Furiosa: A Mad Max Saga (2024)

The more I think about it, the more I think it’s unfair to compare Furiosa to Fury Road. The problem is that I keep making that comparison anyway.

I keep making that comparison despite the fact that they’re fundamentally different styles of movie. It doesn’t help that they’re both in the same setting, no other movie in the setting came out between them, and their storylines tie directly together. Somehow it doesn’t matter that one was honed to a razor edge of high speed clarity while the other literally has “saga” in the name (sagas, not exactly known for being fast paced stories).

Fury Road told an extremely snappy story with its boot firmly on the accelerator at all times. Furiosa tells a rather long story at a slower pace, split into multiple segments by literal chapter breaks. Fury Road builds all of its characters’ backgrounds up through quick snippets and rapid-fire context clues, while Furiosa sits us down and tells us—in detail—how things came to be. They’re in the same setting, but they have wildly different approaches to storytelling. They just happen to exist next to each other in both story-time and release date.

What I’m saying is…

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Vicarious Squirmy Awfulness

I used to think I loved adventure stories because I’d grown up on them. The truth, I’ve realized, is a bit stranger. I’d rather watch bloody violence and explosions than sit through those gut-wrenching nail-biting moments of social awkwardness that fill so many romances, dramas, and comedies. Those moments fill me with a vicarious squirmy awfulness—the characters may experience emotional or social anguish, but my response is visceral, often literally painful. 

When I last reflected on this in my review of Trying

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Cascade Failure (on GeeklyInc)

I promised to link my review of L.M. Sagas’ Cascade Failure when it posted on GeeklyInc, but that entirely slipped my mind. The review is up! It’s been up for almost a month. My apologies.

In case you are deathly allergic to clicking external links, here’s the tl;dr…

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Indiana Jones and the Dial of Destiny (2023)

I finally saw this on a small screen. I…

I had fun?

I’m not writing about it here because it was stunning or notable. Hell, part of why I’m writing about it is because it wasn’t stunning or notable. I just rewatched the Tintin movie recently, and I would much rather rewatch that than spend much time dwelling on Indiana Jones and the Dial of Destiny. But I love adventure stories, and this movie is precisely that—and I grew up loving Indiana Jones. So why did this movie feel fun but uninspiring, and what nuggets of goodness can I still find in it?

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Kate (2021)

Mary Elizabeth Winstead is cast as Keanu Reeves in Kate, a movie with fewer characters than John Wick (both in the title and in the story).

I couldn’t resist that sassy intro, but I fear it does the movie injustice. I enjoyed Kate quite a bit.

It’s not quite as incredible as the John Wick movies have been, whether in choreography, cinematography, or world building (John Wick’s world building is literally incredible—I struggle to believe it even as I enjoy it). But unlike the Wick movies this one actually wraps up its story. What’s more, Kate has interesting interpersonal, emotional drama that exists as more than the excuse for new on-screen violence.

Both of those go beyond anything I expect from John Wick movies.

A little context before I go further. I’m fond of action movies, and have a deep appreciation for stunt work, choreography, and cinematography (especially around fight scenes). I’m fully aware that many action movies are poorly written. I cringe at their clunky exposition, their trite plots, their wooden acting. But I appreciate them.

I also very strongly believe that we should celebrate “perfectly fine” movies more than we do, and recognize when movies are “perfectly fine” overall but have some stand out features. There’s space for movies to exist between being magnificent and being garbage.

Back to Kate: Mary Elizabeth Winstead is great as the lead. She takes a cliche and acts the hell out of it, feeling emotionally honest the whole way through. I was surprised to find myself tearing up. Perhaps she caught me off guard.

She also sells the action, passing a crucial test for this genre. And Kate does a respectable job of following some of John Wick’s lead, with solid (and gruesome) choreography and filming. This despite the fact that Kate does not, and I think cannot, do exactly what the John Wick movies do; Kate doesn’t have action sequence shots as long as John Wick’s, nor does Mary Elizabeth Winstead’s action look quite as completely convincing as Keanu Reeves’.

Quick aside: why do I say cannot? Well… Mary Elizabeth Winstead has done some action previously, but she doesn’t have the same background as Keanu Reeves (who has been doing martial arts regularly since the 90s). Furthermore, from what I could find she was cast in April, started filming in September, and finished in November, all of the same year—and lost her preferred stunt double to an injury at the beginning of shooting. I’d be shocked if anyone in that time frame, even with previous stunt training, could have built up the same obsessively in-depth repertoire that Keanu Reeves has developed over his career and honed for the Wick movies. The fact that she and her doubles sell the action, make it feel convincing, make it feel like it belongs in the same space as the John Wick movies, is good enough for me.

And yet.

The few reviews I’ve seen involved critics complaining that the plot is trite and the film is too much like other femme assassin movies. They sometimes acknowledge that Mary Elizabeth Winstead has done a good job, but don’t admit that the genre they’re panning (for being too same-y or overplayed, no less) makes up a tiny slice of action movies overall… nor that the movie is absolutely better than many comparable action films with male leads.

It’s a double standard, or it’s lazy. Or both.

Kate isn’t perfect. It isn’t the best of its genre (I’d probably still give that to Atomic Blonde). But it’s better than several other femme assassin movies I’ve seen, and a damn sight better than plenty of action movies with male leads. If you like action movies, and appreciate some of the aesthetics and attention to high-quality stage violence highlighted by the John Wick movies, you’ll probably enjoy Kate.

