Seven years have passed since George Miller reinvigorated the action genre with the breathtaking world-building and chase sequences of Mad Max: Fury Road. After much anticipation, the Australian mastermind behind the blockbuster franchise has finally returned, and it is fair to say his latest work is somewhat out of left field.
Even if a story is rooted in reality, his stylistic flourishes will make it seem as otherworldly as possible. Take the most simple premise he has worked with to date in Lorenzo’s Oil. As a former doctor, it is easy to see why Miller was drawn to the true story of two parents who fight to find a cure for their son’s rare blood disease. Other than that, it is a far cry from his usual fare.
Take his biggest successes: the entire Mad Max franchise and the oddity that is Happy Feet. The roving cameras that track the automotive insanity of the former feel akin to the capturing of the exhilarating ice sliding scene of the latter. Whether he is working in children’s fare or serious adult action, practical effects or CGI, his enthusiasm for the worlds he envisions never wavers.
As the djinn recounts his past entanglements to Alithea, we are transported through various portals into the ancient Levant, seeing lavish depictions of unrequited love, traitorous sons of emperors, sex dungeons, and scientific miracles. Each feels like a brief chapter of an old illustrated storybook, a playful cinematic exercise not unlike other late-period auteur work of the Coen Brothers in The Ballad of Buster Scruggs or Wes Anderson in The French Dispatch.
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