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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

    Glen Powell bumps off rich family in How to Make a Killing

    Alex Bentley
    Feb 19, 2026 | 12:45 pm
    Glen Powell in How to Make a Killing
    Photo courtesy of A24
    Glen Powell in How to Make a Killing.

    Becoming a star in Hollywood and maintaining that stardom are two very difficult things to achieve, but Glen Powell has been adept at doing so over the past few years. A key supporting role in Top Gun: Maverick led to lead parts in films like Hit Man, Anyone But You, Twisters, and The Running Man. Powell is looking to keep his star power shining in the new dark comedy/thriller, How to Make a Killing.

    He plays Beckett, an outcast member of the ultra-wealthy Redfellow clan. Struggling to get by in a menial job in New York City while still living in New Jersey, Beckett’s only smidgen of hope is that he remains an heir to the vast Redfellow fortune. The only trick? Every other remaining family member must die before he’ll see a dime of that money. When even that menial job goes away, Beckett indulges the fantasy of bumping off his familial competition.

    Among those standing in his way are cousins Taylor (Raff Law), a finance bro, Noah (Zach Woods), a pretentious artist, and Steven (Topher Grace), a celebrity pastor; Uncle Warren (Bill Camp) and Aunt Cassandra (Bianca Amato); and grandfather Whitelaw (Ed Harris). Complicating matters, however, are an old childhood friend, Julia (Margaret Qualley), who starts asking more of Beckett than he can give; and new flame Ruth (Jessica Henwick), who happens to be dating Noah when he meets her.

    Written and directed by John Patton Ford (Emily the Criminal), the film is a tale of two halves. Narrated by Beckett in the form of telling his story to a prison chaplain, the story plays with audience expectations on multiple occasions. As Beckett ramps up to detailing exactly how he got started down the road toward being a serial killer, the film has a fun-if-macabre vibe.

    Under normal circumstances Beckett would be someone to despise, but since he’s an underprivileged person who’s taking aim at people who (mostly) don’t seem to appreciate their good luck, it feels okay to cheer for him. This follows a recent trend in “eat the rich” films, one that’s been influenced by a turn against real-life billionaires. Ford plays heavily into the theme and it works for a good portion of the film.

    However, things get a little murky in the second half of the movie. A few of the planned killings get less attention than others, making their - pardon the pun - execution less interesting/fun than the others. Also, Ford does a poor job of indicating just how much weight should be put on Beckett’s relationship with Julia, someone with whom he only has occasional interactions for the bulk of the film.

    It’s difficult to know the exact right way to showcase Powell, but this film doesn’t seem to be the best fit. Whether it’s the odd hairstyle/wig he’s given, or the varying degrees of confidence his character shows, his performance is up and down. Qualley’s acting style is over-the-top, and she needed to dial it down in this particular role. Henwick and Camp are the grounding forces in the film, keeping the story somewhat tethered to reality while almost everyone else makes a meal of their scenes.

    How to Make a Killing is serviceable entertainment that gives viewers a decent number of laughs and thrills. But Ford can’t find a way to make the story work all the way through, and a so-so performance by Powell keeps the film from rising above its mediocre station.

    ---

    How to Make a Killing opens in theaters on February 20.

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