One last thing though: I have no idea how well Kate deals with Japanese culture. It isn’t blatantly awful to my woefully uninformed eye, but I’m not the expert here.

Okay, that’s it. Kate was engaging. I liked it. I recommend it. Don’t expect perfection, just go ahead and enjoy it for what it is: a perfectly good action movie with a solid performance from Mary Elizabeth Winstead. I’d absolutely watch more action movies with her as a lead. I look forward to seeing what she does next.

Extraction (2020), quick thoughts

You ever have the thought, a few scenes into a movie, that you’ve seen the movie before?

I wrestled with that feeling for all of a few minutes. Extraction feels like a reimagining of 2004’s Man on Fire, but with Chris Hemsworth instead of Denzel Washington.

I liked Man on Fire when I watched it over a decade ago. I have no idea how I’d like it now, but I imagine it stands up as a kidnapping-rescue-revenge action flick. Better than Taken, I suspect. Having Denzel Washington as your lead actor helps.

I can’t say that Extraction is going to stand the passage of time as well as Man on Fire, at least not in my head.

I don’t think that’s an indictment of Chris Hemsworth. I just don’t think this movie is as interesting or original as I thought Man on Fire was when I first saw it. For better or worse, my first impression will matter. 

It’s funny, honestly, thinking about it this way. I’m not pretending to offer any kind of objective verdict; I haven’t seen Man on Fire in ages, and I suspect I’d be more critical of it now. I wonder how it would actually match up with Extraction, side by side.

The element I most appreciated from Extraction (hey look it’s *SPOILERS*) was the parallelism between Ovi and Tyler, established most clearly in the last moments of the movie as Ovi rises from the bottom of the pool (paralleling Tyler’s sitting on the bottom of a river at the beginning) and sees what I can only assume is a phantom of Tyler (the blurry camera here only previously used to show memories of the dead). I liked the way in which this passed on Tyler’s mantle of trauma and loss, showing a little more of the impact the entire experience had on Ovi—but I also wished that Saju had been there too. By only showing one figure (who I assume is Tyler based on costume), I felt like it devalued the painful and tense relationship between Ovi and Saju. I can see why they might have chosen not to do that, especially if they wanted to leave some space in the audience’s mind for Tyler to have survived, but I feel pretty confident from the other choices (that blurry camera, Ovi’s time on the bottom of the pool) that Tyler died. Anyway. I’m just being an armchair director (or editor) at this point, so I’ll stop. *END OF SPOILERS*

If you want to watch a violent kidnapping-rescue-revenge action movie, Extraction is fine. It has good moments. It has a bunch of actors I like, most of whom don’t get as much narrative focus or development for their characters as I’d like. I don’t think it opens any fundamentally new narratives… but it certainly makes things go boom and has some impressive camera work alongside really solid combat choreography.

Overlord

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Overlord is a pulpy, terrifying thrill ride of a B-movie. It feels like an over-the-top World War 2 Delta Green scenario, and an homage to a genre I learned to love through John Carpenter’s films. Having read more about the movie, and learned more about the practical effects used, I’m even more impressed.

As a B-movie it’s quite good, though it rang a bit hollow for me. I think there might have been a little more to the character development arc for Jovan Adepo’s Boyce that didn’t survive to the theatrical cut I saw, and I would have loved to see that. But it’s probably okay: high tension Nazi-killing historical science fiction B-movies aren’t best known for their character development.

I initially wasn’t sure whether to feel happy or miffed about the movie’s portrayal of the 101st Airborne as an integrated force when it was not. Here’s Wikipedia’s article on racial segregation in the US armed forces.

The happy side has won. It’s very easy to explain.

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Killer of Enemies, by Joseph Bruchac

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I know that young adult action stories might not be everyone’s preferred genre, but how about a post-apocalyptic young adult action story that weaves Native American history, lore, and culture seamlessly into other general Americana such that it feels like a fitting piece of a larger tapestry without feeling lost or subjugated by other elements?

I can’t take full credit for that astute observation. It was mentioned by one of my excellent classmates.

Killer of Enemies is a good, punchy story that fits with mythic narrative traditions in a number of deeply appealing fashions. It’s very nearly pulp. And it’s written by a member of the Abenaki Nation, which gives me a wonderful home-feel due to my fond early childhood memories of listening to Wolfsong telling stories around Vermont. It doesn’t hurt that it’s all about the badass warrior woman Lozen, named in honor of the real Lozen of the Chiricahua Apaches. I’d say that this book is pretty good stuff.

Barium Deep Edits

This is the first time that I’ve not written one of Chuck Wendig’s flash fiction challenges since January (with the exception of the times when I’ve been working at summer camp without internet, but even then I think I got lucky and he didn’t post a challenge).  I feel weird, honestly.  I had ideas for this week’s challenge, but I’ve been so busy for the past few days…

Instead, I offer you the newly edited version of Barium Deep.  It hasn’t been deeply revised, and there are more changes to come, but I think I’ve managed to improve the piece’s clarity and presentation.  Let me know if you like it!

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Flash Fiction: Barium Deeper

More Star Citizen related art, just because.

I wrote this piece for terribleminds, because my last piece was 1000 words too long for this week’s space opera challenge.  This piece sticks with Barium, but is set many years after the previous one.  At least ten years after it.  In case you’re confused by the multiple names, Bury’em = Barium = Barry, and Casi = Cesium.  Enjoy!

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