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    Explosive Moviemaking

    Visually stunning Mad Max: Fury Road may be the most memorable movie of 2015

    Alex Bentley
    May 15, 2015 | 12:00 am
    Visually stunning Mad Max: Fury Road may be the most memorable movie of 2015
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    In Hollywood, especially in recent years, everything old is new again, with properties and franchises being revived years or even decades after they were last seen. Usually people who had little or nothing to do with the original films take on the new projects, but Mad Max: Fury Road was done by the same writer/director who brought the franchise to life in 1979, George Miller.

    Miller’s involvement is just the first of the positive signs for the new film. The second, as anyone who’s seen the film’s trailers can attest, is the approach Miller and his team took toward the stunts in the film. Instead of relying on CGI to do the heavy lifting, they took the old-fashioned approach of putting actors and stunt men and women in harm’s way for the film’s absolutely bonkers car chase scenes.

    It all adds up to what’s sure to be one of the most memorable movies of 2015, whether it’s considered to be one of the best or not. Set in a post-apocalyptic wasteland where a warlord, Immortan Joe (Hugh Keays-Byrne), rules over a population desperate for water and gas, the film is a visual stunner virtually from beginning to end.

    It doesn’t really matter all that much if you have limited knowledge of the first three Mad Max films, the last of which was 30 years ago. All you really need to know is that Max Rockatansky (Tom Hardy, taking over the Mel Gibson role) is still a loner who speaks very little, and this time around he finds himself helping Furiosa (Charlize Theron), who has betrayed Immortan Joe and is on the run from him and his minions.

    Despite what you may hope or believe from the trailers, the film is not non-stop action, a fact that might be a disappointment for some. However, instead of using the film’s quieter moments to flesh out the background of key characters, Miller seems to prefer to let the visuals doing the talking, filling the screen with all manner of oddities.

    The lack of a complete story doesn’t really hold the film back, but it does make it less than it could have been. Still, when the rest of the movie is as inventive as it is, actual exposition can prove unnecessary. The details on everything from the costumes to the cars to the weapons are a sight to behold, each of them telling their own mini-story within the larger picture.

    The car chases – or, more accurately, the car crashes – are as over-the-top as advertised. Although there are times where CGI obviously comes into play, for the most part it’s plain to see that the stunts were done with practical effects and real people. The thrill factor is upped exponentially because of this decision, with one sequence, in which people high atop poles drop down on other vehicles, taking the cake.

    But it’s not just the stunts that are eye-popping. The cinematography by Oscar winner John Seale is for the ages, and is one of the few instances in which the use of 3D proves to be a real boon to the final product. Seale uses varying colors, wide angles and more to take in the full scope of the film’s desert setting, and there are times when your jaw will drop at how beautiful he makes it seem.

    Hardy is already well known for being a taciturn actor, which means that the role of Max fits him to a tee. Using few words and a mysterious yet alluring accent, Hardy makes Max into someone to be feared or trusted, depending on which side you’re on. Theron is the co-lead, and she grabs the opportunity for all it’s worth. She lives up to her character’s name in every way while still ensuring that Furiosa’s femininity never gets lost.

    Special note should also be made of Nicholas Hoult, who plays Lux, one of Immortan Joe’s zombie-esque minions. Not only does he get the line – “Oh, what a day! What a lovely day!” – that is already the movie quote of the summer, but he plays his role in such a creepy yet innocent way that he threatens to steal every scene he’s in.

    While Hollywood is rightly taken to task for remaking too many old movies instead of coming up with new ideas, Mad Max: Fury Road proves that there’s always an exception to every rule. Any movie fan worth his or her salt will walk away with glee from this visceral delight.

    Tom Hardy in Mad Max: Fury Road.

    Tom Hardy in Mad Max: Fury Road
    Photo by Jasin Boland Warner Bros. Pictures
    Tom Hardy in Mad Max: Fury Road.
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    Movie Review

    Chris Pratt plays one man against the AI machine in thriller Mercy

    Alex Bentley
    Jan 23, 2026 | 1:07 pm
    Chris Pratt in Mercy
    Photo courtesy Amazon Content Services
    Chris Pratt in Mercy.

    It seems like every other movie set in modern times being released these days includes either a reference to or a plot revolving around artificial intelligence. In the real world, the benefits of the technology compete with its downsides, but when it comes to movies A.I. is almost always seen as a threat, including in the new film Mercy.

    The audience is thrown headlong into the slightly futuristic story involving LAPD Detective Chris Raven (Chris Pratt), who finds himself strapped in a chair in a sparse room, being told that he is on trial for killing his wife. Turns out he’s in a court dubbed “Mercy,” which is overseen by an AI judge named Maddox (Rebecca Ferguson). By the rules of the court, Raven has 90 minutes to provide reasonable doubt of his guilt, or he will be executed on the spot.

    Raven is in a multi-pronged quandary: Not only does he believe he’s innocent despite a trove of evidence pointing to his guilt, but he’s also the poster boy for the law enforcement side of the equation, having arrested the first man who went to Mercy. Anger and disbelief for Raven turn into acceptance, which then turns into him tapping into his detective skills, scrutinizing every shred of evidence the court provides him in a desperate attempt to save his own life.

    Directed by Timur Bekmambetov and written by Marco van Belle, the film is a relatively propulsive thriller despite having a so-so story and even worse acting. The film is told in real time (with a few fudges here and there), so the concept alone of a man trying to prove his innocence in a short amount of time provides good intrigue. Bekmambetov’s use of digital elements as Raven scrolls through files or calls potentially exculpatory witnesses like his partner, Jaq Diallo (Kali Reis), keeps the film visually interesting.

    On the other hand, the swift viewing of videos and documents by Raven, not to mention the high degree of cooperation by Judge Maddox, opens up more than a few plot holes. The filmmakers try to explain away a few leaps in logic by having Raven falling off the sobriety wagon the night before, but they can only use that excuse for so long. They also have the AI judge experience technical glitches along the way, errors that seem to point toward a wider conspiracy until they’re completely forgotten.

    More than anything, it’s difficult to get over the wooden acting of Pratt and the misuse of other usually reliable actors. Pratt has no real presence, especially when he’s confined to a chair, so any emotion he tries to conjure up comes off as contrived. Ferguson is done no favors by a role that shows only her upper body and has her alternating between robotic and oddly sympathetic. Reis earned an Emmy nomination for True Detective: Night Country, but has little to do here, a fate that also takes out Chris Sullivan as Raven’s AA sponsor.

    If you’re okay with turning off your brain for a little while, Mercy can be an enjoyable watch. But if you find yourself scrutinizing why characters make the odd decisions they do, or the wishy-washy way the film approaches AI in general, then you’re likely to find the whole thing lacking.

    ---

    Mercy is now playing in theaters.

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