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Furiosa Was Always Going to Bomb (No Spoilers)
May 30, 2024
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People on the internet are mad.

By mad, I mean both angry and delusional.

Saturday I had the rare opportunity to go to the movies and I picked Furiosa: A Mad Max Saga on the biggest screen with the best sound system in town. It was the same theater where I saw Fury Road, which was one of the most exhilarating theater experiences of my life. It was opening weekend for Furiosa, on a holiday weekend, in quality cinema. And the place was practically empty.

Maybe everyone was seeing Garfield instead.

Except they weren’t, because it was the worst holiday box office in four decades. And for some reason this has people on the internet up in arms. There’s the sense that Furiosa deserves better. Well, maybe? The marketing promises shoddy CGI and a girl-boss story about a character who didn’t take nine years ago. Worse, no Mad Max. You know, the character we wanted last time who was nearly a non-entity in his own movie.

On its own, Furiosa is just okay.

Sure our main character (Anya Taylor-Joy) isn’t Max, but she’s not Mary Sue either. Furiosa doesn’t know how to do everything she needs to do right from the start. She has setbacks and needs her mentor (who happens to be a white male) to teach and assist her. When it comes to fights, she has to use cunning more than brute strength against her gigantic male opponents. And she never resorts to feminine wiles.

Still, she could be more feminine. But I digress.

The main antagonist (Chris Hemsworth) steals the show, as villains often do, and he’s a complex enough character to inspire some conversation. We get hints of a backstory, and his motivation and idiosyncrasies leave room for our imagination to fill in some blanks. Everyone is over-the-top, in that Mad Max way, and he most of all. It’s not a bad performance. 

Maybe it’s because I saw it on a glorious screen, but the CGI didn’t look that bad.

At home it may play differently. And my sound system will never come close.

But Furiosa will not get good word of mouth, no matter what the delusional shills screaming online say. For one thing, it’s a very different movie from Fury Road, more thoughtful and character driven (if only because Fury Road doesn’t require much thought or even characters, since it’s just an amusement park ride). People who saw the movie are justifiably disappointed. Maybe if it had come out first and not had to live up to the spectacle of the previous film average moviegoers would be reacting differently.

But it’s still too long.

Going to the movies is too expensive. Everything is too expensive. And we don’t like gambling with either our money or our entertainment time. Watching the movie at home for a lower cost, where we can turn it off twenty minutes in if we’re bored or offended, is more appealing. Maybe we’re willing to risk the money, maybe we’re willing to risk the time, few people are willing to risk both. I’m glad I got to see Furiosa the way I did (full disclosure: someone bought my ticket as a birthday present) and don’t feel that my time was wasted, but I’m willing to bet most people won’t feel the same.

Fury Road is fine. Furiosa is fine. But let’s not pretend that either movie is a transcendent experience.

Furiosa was always going to bomb.

If Warner Brothers really wants a Mad Max movie to do gangbusters at the boxoffice, they have to make it a sure thing. Getting Mel Gibson back as Max would be a good start. Letting him also write and direct would really get me excited. Can you imagine Gibson going all Braveheart in that world? It’d be fantastic.

And it will never happen.

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Leo and Britt come face to face with a prehistoric god a new cult on Saturn. Can they save the children doomed to sacrifice and escape?

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Leo and Brittany have arrived on Saturn, but not in the way they'd hoped. Captured by a pagan cult, they don't have time to stop the unthinkable from happening. But they'll try anyway.

Content warning: language and sexual situations.

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Star Wars is dead and the more apathy you show the faster it will be allowed to rest in peace.

Instead of griping about what Disney has done, why don't you listen to my space adventure story? He Who Rides on the Clouds is supernatural noir that spans space and time. When children on Mars go missing, Alexis Leonard and his ex-wife Brittany go looking. Their search leads them to a pagan temple and an ancient religion.

If you'd like to buy the story and read ahead, it's available in the Fall 2020 issue of Cirsova, available here: https://amzn.to/3yRRywY

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Girl-Power Isn't the Problem: Stop Treating Movies Like TV Pilots

Last weekend I was able to sneak off the theater for a screening of From the World of John Wick: Ballerina. Did I feel silly, telling the high school girl at the ticket counter, “One for Ballerina, and a small drink”? Well, not in the moment. 

I probably drank a liter of cherry vanilla Coke Zero, and that didn’t feel so great.

Plenty of box office analysts and Hollywood types are wracking their brains, trying to figure out why movies like Furiosa and Ballerina aren’t drawing huge crowds. Mad Max and John Wick are popular franchises, but apparently telling the stories of the women in those worlds isn’t working. Even if the movies are pretty good.

I’ve seen both, and they’re pretty good.

Some are arguing that no one will go near a movie that looks like it’s feminist girl-bossing. Others counter that movies like Alien and Kill Bill are female-led action films that were successful. Now, I’m not going to say that Ballerina is on par with those modern day classics. But I will say that, as a man watching the movie, it didn’t offend me. The movie never challenged me to confront any internalized misogyny. The small girl doesn’t take down John Wick in hand-to-hand combat.

Honestly, if you like franchise, whether you’re male or female, you should watch Ballerina.

