Month: May 2024

fury road pg13

While George Miller’s Fury Road has been rightly celebrated as one of the greatest action movies of all time, its path to theaters back in 2015 was not easy. While the behind-the-scenes battles between stars Tom Hardy and Charlize Theron are legendary, they weren’t the only headaches Miller had to deal with while making his epic. As documented in the excellent book, “Blood, Sweat & Chrome: The Wild and True Story of Mad Max: Fury Road” by Kyle Buchanan (buy it HERE), the biggest battle Miller had to fight was in post-production. The studio wanted the movie cut way down, with them notoriously demanding a PG-13 cut from Miller and his editor, Margaret Sixel (also his wife). 

Ironically, Miller wasn’t opposed to a PG-13, as that was the rating he had aimed for, and he was surprised the MPAA didn’t grant it. “I thought it was a PG-13 film,” said Miller. “I honestly did, because there was no nudity, there’re no curse worlds, there was no overt violence on humans, there was no blood. There were two or three films that ended up PG-13 that were on the border, and I thought we’d cover that.” 

Miller wasn’t opposed to that rating, having previously made Mad Max Beyond Thunderdome, which nabbed a PG-13 rating, but was seen as quite tame by most fans, who consider it the worst movie of the saga. Even still, one can understand why Miller assumed a PG-13 was achievable.

According to interviews in the book, the main issue was that the masks the bad guys wore were “too scary”, and the studio wanted other cuts as well, and indeed, they made their own shorter cut of the film with a different mix team and musical score. “They wanted it shorter, and they wanted to take out anything that was too dubious,” said Miller. “They took out the Milking Meads at the beginning of the film. Moreover, the War Boy who commits suicide and says, ‘Witness me,’ they wanted that cut.”

Luckily, when the studio showed their alternate cut, it was a disaster, with the studio releasing him from his obligation to make the film PG-13. The result, as they say, was history, with the 120-minute film considered one of the most perfectly composed and efficiently edited movies in recent memory, with Sixel winning a much-deserved Oscar for Best Film Editing.

Do you think the R-rating for Fury Road was justified? Is it really all that much more violent than some of the Marvel/DC movies, or the last few James Bond movies? Let us know in the comments?

The post Fury Road: George Miller thought he was making a PG-13 movie appeared first on JoBlo.

Furiosa (Anya Taylor Joy) in Furiosa: A Mad Max Saga (2024).

Like most, I was absolutely blown away by Furiosa: The Mad Max Saga this weekend. Chris Bumbray perfectly sums up why the film is a great entry into the Mad Max franchise HERE. It may have been the trailer playing before the most number of movies in 2024. It was everywhere. Yet it’s hard to watch the film and come away feeling like I saw something completely brand new when the marketing already spoiled so much of it.

*spoilers for Furiosa going forward. Read at your own risk*

I need to get it out of the way right off the bat that I loved Furiosa. It’s a brilliant epic that features Chris Hemsworth’s best performance to date and proves why Anya Taylor Joy is believable in any role. The brilliance of Furiosa cannot be understated both in its technical achievements and in its narrative. And my criticisms are firmly on the film’s marketing versus anything in the film itself. Because as I left the theater, I couldn’t help but think: did the trailer spoil the movie?

The method in which Furiosa is kidnapped, her brashness being the cause and her repeated escapes are all highlighted. Given that this takes up the majority of the first half of the movie, it takes a lot of the stakes out of those moments in the actual movie. She’s always trying to escape. It happens every chance she gets. Show those moments to tease what a firecracker she is. Yet we see the actual captures in the trailer, so we already know that she not only doesn’t get away, but she gets caught fairly quickly. So there can be a long drawout escape sequence, but we’re already privy to the end. I’m fine with showing the setup, but maybe don’t show the punchline.

However, I’d argue that the biggest issue is that Anya Taylor Joy doesn’t appear until an hour into the film. It is insane for me to even type that given how prominent she is in all the marketing materials. And I’m honestly not sure of the solution other than to prominently feature Young Furiosa (who gets a whopping 10 seconds of screen time in the first trailer). So they managed to both give too much away, while also lying to the audience about how much its lead actress would be in it.

And that’s not to say that Alyla Browne does a bad job. The exact opposite in fact but in this day and age where studios are struggling to get patrons in theater seats, pulling this level of switcheroo feels disingenuous. Now I understand that you often have to spoil things that happen in a movie in order to sell it. And Anya is clearly a very marketable actress with a large fanbase. But it’s never good when you’re leaving the theater and people are proclaiming “The one girl didn’t show up for ages.” (an actual quote leaving the theater.)

Dr. Dementus (Chris Hemsworth) in Furiosa: A Mad Max Saga (2024).

Furiosa isn’t the only film released this month with this problem, as Kingdom of the Planet of the Apes did the same thing: prominently featuring Proximus Caesar only for him to not appear until over an hour into the film. And given Kevin Durand did so much of the promotion, it gives a certain expectation. But I’d argue that the film is still able to hide its narrative in the trailer and provide a rather fresh experience. Proximus is not the lead, therefore it doesn’t feel like a big deal. Villains often have less screen time, especially in the first act. And given that was probably the second most-played trailer this year at the movies, it would have been easy to make the same mistakes.

And yes, Furiosa is a prequel so in that sense, you’re always going to know what is coming. In that regard, so long as every character is in their place for the beginning of Fury Road, anything can happen. But did we need Dr. Dementus saying “The question is: do you have it in you to make it epic?”, clearly indicating his own death? Or so much of the trailer making it look like the same road film that Fury Road was? It really runs the risk of alienating an audience versus just providing a hint at the great epic to come.

