With Spider-Man: Homecoming arriving next week, and a number of spinoffs already in development, there’s naturally some confusion about what connections there may be between Sony’s planned cinematic universe and the well-established Marvel Cinematic Universe.
Great film has the power to convey the unimaginable. We sit in the comfort of a darkened theater or our living room and watch protagonists suffer through physical and emotional pain that most of us can’t really comprehend. Too often, these endurance tests feel manipulative or, even worse, false.
“Mad Max: Fury Road” is George Miller’s fourth installment to the “Mad Max” franchise. The first three movies were filmed between ’79 and ’85 starred Mel Gibson. For this film, Tom Hardy took over for the role of Mad Max, because Miller wanted to keep the character at a young age.
It’s been thirty years since George Miller’s last movie based on the world surrounding Mad Max. With the potential that was laid out from the original trilogy, it’s about time Writer and Director George Miller rebooted the franchise in order to expand even more on the story of Max Rockatansky.
Before I lose you all with this high-flown contemplation of aesthetics, I’ll tell you the stunt of "Locke:" with the exception of its opening shot, which shows its title character getting into his tricked-out BMW, the movie is a one-man show that takes place as the title character is taking a long, fateful drive. The camera doesn’t always stay in the car, but it’s with Locke for the whole drive.