Movies

Furiosa. Fury Road was the chariot race, Furiosa is Ben-Hur in full.

In 3000 Years of Longing (truly a pandemic-era, We Shot Entirely on Stages, production), there's a shot of two older women looking out the windows of their flat. The squares of the windows don't match logical architecture, and the texture of the wall is mspaint-adjacent. Still, the effect is uncanny: you know you're looking an an effect, and the sheer disinterest in fidelity nullifies any complaint about it.

This is the visual approach to Furiosa; while Fury Road made hay out of actually driving a high-suspension car halfway off a ridge and rolling it, Furiosa is about compositing entire caravans of cars and tankers together. Miller continues his pivot towards images neither captured in-camera nor meant to feel as though they were.

I don't know what I think of the story; it was a modern blockbuster style epic: we meet our hero as a child when they meet the nemesis to whom they'll be emotionally and narratively chained for two and a half hours, we watch them learn competence and climb the long road to revenge. There's definitely a setpiece that, as it started, had me thinking "great, this must only be the end of act two;" I was a lot more aware of the plot mechanics than with Fury Road.

I liked it, I definitely say that much. I'd watched the OG Mad Max earlier in the day, and it's pretty impressive to think George Miller has gone from that offbeat near-future biker gang ozploitation movie to a full-on franchise with images and signifiers which the audience understands; even in just the past ten years we've reached a point where a War Boy is an instantly recognizable trope, you can show raiders overtaking a tanker from far away, and we can spend oodles of time with the Bullet Farmer without ever going "I'm sorry...the bullet farmer?"
 
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Rank (Movie):
Goldfinger
From Russia With Love
GoldenEye
Dr. No
On Her Majesty's Secret Service
The Spy Who Loved Me
Thunderball
You Only Live Twice
Live And Let Die
Moonraker
The Living Daylights
For Your Eyes Only
The Man With The Golden Gun
Licence To Kill
Diamonds Are Forever
A View To A Kill
Octopussy

Rank (Song):
Shirley Bassey - "Diamonds Are Forever"
Shirley Bassey - "Goldfinger"
Tina Turner - "GoldenEye"
Gladys Knight - "License To Kill"
The John Barry Orchestra - "James Bond Theme"
Nancy Sinatra - "You Only Live Twice"
Sheena Easton - "For Your Eyes Only"
Louis Armstrong - "We Have All The Time In The World"
Carly Simon - "Nobody Does It Better"
Shirley Bassey - "Moonraker"
Tom Jones - "Thunderball"
Paul McCartney - "Live And Let Die"
Lulu - "The Man With The Golden Gun"
Duran Duran - "A View To A Kill"
The John Berry Orchestra - "On Her Majesty's Secret Service"
Matt Monro - "From Russia With Love"
Rita Coolidge - "All Time High"
a-ha - "The Living Daylights"
 
ayayrawn said:
I've thought for years that Baker is one of our great directors, so amazing to see him get his due. Also Neon's 5th Palme win in a row which is insane. And this is the first American Palme winner since Malick's Tree of Life almost 15 years ago.
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The Florida Project is incredible. It’s a slice of life from that corner of America that only gets noticed when crime is involved. So it’s refreshing when someone shines a different light on it.

Still need to catch Red Rocket and Tangerine.
 
Melt Face Molly Drop said:
The Florida Project is incredible. It’s a slice of life from that corner of America that only gets noticed when crime is involved. So it’s refreshing when someone shines a different light on it.

Still need to catch Red Rocket and Tangerine.
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Both fantastic, but Florida Project is def my fav that I've seen. One of the most moving films of the last decade.
 
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