indian science fiction epic directed by Nag Ashwin. Boasting a stellar ensemble cast, the film features Prabhas, Deepika Padukone, Amitabh Bachchan, and Kamal Haasan in pivotal roles. Set in a dystopian future, the narrative intertwines elements of Hindu mythology with a post-apocalyptic setting, offering a unique cinematic experience.

Plot Summary

The film’s storyline spans from 3102 BC to the titular year 2898 AD, weaving a complex narrative that incorporates Hindu deities and a desolate, post-apocalyptic world. A group of heroes embarks on a mission to save a woman and her unborn child, navigating through challenges that test their courage and resilience.

Cast and Characters

Prabhas as Bhairava: A self-centered bounty hunter whose journey forms the crux of the narrative.

Deepika Padukone: Plays a pivotal role, adding depth to the storyline with her performance.

Amitabh Bachchan: Delivers a powerful portrayal, contributing significantly to the film’s impact.

Kamal Haasan: Adds gravitas to the ensemble with his seasoned acting skills.

Direction and Production

Nag Ashwin’s direction ambitiously blends elements of mythology with futuristic science fiction. The film stands as one of the most expensive Indian productions, reflecting in its grandiose sets and visual effects. The production design is evocative, creating an immersive experience that transports the audience into the dystopian world envisioned by the filmmakers.

Cinematography and Visual Effects

The film’s cinematography captures the stark contrasts of a world ravaged by time, with impressive vehicle and weapon designs that enhance the storytelling. The visual effects are noteworthy, contributing to the film’s overall aesthetic and helping to establish the dystopian atmosphere.

Music and Soundtrack

While specific details about the soundtrack are not extensively covered in the available sources, the film’s music is expected to complement its epic narrative, enhancing the emotional and dramatic arcs of the story.

Critical Reception

Kalki 2898 AD has received a mix of reviews from critics. Bollywood Hungama rated the film 4 out of 5 stars, praising it as a “grandiose spectacle” that offers a unique experience by merging mythology with futuristic elements. News18 echoed this sentiment, highlighting the film’s successful combination of action, visual spectacle, and the blending of mythology with technology and science. The Guardian described it as a “maximalist sci-fi epic” that effectively mixes elements of the Mahabharata with the aesthetic of Mad Max.

However, some reviews pointed out pacing issues and narrative complexity. Polygon noted that, despite its impressive production design and ambitious scope, the film’s pacing and editing choices made it challenging to follow. Nonetheless, the review expressed optimism about the potential for future installments in the series, suggesting that while Kalki 2898 AD may not be a great movie, it lays the foundation for a promising franchise.

Conclusion

Kalki 2898 AD is a bold cinematic endeavor that pushes the boundaries of Indian cinema by integrating mythological themes with science fiction. Despite some narrative and pacing challenges, the film’s visual spectacle and the performances of its lead actors make it a noteworthy watch for fans of the genre.

For those interested in experiencing this epic tale, Kalki 2898 AD is available for streaming on YoMovies, offering viewers easy access to this ambitious film.

Source URL:- Kalki 2898 AD Movie Review

[mediamixs]

Top 10 Horror action movies

Here are ten thrilling horror-action movies that blend intense action with spine-chilling horror elements:

Resident Evil (2002) Based on the popular video game series, Resident Evil follows Alice (Milla Jovovich) as she tries to escape from a secret underground facility called the Hive, which has been overrun by the T-Virus, transforming people into zombies and mutants. The movie combines action-packed sequences with horrifying, grotesque creatures.

The Descent (2005) A group of women embarks on an underground cave expedition, but things take a terrifying turn when they discover the cave is home to bloodthirsty, humanoid creatures. The mix of claustrophobia and relentless horror makes it an adrenaline-fueled experience.

28 Days Later (2002) After a virus outbreak turns people into rage-fueled zombies, a small group of survivors must fight for their lives in a deserted London. This post-apocalyptic film delivers tense action, heart-pounding chases, and visceral horror as the survivors face both the infected and the darker nature of humanity.

Underworld (2003) Underworld blends action and horror by telling the story of Selene, a vampire warrior caught in the middle of an ancient war between vampires and werewolves. With stylish action sequences, gunfights, and supernatural creatures, this film keeps you on the edge of your seat.

Aliens (1986) Directed by James Cameron, Aliens is a perfect fusion of action and horror. Ellen Ripley returns to the alien-infested planet where her crew was killed and must now protect a group of colonists from deadly extraterrestrial creatures. The film ramps up the action while maintaining the terrifying atmosphere of the original.

