Furiosa: A Mad Max Saga
Note: There aren’t exactly twists or anything to spoil in FURIOSA, but this is all spoilers. You really should see the movie first. This review the discussion afterwards.
There are over one million things I’ve always loved about the MAD MAX movies, and one of them is that they’re separate tales. There’s no continuity, no narrative references to or consequences from a previous chapter, and other than Max Rockatansky and his Last of the V8 Interceptors there’s never been a returning character, location or faction. They don’t necessarily take place in any order, and they’re so separate that some people think Tom Hardy’s Max is a different character from Mel Gibson’s. I’ve always thought of them as more like the Man With No Name trilogy than, say, STAR WARS.
But FURIOSA: A MAD MAX SAGA isn’t a MAD MAX movie. Says it right there in the title – it’s a saga. And we knew it was the backstory of Furiosa, written in conjunction with MAD MAX: FURY ROAD, shown to Charlize Theron to help her performance, at one point supposedly considered to be shot back-to-back, at another to be done as an anime movie directed by Mahiro Maeda (director of the Second Renaissance episodes of THE ANIMATRIX and animator on NAUSICAA and KILL BILL VOL. 1). So FURIOSA is a traditional prequel in the sense that it depicts an earlier stage of the specific world and characters of FURY ROAD. (read the rest of this shit…)
early review on Patreon: THE PRIMEVALS
For those who currently do or want to start patronizing me on the ol’ Patreon, I have posted my review of THE PRIMEVALS, Full Moon’s Yeti vs. lizard men movie that was the passion project of their top stop motion animator David Allen, first pitched in the late ’60s, filmed in 1994, and thought dormant when he died without quite finishing it in 1999. Now it’s been miraculously unfrozen and coming to VOD soon.
If you’re not able to or don’t want to give me money, I get it and I plan to post this particular one for free here very soon. But I gotta self promote and remind you every once in a while that for less than it costs to buy a refrigerator magnet at the $1.01 Store you can get access to a bunch of exclusive posts and help me continue to work only part time at the day job and put most of my time and mental focus into providing you the good shit here at outlawvern.com. Thank you!
CLICK HERE TO MEET THE PRIMEVALS TODAY!
Little Buddha
May 25, 1994
LITTLE BUDDHA is a film by Bernardo Bertolucci, so I always assumed it was highly respected. Maybe I confused it with THE LAST EMPEROR, his 1987 film that won best picture and eight other Oscars. This one only got decent reviews and one Razzie nomination.
It’s the very earnest story of some friendly Tibetan Buddhist monks who come to Seattle because they believe a 9-year-old blond kid named Jesse Conrad (Alex Wiesendanger, “Child,” THE NUTCRACKER) might be the reincarnation of their teacher, Lama Dorje. It’s also the story of Siddhartha (Keanu Reeves, last seen five days earlier in EVEN COWGIRLS GET THE BLUES) in gorgeously shot sequences interspersed throughout as Jesse hears about him.
Beverly Hills Cop III
May 25, 1994
BEVERLY HILLS COP is one of those movies that was huge for me as a kid, but that I don’t really care much about anymore. Its significance to me was that it was my first theatrical R-rated movie and an important early chapter in my appreciation for the art of cursing. Also my brother bought sheet music for Harold Faltermeyer’s “Axel F Theme” and learned to play it on piano. That song is still a jam, but the movie is just one of those things I see parts of on cable and find some bits mildly amusing. I thought I remembered liking the very stupid, but more stylish sequel directed by Tony Scott when I watched it a long time ago, but reading my review again I don’t sound all that enthused.
For those reasons I was actually pretty optimistic about checking out BEVERLY HILLS COP III (which I definitely didn’t see in theaters, think I saw on video at some point, but maybe not because it didn’t seem very familiar). I figured since I don’t have much of an attachment to those other ones I would be more open to it than all the people who hated it at the time. And though I understand the modern rejection of director John Landis (COMING TO AMERICA) due to the fatal helicopter crash on the set of TWILIGHT ZONE: THE MOVIE, I happen to really love some of his movies, and think he’s a good director. Plus this is written by Steven E. de Souza (48 HRS., COMMANDO, THE RUNNING MAN, DIE HARD, RICOCHET). And the one thing I remembered was that there were scenes shot at Great America, a theme park my family used to go to when visiting grandparents in California. I thought that might be cool to see.
Um, yeah, this is pretty bad though. Starts out semi-interesting, gets very tedious. Oh well. (read the rest of this shit…)
Challengers
The trailer for Luca Guadagnino’s CHALLENGERS looked kinda like a 2020s version of a WILD THINGS or CRUEL INTENTIONS type movie, and not just because it hyped up a naughty threesome scene. It looked like a similar type of straight faced but knowing erotic thriller soap opera about rich women who delight in using their sexual power to manipulate men. And it kind of is that, but also it’s way more of a sports movie than I expected. It just sees the world of tennis being a little like those movies.
It’s sort of a love triangle, more of a tennis triangle. It’s the non-linear story of the events leading up to the 2019 Phil’s Tire Town Challenger in New Rochelle, New York, in which legendary-great-trying-to-get-his-groove-back Art Donaldson (Mike Faist, PINBALL: THE MAN WHO SAVED THE GAME) faces debit-card-declined-at-the-hotel-so-he-slept-in-his-car nobody Patrick Zweig (Josh O’Connor, FLORENCE FOSTER JENKINS).