Conversely, the horror world has an absolutely phenomenal marketing team working on Longlegs. There have been countless trailers and even still the narrative is hazy. It’s managed to build so much hype while still keeping the mystery alive. That’s an extremely tough task and something I feel that other marketing teams should be studying. Because we as audience members should be given just enough information to decide whether or not we want to watch it. We don’t need the entire film laid out for us. Okay. I’ll go back to yelling at clouds now.

What did YOU think of Furiosa? Did the trailer spoil too much? Why do studios insist on giving so much away in their trailers?

The post Furiosa: The Art of Spoiling a Movie in The Trailer appeared first on JoBlo.

Lucasfilm Lucas

When George Lucas sold Lucasfilm to Disney in 2012 for more than $4 billion, it marked a major turning point in the movie industry. But, as Lucas himself says, some game-changing transitions within the business were already in full swing.

In an interview with Brut (via Screen Rant), George Lucas said that selling Lucasfilm all came down to the rise of streaming. “Streaming is really powerful, and it’s great, it’s really upped the movie business because the theatrical movie business… we could see the problems, and it was not good. So everybody was looking to save it, but nobody knew streaming would. And that’s when Netflix took off, and at that point, I said, ‘I don’t know what this is gonna be, there’s gonna be a giant transition in the business, I don’t know that much about it,’ and I sold the company, and I retired.”

That retirement and purchase of Lucasfilm would allow The Walt Disney Company to do whatever it wanted with the Star Wars, something that would soon enough bite Lucas, who quickly realized that many of the ideas from his original films “got lost” and interpreted in ways that he never imagined or intended. Disney, too, would later inevitably venture into the streaming realm, launching Disney+ in late 2019. Disney+ serves as the main hub for a number of Star Wars projects, most notably The Mandalorian, Ahsoka and Andor, with series such as The Acolyte and Skeleton Crew slated for premieres this year.

Despite any issues Lucas has with what Disney has done with his galaxy, he is far, far away from entirely regretting selling Lucasfilm to the Mouse House. While he did call the experience a painful one, he knew that ultimately it was the right decision for himself and his family. As for the Star Wars saga itself, well, that’s up for debate…

There are currently a number of Star Wars films planned, including The Mandalorian & Grogu from Jon Favreau and movies from the likes of James Mangold, Rian Johnson, Sharmeen Obaid-Chinoy, and Dave Filoni.

How do you think Disney has done since acquiring Lucasfilm from George Lucas? Do you think Lucas should have hung around for a little while longer or was it the best choice for him and the franchise?

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The early box office results are in over at Deadline, and oh boy, are they dire or what? As of right now, George Miller’s Furiosa: A Mad Max Saga seems poised to win the weekend by a razor’s edge, with it on track for a three-day gross in the range of $27-28 million and about $31 million for the four-day Memorial Day weekend. The Garfield Movie is right behind with $24 million, with Deadline predicting that it could theoretically win the four-day weekend thanks to matinees on Monday. It is set to make $30-32 million over the holiday. We had predicted $40 million for Furiosa and $35 million for Garfield.

It has to be said, the box office take this Memorial Day weekend is an all-out disaster. How bad is it? Whichever movie wins, Furiosa or The Garfield Movie, the winner will have the lowest Memorial Day gross for a movie in first place since 1983’s Return of the Jedi (not counting 2020’s Covid-riddled box office, which didn’t have any new movies opening). That movie made $30.5 million in 1983 dollars. By comparison, everyone called Solo: A Star Wars Story a flop when it opened to “only” $103 million over Memorial Day in 2018. My, how times have changed. Furiosa’s box office opening is even worse than The Fall Guy’s. What a disaster and a depressing look at the state of film exhibition as we know it. 

The fact is, Furiosa is a GREAT movie that begs to be seen on the big screen, but people aren’t buying it. Word-of-mouth could work similarly to Fury Road and propel it to a $100 million finish (which is unlikely), but even that would be considered pretty bad, given how expensive it is ($160 million +). Hopefully, worldwide grosses will ensure it turns a profit, as we really need Miller to make Mad Max: The Wasteland, don’t we?

The only shred of good news at the box office this weekend is that John Krasinski’s IF, which kinda-sorta bombed last weekend, is showing tremendous staying power, with it only dipping a modest 50% thanks to that A CinemaScore. This may yet turn out to be a (modest) sleeper hit. 

Why do you think people are staying away from movie theaters this summer? Is it the product? Or are people no longer into the theatrical experience? Let us know in the comments. 

The post Box Office: Furiosa and Garfield may not crack $30 million this weekend appeared first on JoBlo.

Some cliche somewhere said that ‘a picture is worth a thousand words.’ This has proven to be the case for me and especially when it comes to fan art. I have always sought out great fan art and have wanted to share it with as many people as possible. “Awesome Art We’ve Found Around The Net” is the outlet for that passion. In this column, I will showcase the kick-ass artwork of some great artists, with the hopes that these artists get the attention they deserve. That’s the aim. If you have any questions or comments, or even suggestions of art or other great artists, feel free to contact me at any time at theodorebond@joblo.com.

Challengers by Joseph K. Roman

Deadpool & Wolverine by Youssef Kirah

Furiosa: A Mad Max Saga by Bartos Gyorgy

Godzilla: Minus One by Phantom City Creative

In A Violent Nature by Chris Berning

Jackie Brown by Nick Low

Late Night With The Devil by John Dunn

The Lion King by Antoine Dubot

Spider-Punk by gafanha

The Wicker Man by Dom Bittner

The post Awesome Art We’ve Found Around The Net: Challengers, Deadpool & Wolverine, Furiosa, Godzilla appeared first on JoBlo.