Showing posts with label Anya Taylor-Joy. Show all posts
Showing posts with label Anya Taylor-Joy. Show all posts

Monday, June 3, 2024

Joie de vivre

Furiosa: A Mad Max Saga (2024) - Miller Screen Shot 2024-06-03 at 8.14.56 AM George Miller proved himself to be a unique action filmmaker when he revived his Mad Max franchise in 2015 with Mad Max: Fury Road with Tom Hardy as the titular anti-hero in a post-apocalyptic wasteland that was Australia. The kinetic energy, physicality, the mindboggling stunt work, rigging and colors with hardly any dialog looked and felt different than any Hollywood run-of-the-mill actioners. But there were two heroes that emerged from the film. One Mad Max, the former cop with his family murdered, wandering after the apocalypse to survive the dog-eat-dog world whose good heartedness has been hidden in grunts and cynicism. With its franchise history, we knew his background a little. We know what made him who he is. But Furiosa, the tanker driver, embodied by Charlize Theron, emerged from nowhere and stole the show. So, the next logical step for Miller to do is continue the saga with her in mind. And he does, gloriously.

Furiosa (Anya Taylor-Joy) is first seen being kidnapped by bandits from the Green Place- the place of abundance, governed by many mothers (who were shown as bike riding grannies in the previous film) who had sworn to keep the place secret from the outside world. Furiosa is taken to Demetus (Chris Hemsworth with a fake nose), a ruthless lord of a bandit gang. She is almost rescued by her mother, but Demetus recaptures them. Desiring to capture Immortan Joe's citadel which has water, food, and ammo, he exchanges Furiosa to become in charge of the Gas Town.

Furiosa, avoiding becoming a kept cycling baby machine for Immortan Joe, proves herself useful with machinery while posing herself as a boy, while scheming to break out of the citadel and kill Demetus. She befriends with Praetorian Jack (Tom Burke), the War Machine- a decked out tanker driver who becomes her mentor.

Just as the previous film, the set pieces featuring shiny silver tube War Machine on the road to and back from Gas Town is a movie-going experience to be had. The chase from both the ground and the sky, it's a spectacular display in acrobatics and vehicular mayhem.

Demetus, however brutal and ruthless he is, turns out to be a shitty leader. He cares very little about how to run his crew. He thrives in chaos. Immortan Joe is a cult leader, with those countless War Boys sacrificing himself for him for the promise of eternal life. Demetus's speech at the end to Furiosa reveals quite a lot, that he and she are 'already dead.' Come to think of it, Max and Demetus are just the flip side of the coin. He carries a teddy bear chained on his front, as a reminder for his wife and child who died, just like Max's. Even though they are from similar origins, Max bowed to avoid the human race and lead a solitary scavenger existence, Demetus became an all-out tyrant, relishing in chaos with joie de vivre attitude. It's the fleeting joys of destruction and cruelty he is after. And why not? Furiosa doesn't know it yet, but as we witnessed in the previous film, the Green Zone is gone. We know that she has to deal with the political bullshit of controlling and governing over marauding citizens of citadel. Who wants to deal with that?

But I hope Miller keeps making these. It's loads of fun.

Monday, September 5, 2016

'More Human Than Human' is Our Moto

Morgan (2016) - Scott
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Lee (Kate Mara), a risk management personnel sent by the corporate to assess the recent incident in the lab where Morgan (Anya Taylor-Joy), the latest test-tube babe who grew up in the lab supported by caring scientists, violently attacked one of the carers (played by Jennifer Jason Leigh). Lee finds everyone to be too soft and sentimental about the potential killing machine growing in their midst. After Morgan attacks a psychiatrist during psych eval, everything goes to hell and carnage ensues and it's up to Lee to track 'it' down and terminate it.

I had no expectations whatsoever going in and didn't even know what it's about. I've heard that Ridley Scott's son is also a filmmaker and he is making some Sci-fi movie. Morgan, as far as man-made killing machine in the shape of a little girl movies are concerned, is a quite a modest yet highly effective effort. Interesting choice of actors all around - Michelle Yeoh, Paul Giamatti, Toby Jones, Jennifer Jason Leigh, Kate Mara and the girl from The Witch in a title role, a subhuman being borne out of a tube in the remote supersecret lab in the woods. Everything is confined to the lab and the surrounding beautiful woods.

It's no secret that Scott Sr.'s Blade Runner influenced generations of Sci-fi films and Morgan's no exception. The moral quandaries are there about being human and whatnot. But Luke Scott has a better sense to make everything succinct and precise. There is no discernible fat in his artistry from set design to dialog. Morgan is a tough, fast moving little package that is hugely entertaining. Kate Mara also shines as a tough fast moving little package. I liked it.

Monday, March 7, 2016

Frightening Female Empowerment

The Witch (2015) - Eggers
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Rich in historical details and atmosphere, The Witch sets out to destroy two archetypes associated with the world of New England pilgrims: patriarchy and puritanism. First time director Richard Eggers smartly goes about making a film that is both disturbing and joyous(?). What I am most impressed about the film is that Eggers clearly understands less is better. Seemingly shot only on natural lights and practicals (candles for indoor shots), the film lends itself a period documentary feel to it. General witch hysteria is kept within a family but that doesn't mean it's short on drama or tension.

The film starts with a family being cast out of the walled settlement. The reason, as we find out later, is because of the father William (Ralph Ineson)'s pride. He is one of those know-it-all, holier than thou types. William turns out to be incapable at anything. Crops are going to fail and they will starve but he is too proud to go back to the community nor back to England.

The focal point of the film is Thomasin (Anya Taylor-Joy), a teenage daughter and eldest of 5 of William and Katherine (Kate Dickie). Thomasin's younger siblings, Caleb and fraternal twins - Mercy and Jonas have minds of their own and develops into memorable characters as well. The twins, too little to know what's at stake living alone in the land without support system, are going stir crazy, making up stories and agitating everyone around them. In order to shut them off, Thomasin tells them that she is a witch in jest. Big mistake. Caleb, a kid who is beginning to notice opposite sex, can't help glancing at Thomasin's growing bosom. Things start to turn dark and weird when Samuel the baby gets snatched away from Thomasin's care. The next scene we see is a scary old naked hag pounding something in a stone mortar and smearing bloody pulp all over her body.

Katherine goes hysterical and start losing her marbles when Caleb gets taken by a seductress in the forest (probably the same hag in disguise) then returns naked, bitten and feverish. Barnyard goats start producing blood instead of milk. Parents accuse children of witchcraft and lock them in a barn. Then a goat starts talking.

Things get violent as the film develops, in a very uncomfortable, disturbing way. Eggers paints rather a gruesome, fearful picture of female empowerment. I haven't decided that if objectification of young blonde female by not an adult male but by even younger male, a brother at that, is any more progressive than much maligned 'male gaze' riding on the back of feminism, but The Witch is at least an interesting take on grrrl power and a conversation starter.