Chapter 883 In-depth analysis

This film review written by Mick for the “Hollywood Reporter” has conducted a comprehensive analysis of “Fury Road” from the perspective of commercial popcorn, which is a visual feast, and has given the highest praise, which is really incredible. After the 78th Oscars ended, changes invisible to outsiders are quietly permeating all aspects of Hollywood, and the “Hollywood Reporter” may be just the beginning.

At the end of Mick’s film review, Quentin was specifically mentioned.

Afterwards, the reporters also interviewed this arrogant and unruly ghost director for the first time. He made it clear, “In fact, I am not optimistic about this work. I don’t mean to be disrespectful to Lance, but it is not like Harrison Ford. ‘Mad Max’ cannot be called ‘Mad Max’, I have always believed that this work is a disaster. But, I was wrong.” Quentin admitted his mistake without any obstacles, “This is A fantastic movie! Lance is a genius, a real genius! The whole movie is full of whimsy, unimaginable! **** Christ, only a madman can make this work, I have no idea about movies How it was shot, I even started to wonder if I never really learned how to make a film.”

At the end of the interview, Quentin repeatedly emphasized, “I will go into the cinema again, three times, no, five times, five times! I need to appreciate this work well, slowly and carefully. Lance, You’re crazy, you’re a f/m/ crazy!”

Quentin’s praise makes people deeply feel the kind of fanaticism, just like a loyal movie fan, which coincides with Mick’s comments – Mick scored 100 points for “Fury Road”, full marks One hundred points, perfect one hundred points! This is not only the first full score given to Lance’s work by the West Coast media, but also the first published score after the premiere of “Fury Road”. The road” debut.

Who would have thought that “Fury Road” would once again usher in a full score of praise for Lance; who would have thought that this praise would be the first to appear on the West Bank media.

For the audience, after the premiere of “Fury Road” ended, the uproar of news made people overwhelmed.

First, it reported the cars on the red carpet. “Vanity Fair” confirmed that these cars were actually used in the filming. The amazing special effects in the movie were all shot in real scenes. The plaza at the farmers market welcomes car enthusiasts for ten days of exhibitions; followed by reports of an astonishing guest lineup at the premiere, a star-studded almost Oscar night that surpasses them all As expected, “Fury Road” seems to have officially entered the era of universal popularity; followed by reports of the ten-minute standing ovation after the premiere, accompanied by four rounds of applause. The attitude of the audience in pursuit seems to have become the most beautiful scenery of the night…

The fiery news came one after another, showing two completely different attitudes from the general downturn before the movie was released. Almost overnight, all the enthusiasm for “Fury Road” that had been brewing for half a year was detonated, and the momentum It even faintly overwhelmed “Superman Returns” and “Pirates of the Caribbean 2” in the previous two weeks, showing an incredible topic effect.

However, few people have noticed that the first batch of film reviews after the premiere has not been released for a long time. The “Hollywood Reporter” is the first detailed film review to come out, but at this time the premiere has passed for more than twelve hours. This speed is really surprising, not to mention that there are still no traces of film critics from other mainstream professional media. It seems that every film critic is carefully and repeatedly considering his own words. This is really too rare.

Halfway through July 13th, Roger Ebert’s film review was long overdue until early one o’clock in the afternoon, and this was only the fourth review of the first batch of film reviews. Such “low” efficiency of attention is in stark contrast to the hysteria of the media and the excitement of the audience. Is it because the film critics have no interest in this film, or has the film’s reputation fallen to the bottom? So what happened to “Hollywood Reporter” Mick’s 100 points?

What’s more interesting is that this detailed film review published on Roger’s personal official website also gave 100 points! 100 points out of 100! Unbelievable, really unbelievable, it seems that there is no clear answer to all the contradictions, which also arouses more curiosity and attention.

“There is no doubt that ‘Fury Road’ is a rare masterpiece enough to rank among the classics.”

The first sentence of Roger’s film review complements the 100-point evaluation, clearly and firmly expressing his position, but unexpectedly, Roger actually used the word “classic”, not any work can Call it a classic.