In short, from a purely cinematic experience perspective, neither Furiosa nor Ballerina would be any better or worse with a male lead. Maybe that’s a hot take. But that’s mine, for whatever it’s worth. Well, okay, I wouldn’t watch a movie called Ballerina if it stared a dude. Nevertheless, I think you get my point. Petite women warriors aside, the plots and action are exactly as expected.

So what’s the deal?

Well, what no one seems to have noticed is that Ripley and The Bride weren’t replacing anyone. As we were watching their movies for the first time, we weren’t thinking about other characters for whom we already had a preference. Movies are more like TV than TV right now, and replacement characters have always been a hard sell, regardless of gender. We all remember Sam and Diane. Who still talks about Sam and Rebecca (even though Kirstie Alley won an Emmy and a Golden Globe for the part)? I had to look up her name. 

No, they aren’t technically replacing them. It’s a spin-off, set in the same world.

Spin-offs tend to succeed when the characters are already well established (eg: Frasier). Furiosa and Ballerina are more like backdoor pilots, where new characters are dropped in for a single episode to sell us on the idea of a new show. This technique is very hit and miss on TV, and I can’t think of a single example of this working in a movie franchise. Film and television are very different mediums, and should be treated as such.

Still, if it doesn’t work on TV, it’s probably not gonna work at the movies. Not where new characters and spin-offs are concerned. 

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Going Back to 1995

Maybe I’m just getting old, but it doesn’t feel like we had the thriving and distinct pop culture of past generations. Has there been a look or stye, or feeling, that defines this moment? Everything seems to have stagnated for the last twenty years. And it’s not as if I don’t pay attention. 

It’s making me nostalgic. 

Consequently, for the rest of the year, I’m prioritizing movies from 1995, the year I was twelve. At that time, my family didn’t really go to the theater, and when we did rent VHS tapes, more often than it is was older Disney movies or entirely forgettable Christian titles. Now that I’ve grown tired of trying to keep up with new releases, not there’s much worth watching anyway, it feels like a good time to catch up on those 30 year old movies that have become ingrained in what’s left of our pop culture.

So over on Criticless, I made a list.

Some of these are movies I’ve seen before, but not in a long time. Others will be first time watches for me. There’s really no rhyme or reason to what I put on my list. It’s just movies that either interest me, or are currently in my collection, sadly unwatched. As things become available on streaming, I may add to the list. And if I don’t get to everything before the end of the year, no big deal.

Hopefully, they aren’t going anywhere. 

I’ll be posting some reviews and analysis as I go, so be sure to follow me here. 

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Ironheart and Superman: A Failure to Launch

Yesterday two trailers were released for upcoming superhero projects. First, we had Marvel's Ironheart, which Disney has been sitting on for years at this point. Apparently it follows Riri Williams (Dominique Thorne), a young black woman at MIT who is (was?) intended to take over for Tony Stark as Ironwhathaveyou. If you haven't seen the trailer yet, take a look.

I stopped paying too much attention to the MCU a long time ago, but apparently Riri was introduced in Wakanda Forever, and her fans have been clamoring for a standalone show ever since (/sarcasm). Watching the trailer, I can't help but notice how many times we're told she's smart and capable. Any suggestion that she can't do something is shot down immediately. We're supposed to believe that The System is against is her because she's poor, I guess, and doesn't have Tony Stark's advantages.

Remember Tony Stark? Sure, he was rich. But he was also a self-absorbed man-child who found himself in a cave in Afghanistan who had to engineer his own escape with scrap parts. Tony Stark, who had to learn about self-sacrifice and the consequences of his actions. Robert Downey Jr. make us like the guy, with his easy charm, even though we wanted to see him grow up. There was room for a character arc. No offence to Dominique, but she doesn't have the charm, and her character clearly has nowhere to go.

A few hours later, Warner Bros./DC released the trailer for James Gunn's Superman, the latest reboot of the iconic superhero. We've been waiting for a good Superman for a long time. Something to reunite the fans, the casually interested, and possibly the entire country. And to be honest, I don't think this is gonna do it. Take a look.

Before I go any further, I want to spin my theory on the interview scene, which is a little different from what I'm hearing from most anyone else. Notice how David Corenswet pitches his voice really high when he says, "Sure!" At this point in the movie, I don't think Lois (Rachel Brasnahan) knows that Clark is Superman, and thinks he's just playacting. But when Clark drops his voice, he's showing his cards a little bit. Then, when he completely loses his cool, he's just acting how Lois thinks Superman would respond. In context (the scene is reportedly ten minutes long!), it might be interesting. Out of context, in a trailer, it's a stupid decision.

Throughout the entire trailer we see Superman smacked around, knocked out, screaming out in self-defense, and made fun of for having a dog. There are some super-heroics, to be sure, but they're mitigated by the overwhelming amount of thrashing he takes. Unlike Riri, I guess he's got some room for growth. But it doesn't inspire me to see the movie. Some are defending this approach, suggesting that someone with such a clear cut understanding of right and wrong would be frustrated and confused by our complex, political climate. And I agree. But his moral compass and grace towards an unfair world should have been set before leaving Smallville and going out into the world.

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