The Thing (1982) Set in an isolated Antarctic research station, The Thing follows a team of researchers who are terrorized by a shape-shifting alien that can imitate any form. The horror comes from the paranoia of not knowing who is human and who is the alien, all while dealing with gruesome and bloody transformations.

The Evil Dead (1981) Directed by Sam Raimi, The Evil Dead combines horror, dark humor, and action in a cabin-in-the-woods scenario where a group of friends unknowingly release demonic forces. As the evil entities possess their friends, the survivors must fight to the death, making for a gruesome but action-packed ride.

The Terminator (1984) While more of a sci-fi action film, The Terminator also has plenty of horror elements, as a relentless cyborg assassin is sent from the future to kill Sarah Connor. The Terminator’s unyielding pursuit of its target gives it a terrifying quality, blending thrilling action with a sense of dread.

Daybreakers (2009) In a dystopian future where most humans have been turned into vampires, a vampire researcher tries to find a cure for the disease before humanity is wiped out. The film offers exciting action scenes, bloody battles, and vampire horror with a dark, dystopian setting.

Pitch Black (2000) A group of crash survivors must escape a barren planet populated by deadly creatures that only come out during darkness. Pitch Black blends survival horror with action as the survivors battle not only the creatures but also the dangerous environment, creating a tension-filled, action-packed adventure.

These films showcase a range of chilling experiences, from creepy atmospheres to pulse-pounding fights for survival. Whether you’re more into fast-paced action or slow-burn horror, these titles are sure to keep you on the edge of your seat.

[moviesjoystudio]

Furiosa Movie Review: A Bold Saga in the Mad Max Universe

The Mad Max franchise has always been synonymous with high-octane action, visually arresting landscapes, and unforgettable characters. The latest addition to this adrenaline-fueled saga, Furiosa, delves deeper into the backstory of one of its most compelling characters, Imperator Furiosa. Directed by George Miller, the film is an origin story with an intriguing narrative, featuring Anya Taylor-Joy in the titular role and Chris Hemsworth as the antagonist.

While the shadow of Mad Max: Fury Road looms large, Furiosa attempts to carve its own path. Does it live up to the expectations? Let’s dive into the review of this gritty prequel.

Plot and Themes

Set years before the events of Fury Road, the story follows Furiosa’s journey from a young woman captured by the Immortan Joe’s forces to becoming the battle-hardened leader we know. The narrative captures her transformation as she faces moral dilemmas, betrayal, and survival in a post-apocalyptic world where resources are scarce, and humanity is at its rawest.

One of the film’s strengths lies in its exploration of themes such as resilience, loyalty, and rebellion. It doesn’t shy away from showing the brutality of the wasteland but balances it with moments of hope and humanity.

Performance and Character Development

Anya Taylor-Joy brings depth and ferocity to Furiosa, portraying her vulnerability and inner strength in equal measure. Her performance adds layers to the character, making her journey relatable despite the dystopian backdrop.

Chris Hemsworth surprises audiences with his chilling portrayal of Dementus, a warlord with a dangerous blend of charisma and menace. His dynamic with Furiosa creates some of the most intense moments in the film.

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The supporting cast also delivers solid performances, though some characters feel underutilized. However, the chemistry between Taylor-Joy and Hemsworth drives the story forward.

Visuals and Action Sequences

George Miller once again demonstrates his mastery of visual storytelling. The landscapes, filled with endless deserts and ominous skies, create an immersive setting. The practical effects and stunts, a hallmark of the franchise, remain jaw-dropping.

The action sequences in Furiosa are relentless, combining high-speed chases, explosive battles, and intimate hand-to-hand combat. While some scenes feel reminiscent of Fury Road, the film introduces fresh set pieces that keep the audience on edge.

A Unique Identity?

The biggest challenge for Furiosa is stepping out of Fury Road‘s massive shadow. While it succeeds in expanding the lore and giving Furiosa a compelling origin, comparisons to its predecessor are inevitable. The pacing occasionally falters, and certain plot points feel predictable, but the emotional core keeps the film grounded.

Final Verdict

Furiosa is a worthy addition to the Mad Max universe, delivering a gripping origin story with powerful performances and breathtaking action. While it may not entirely escape the legacy of Fury Road, it stands as a testament to George Miller’s ability to reinvent his post-apocalyptic world.

For fans of the franchise and newcomers alike, Furiosa offers an exhilarating cinematic experience that is both intense and thought-provoking.

Call to Action: Ready to dive into the gritty world of Furiosa? Watch it now on MoviesJoy and experience the action firsthand!

Source URL:- Furiosa Movie Review: A Bold Saga in the Mad Max Universe