Whatever the box office numbers have to say, Mad Max: Fury Road is the champion of the summer movie season — a brutal symphony of glorious action with real thematic resonance and a strong woman in the lead, George Miller’s high octane opera is the result of years of deliberate planning and patient cultivation. A new book gives us a peek into the creative process, while Miller’s original outline for the film from 1997 reveals some interesting details.
Mad Max: Fury Road
Last week we put it to you, the readers of ScreenCrush: What was the best movie of summer 2015? What was the worst movie? Who gave the best performance? What were the overrated and underrated movies? What movie most deserves a sequel? And what summer 2016 movie are you most excited to see?
When it’s all said and done, the summer of 2015 will be remembered for a few things. The way Jurassic World dominated the humanoid world; the ocean of tears that flooded theaters showing Inside Out; Straight Outta Compton topping superheroes and reboots at the August box office. What’s likely to get overlooked amidst those stories is the summer’s biggest theme, one that ran through many of the season’s biggest hits and flops: Terrible parents.
Here at ScreenCrush we have our own favorites and flops, but we want your opinion. What movies made the biggest impact on your summer? Which actors gave performances that stuck with you? Was Fantastic Four the worst movie of the the summer or the worst thing ever in the history of mankind? What franchises most deserve new installments in future years? And speaking of future years, what 2016 blockbuster are you most looking forward to right now? Let your voice be heard and vote in our polls below.
Ah, mashup trailers — I have seen the greatest minds of my generation reduced to giggling lunatics at the mere sight of a pop culture mashup. The thing is, not many of them are actually good. T-shirts? Typically silly. Trailers? Eh. But every once in a while, a good one comes along, like this Mad Max: Fury Road and Star Wars mashup, which is way better than it has any right to be.
The good movies are supposed to come out in the second half of the year. January through June, that’s the dumping ground; the crap that was so toxic it had to get buried in the winter, followed by the empty-headed excitement of summer blockbuster season.
When viewers head to the theater to watch Jurassic World this weekend, they’ll find a movie that transports them, almost literally, back to the first Jurassic Park. Colin Trevorrow’s new film is a sequel to Steven Spielberg’s 1993 original — and only that film. In an interview with ScreenCrush, when Trevorrow was asked about whether his movie pretended The Lost World: Jurassic Park and Jurassic Park III never happened, Trevorrow explained, “Our film is just more of a direct sequel to the original Jurassic Park.” He made a similar comment to Yahoo! Movies; he told them the earlier sequels “aren’t being written out of continuity so much as placed to the side, as they both unfolded on a different island.”
Much has been made about Mad Max: Fury Road and the film’s reliance on practical effects. Director George Miller has even said that 90% of the film is practical effects, an almost remarkable achievement for a big-budget summer action movie. But, just because the movie is mostly practical effects, there were still over 2000 visual effects shots used to accentuate what was done on set.
Within hours of Mad Max: Fury Road hitting theaters, Tumblr, Twitter, and Instagram exploded with fan art featuring the neon wasteland desert and its high octane inhabitants. One character, though, inspired artists like no other --- Imperator Furiosa, the steely warrior of Immortan Joe's army. ComicsAlliance has compiled a collection of our favorites, including a brand-new piece by the talented Greg Ruth, and an exquisite black and white sketch by Jamie McKelvie.
Mad Max: Fury Road isn’t your average post-apocalyptic film, nor is it your average action movie, as I’m sure you know by now. Although the first set of promo photos from the film were de-saturated and had a more conventionally gritty look, the final product was gorgeously vibrant. But according to director George Miller, his preferred version ditches that bright, beautiful coloration entirely.