Skip to main content

Furiosa: A Mad Max Saga (2024)

 

Furiosa: A Mad Max Saga tries to make an action film for "modern audiences" set in the Mad Max world of films.

Director George Miller really phoned it in for this one. He must have had a major paycheck to throw away his franchise like this. It's full of horrible CG and bad acting. The film really could have used some reshoots. Also, the film's cinematography is just all over the place. Most of the blue shots weren't shot in that light but instead were obviously color-graded.

Chris Hemsworth overacts in all of the scenes he was in. He was never a great actor in Thor, as he just looked the part. Alya Browne plays the Young Furiosa and has the issue Princess Leia had in the Obi-Wan Disney+ show. The issue is that no one will believe this tiny little girl is able to get the better of full-grown men. The film also spent too long in the prologue dealing with Young Furiosa, it's over an hour long. We get it.

While Anya Taylor-Joy is beautiful and all she's not as cool as Charlize Theron. She is a well-known action star while Joy is almost too feminine to play the role. At least with Captain Marvel they made Brie Larson actually do some weight training. Joy looks like she hasn't picked up a fork to eat her tofu salad.

I loved Mad Max: Fury Road and you'd think that the next film would be right up my alley but it's clear from Miller and Warner Brothers that I'm no longer their target demographic. The problem with prequels is everyone knows who will survive. If the critics say it's awesome and the confirmed fan scores say it's awesome why is the box office struggling? Result: C-

Comments

Popular posts from this blog

The Housemaid (2025)

The Housemaid (2025) is directed by Paul Feig , best known for comedies like Bridesmaids and Freaks and Geeks , and the tonal clash is noticeable. Feig leans into slick presentation and surface-level tension, but the film never quite reconciles its thriller ambitions with its obvious messaging. As an adaptation, it feels safer and more predictable than it wants to be, especially given how clearly it telegraphs its twists. Sydney Sweeney , known for Euphoria and Anyone But You , plays a down-on-her-luck woman recently out on parole who is desperate for work. She does what she can with the role and brings some emotional weight early on, but the writing limits her range. Her character cycles through bashful and annoyed so often that it starts to feel repetitive rather than psychologically layered. Amanda Seyfried , recognizable from Mamma Mia! and Mean Girls , plays the wealthy woman whose life slowly unravels as the power dynamic flips. Seyfried is solid and more controlled than Sw...

Marty Supreme (2025)

Marty Supreme (2025) is written and directed by Josh Safdie , who previously directed Good Time and Uncut Gems . This film carries that same frantic Safdie energy, with constant motion and pressure that rarely lets the audience breathe. It is chaotic by design, sometimes to a fault, but the intensity feels intentional rather than sloppy. Even when the pacing threatens to overwhelm, the film remains compelling due to the strength of its performances. Timothée Chalamet , known for Dune and Call Me by Your Name , plays the title role and fits it perfectly. He fully commits to the character’s ambition and volatility, balancing confidence with insecurity in a way that feels natural for him at this stage of his career. This is not a transformative performance, but it is a highly effective one, and he clearly understands the rhythm and demands of a Safdie-style film. Odessa A’zion , who audiences may recognize from Grand Army and Hellraiser (2022) , is a standout as the love interest. S...

Anaconda (2025)

Anaconda (2025) is a reboot comedy of the 90s film, written and directed by Tom Gormican , who previously delivered the clever and self-aware The Unbearable Weight of Massive Talent . Unfortunately, that lightning does not strike twice. The core problem is simple. The jokes do not land. If horror films are judged by scares per minute, then comedies should be judged by laughs per minute, and this one delivers virtually none. Any humor that works was already burned in the trailer, leaving the film feeling empty and painfully drawn out. Jack Black , known for School of Rock and Jumanji , leans heavily into his loud, chaotic persona, but here it becomes grating rather than charming. His performance feels unchecked and repetitive, as if volume alone is meant to substitute for comedy. Instead of elevating scenes, he often drains them of momentum. Paul Rudd , who audiences know from Ant-Man and I Love You, Man , somehow comes off just as irritating. Rudd is usually likable even in weak m...