Max Rockatansky, the ostensible protagonist of George Miller’s glorious symphony of fire and blood, Mad Max: Fury Road, has exactly 52 lines of dialogue throughout the film.
That is by design because while Fury Road’s sparse words have weight to them, it is ultimately all about the action.
Relentlessly paced and marvelously executed, Fury Road is the grand culmination of Miller’s single-minded vision — an action extraordinaire for the ages.
Many of you are acquainted with the ‘Show, don’t tell’ storytelling adage. Fury Road takes this convention of both efficient and visual storytelling to the extreme.
What does it mean to be human? What does it mean to have a soul?
Blade Runner 2049, Denis Villeneuve’s customarily pensive and evocative exploration into the human condition, shrouded under the guise of a blockbuster, tackles these questions, among others.
Long gestating sequels to hallowed films usually flatter to deceive and, at worst, are unrepentant cash grabs.
Blade Runner 2049, however, rather miraculously manages to organically build and expand on the themes of its predecessor, the much-vaunted and revered Blade Runner.
As a sequel to said film, Blade Runner 2049 is near-perfect; it remains one of the greatest sequels…
Liking a movie is akin to an infatuation; a momentary crush. When you’re in the theatre, and for perhaps a day or two after that, it’s the only thing you can think about. It will pass.
But falling in love with a movie is an altogether different experience. It takes time and multiple viewings. You become attuned to its rhythms, its quirks and nuances.
It’s rare too. There are hundreds of movies I like, some with more vigour than others, but there are probably only 15–20 movies that I love. …
I watch and I know (a few) things.