Furiosa: A Mad Max Saga (2024)

Furiosa: A Mad Max Saga (2024)

 

6/10

 

Starring

Anya Taylor-Joy

Chris Hemsworth

Tom Burke

Alyla Browne

 

Directed by George Miller

 

There comes a point where I believe a franchise has had its time, and for Mad Max, I think that time is long gone. George Miller seems to have pushed this series to its limits. While Mad Max: Fury Road was fun to watch, this prequel lacked the same spark, it had too much fluff. The film dragged the story for too long, just dancing around the main plot without hitting the nail on the head.

I found myself trying hard to stay alert and had to stretch occasionally just to stay awake. Some scenes felt entirely unnecessary, and the conversations in some scenes were not needed and it would have been best if it were summarized. I felt Miller is too much in his own head about this franchise and thinks everyone is just as hooked in the long talks and wasted scenes as he is when he is building his franchise. Despite solid performances from the leads, the plot was a letdown, and the makeup and props, especially the one on Chris Hemsworth, was glaringly off. You will be able to spot that he had a fake nose.

The action sequences were decent, though they didn’t measure up to the visual brilliance in the previous movie, Mad Max: Fury Road. My main biff with this movie is, why did the plot take so long to converge on the warlords’ plan to eliminate Dementus?

This prequel explores Furiosa’s backstory, revealing how she came to be in the Citadel with Immortan Joe and why she has a deep hatred for him. The story begins with Furiosa’s capture by Dementus’ men from a green haven, unlike the surrounding wasteland. Her mother went after her to save her from her captures but failed and was killed, but not without first killing everyone who knew where this place was. Furiosa after seeing the death of her mother, refused to divulge the location of her home to protect its people.

Dementus, a deranged warlord leading the Biker Horde, forces Furiosa into his fold, hoping she’ll eventually disclose her origins, but Furiosa was mostly quiet. When Dementus targets the Citadel but failed in capturing it. He then captured the town where gas is mined and cuts off the supply to the Citadel. He then sets up a treaty where he is the one who supplies Immortan Joe. It’s during this treaty that Furiosa ends up at the Citadel.

As for how she lost her hand, escaped, and became a relentless force against Dementus well, that’s for you to discover in this two-hour-plus film.

Inside Out 2 (2024)

Inside Out 2 (2024)

9/10

Starring

Amy Poehler

Maya Hawke

Kensington Tallman

Liza Lapira

Tony Hale

 

Directed by Kelsey Mann

 

Inside Out 2 comes nine years after the original, Inside Out (2015). This sequel reflects a conscious decision by Disney to return to its roots of what made their animations amazing. I have to be honest, in recent years, Disney’s storytelling had taken a backseat to messaging. Their animations now have plots designed to appeal to specific groups, and side lining the rest of us. This resulted in weak plots and thankfully bad box office returns. So, Inside Out 2 signals the needed shift back to masterful storytelling and thoughtful world building, over messaging.

We are back again in Riley's mind, and seeing how her emotions deal with the new stage in Riley's life, the chaos that is puberty. In the first animation we met the original emotions of her childhood: Joy, Sadness, Anger, Fear, and Disgust. These emotions worked together to create Riley’s sense of self, this sequel flips the narrative. You see, Riley turns thirteen, and along with this new age comes new emotions. We now have Anxiety, Envy, Ennui, and Embarrassment. These emotions quickly take over the control center in her mind, side lining the original team. Anxiety, in particular, takes control of Riley’s actions in a bid to prepare her for the uncertainties of adolescence.

With Anxiety in control, you can imagine what follows. Try and thinking of the bad decisions you make when you allow anxiety to be the driving force of your decisions, which I found relatable. We see how Riley struggles to fit in, and, choosing to distance herself from her old friends which she went to the hockey camp with, and reshaping herself to match what she perceives as "cool" and fit in with her new friends. She starts to pretend to like what they like, and lie about who she really is, so that she can fit in.

Anxiety becomes the dominant force, steering Riley into choices that threaten her sense of identity.

Meanwhile, the sidelined emotions from the first animation embarked on a journey through Riley’s streams of consciousness to return to the control center. They face numerous challenges in the maze-like terrain of her mind, many of which are signs of what to expect if there is an Inside Out 3.

The film’s ability to depict the psychological and emotional upheaval of adolescence is where it truly shines. It captures how anxiety can magnify insecurities, driving us to conform and suppress our authentic selves.

Visually, for me, Inside Out 2 continues Pixar’s tradition of stunning animation, with the mind’s landscapes brought to life in vivid detail. The film’s exploration of Riley’s psyche is both imaginative and emotionally grounded, enhancing the storytelling.

The success of Inside Out 2 at the box office is a testament to its quality and how much viewers can relate to it. The movie feels like a turning point for Disney, a reminder of the studio’s ability to craft timeless stories that balance humor, heart, and innovation.

Instead of trying to please the few, they should focus on compelling narratives and memorable characters, returning to the magic of classic storytelling that stands the test of time.

Hit Man (2023)

Hit Man (2023)

 

6/10

Starring

Glen Powell

Adria Arjona

Austin Amelio

Retta

 

Directed by Richard Linklater

 

I have to be honest, this film has some twists I didn’t see coming. The lead, Gary (Glen Powell), becomes deeply entangled in one of his cases, which unexpectedly escalates into a murder. The complexity of his involvement and the warped relationship dynamics are captivating, albeit baffling. The film operates on a modest budget, but the performances by the cast, especially Powell, compensate for this limitation.

Adapted from Skip Hollandsworth’s book of the same name, the story follows a professor who collaborates with the police to catch individuals seeking to hire hitmen. The narrative emphasizes that there isn’t a long queue of people ready to kill for money; instead, it’s about catching those who think they can hire someone to do it.

Gary is thrust into the role of an undercover hitman after the suspension of a police officer originally tasked with the job. Powell’s performance as the hesitant yet determined civilian stepping into such a dangerous role stands out. Although the premise of a civilian taking on such responsibilities stretches believability, the screenplay by Powell and Richard Linklater ensures the story remains engaging.

Initially nervous, Gary quickly adapts to his undercover persona. He was so convincing in this new persona that he was more productive in capturing people trying to hire hitmen than the officer he was replacing.

However, everything changes when he meets someone he’s meant to incriminate. As you would expect, he meets a woman he likes and then he decided to sacrifice it all to save her. There was a form of instant connection between him and her, and he wanted so much to save her from her circumstances that he was ready to fling his life away.

Their connection made him to act like a counsellor who wants to help her turn her life around than he wanted to help her achieve the idea of killing the person she wanted dead. The police are suspecting this double cross, and now we are left to see how he is going to manage this situation.

The office he is replacing is also on his case, and he also must live a double life not letting the lady know that he is working for the police and not let the police know he is working to save the lady from them.

This is a fun Netflix watch, as long as you’re willing to suspend disbelief and embrace the whimsical narrative.