“‘Fury Road’ is a work that seems very simple and rough. The plot outline can be summed up in one sentence: Under the background of the wasteland and the end of the world, a woman leads her companions to flee together. To overthrow the rule and take over the survivor base. The whole movie is full of the most primitive car chase scenes, the purest sparring content, without redundant burden, and the characteristics of summer popcorn are brought into full play, creating a detonating visual , A magnificent masterpiece that stimulates the sense of hearing and shocks the sense of touch.

But Strelow’s work is never that simple.

In the crime trilogy, he profoundly analyzed and discussed the relationship among important issues such as evil crimes, the judicial system, moral justice, and social indifference, and finally created the darkness of the city of sin, using violence to control violence, an eye for an eye In the blink of an eye, even crime began to be rationalized, and the last glimmer of light was completely snuffed out and brought to an end. To some extent, “Fury Road” can be regarded as a continuation of this idea.

After the “City of Sin” was created, the end of the wasteland came, the whole world fell, and society further slipped into the dark abyss of evil. Against this background, the boundary between evil and justice has completely disappeared. In the end of the world, survival has become the only goal. Moral depravity, law abolition, crime rampant, loss of faith, and all means, in order to survive, everything The regulations and restraints of civilized society no longer have any meaning, so human beings have become tools, men are tools of war, women are tools of reproduction; human rights have become waste, freedom is no longer, hope is no longer, even faith has been Almost twisted.

When morality loses its restraint, justice and evil are no longer opposing parties; when faith begins to gradually collapse, hope, freedom and dreams are all reduced to the slaves of survival/desire/desire. Then, the distinction between humans and zombies would disappear.

This is the background of the story of “Fury Road”. Strelo outlined a magnificent world view in just a few words, inherited the world view of the huge idea of ​​the crime trilogy, and truly constructed a cruel, human and iron world for the audience. A dark world that does not leave people. This writing power far exceeds that of ‘Star Wars’ and ‘Blade Runner’, and is comparable to such epic masterpieces as ‘2001: A Space Odyssey’ and ‘Metropolis’.

With such a majestic story background, but only one extremely weak story line, it seems that the movie is destined to be a tragedy. But, ‘Fury Road’ didn’t.

Strelow’s advantage is that he is an excellent screenwriter, a great screenwriter comparable to Billy Wilder, he injects a strong vitality into the character, and then through the performance of the actors, the huge The world, grand concepts, and profound reflections are presented. The concise and neat main line binds a group of characters together, creating a climax/tide movie-watching feast, and creating a profound thought dimension with aftertaste.

This skill is not the first time Strelo has shown it, but it will not be the last.

In “Fury Road”, Strelo once again showed his consistent anti-heroism, selected three unique and distinctive characters, and deduced the whole story, with rebellious and unique techniques, delicate and profound descriptions , sharp and clear point of view, created the most unique screen image since Indiana Jones.

Max, the one from ‘Mad Max’, is a well-deserved absolute hero in the movie, but to everyone’s surprise, Strelo cut Max’s role a lot, and even gave up showing his lone hero. The plot is briefly mentioned, but with a few words of embarrassment and ruthlessness, it brings the audience the toughest and most tender scenery in the whole movie.

In the whole movie ~www.readmtl.com~ Max has almost no redundant expressions, nor too many lines, many dialogues are completed in simple and clear syllables, that kind of restrained to the extreme tough guy style hits the face Come. Ruthless, uncompromising, tough, insensitive, and lacking in faith, this is all the audience’s impression of Max. Unlike traditional heroes, Max refuses to meddle in his own business, refuses justice, and even has blood on his hands. In order to survive, he can **** the savior’s car and flee wildly without any psychological burden without any psychological burden. He can also simply kill all those who block him and move forward bravely – he doesn’t even have a chance to be handsome, he becomes a prisoner when he appears on the stage , and later became a blood bag, more useless than a clown.

It can be said that Max has gathered all the elements of anti-heroes.

But it is precisely such a character that bears the deepest and most moving theme of the entire movie “Fury Road”, even more shocking than the strength brought by the feminist spirit throughout. It can be said that Max placed Lance’s hopes and expectations on the society, and this weight weighed heavily on Max’s scarred shoulders – none of the previous crime trilogy could give an answer. Through the role of Max, Lei Luo finally revealed a glimmer of light!

This has become the decisive factor in creating a classic! ” (To be continued.) Enable new URL