Maverick
May 20, 1994
You know what – I had never seen MAVERICK until now. But look at these credits, man. Directed by Richard Donner (between LETHAL WEAPON 3 and ASSASSINS), written by William Goldman (BUTCH CASSIDY AND THE SUNDANCE KID, HEAT [1986]), shot by Vilmos Zsigmond (MCCABE & MRS. MILLER, CLOSE ENCOUNTERS OF THE THIRD KIND, HEAVEN’S GATE, THE WITCHES OF EASTWICK), edited by Stuard Baird (DIE HARD 2, THE LAST BOYSCOUT) and Michael Kelly (CRIMEWAVE, BLACK EAGLE), production design by Thomas E. Sanders (BRAM STOKER’S DRACULA). Also I immediately wondered “why does this sound exactly like TOY STORY?” and realized that the score was by Randy Newman.
I would not say MAVERICK comes anywhere close to living up to the sum of its parts. But it’s fine. Pretty good for a while. The opening kinda reminded me of another ‘90s western-ish blockbuster sort of based on old TV shows, MASK OF ZORRO, and from me that’s a big compliment. Our hero Bret Maverick is introduced in the midst of a squabble, some guy named Angel (Alfred Molina, also in CABIN BOY, WHITE FANG 2: MYTH OF THE WHITE WOLF and REQUIEM APACHE that year) and his thugs leaving him on his horse in the middle of the desert, hands tied behind his back, noose around his neck, snake dumped in front of the horse to inspire movement.
Even Cowgirls Get the Blues
“Better no cowgirls at all than cowgirls compromised.”
Richard Donner’s MAVERICK was obviously the big western type movie of May 20th, 1994. I didn’t see it. I did see the goofy indie cowgirl comedy that flopped and got terrible reviews. Gus Van Sant’s EVEN COWGIRLS GET THE BLUES, from the novel by Tom Robbins (who narrates the movie), was considered a huge debacle at the time. I remembered very little except that I kind of liked it. Thirty years later it wasn’t really what I remembered, but I found it actually pretty delightful.
It stars Uma Thurman very close to PULP FICTION, which came out in the Fall. It’s one of her early lead roles, and she actually gets the rare “IN” credit:
As you can see the title fills up the screen, so going by my TO LIVE AND DIE IN L.A. rule you know this is gonna be a good one. (read the rest of this shit…)
Kingdom of the Planet of the Apes
I am a human, but I love those apes and that planet they got. I really have enjoyed the entire PLANET OF THE APES series except for the Tim Burton one. Even that has amazing Rick Baker makeup and a beautifully goofy ending (that everyone else hates). But the original and all its ‘70s sequels are fun in different ways, RISE OF THE PLANET OF THE APES reinvented it surprisingly well, then DAWN OF THE PLANET OF THE APES and WAR FOR THE PLANET OF THE APES pushed this incarnation into full on greatness.
This new one KINGDOM OF THE PLANET OF THE APES builds off of the previous trilogy, but somebody could start here if they wanted to. I was surprised by the prologue, showing the funeral for central character Caesar (with a cameo by Maurice!). But it tells you all you need to know: that a virus made apes smarter, killed most of the humans, and Caesar was the first leader of the apes, but now he’s dead. This story takes place “many generations later,” when apes have established different settlements with their own cultures and Caesar is revered as “the first elder.” (read the rest of this shit…)
The Crow (30th anniversary revisit)
On May 13, 1994, Johnny Carson was on Late Show with David Letterman, his final televised appearance. Times were rolling on, guards were changing. That same day Miramax, an indie studio recently purchased by Disney, had their biggest opening ever with a bitter R-rated comic book adaptation. While boomers were preparing to commemorate the 25th anniversary of Woodstock, here was a movie with a soundtrack full of Lollapalooza bands, their names underlined on the poster, above a 1-900 number you could call “for music CD preview.” That particular demographic hadn’t really been cinematically catered to so directly, and they showed up, as did others. It was even well reviewed by critics, who were unlikely to be comic book nerds or Nine Inch Nails fans in those days.
Now THE CROW is 30 years old, further in our past than Woodstock was at the time. Jesus christ, man. I wrote a review of it 15 years ago. Time flies when you’re getting old, I guess. In 1994 this movie seemed amazing and important – it not only felt so new in its style, but was part of a collective mourning and/or discovery of this exciting actor who had lost his life making a movie about losing his life. Maybe I was falling for the ads asking us to “EXPERIENCE THE MOVIE EVENT OF THE YEAR” and “Take the journey. Experience the phenomenon.” But I went solemnly into a dark theater, the movie washed over me, I could just feel it more than think about it. Watching it now it’s more a movie I find interesting than a movie I can love. But I don’t mind that it’s style over substance. That’s why it works. Evocative imagery and effusive, unexamined emotion – that’s what goth is about, as far as I can understand. That’s what being a teenager is about. I used to be one of those. (read the rest of this shit…)
The Last Stop in Yuma County
THE LAST STOP IN YUMA COUNTY is a new indie crime movie from rookie writer/director Francis Galluppi. I’d seen some good reviews, the trailer looked intriguing and I read that Sam Raimi saw it and hired Galluppi for an EVIL DEAD movie. The coveted Necronominod. So it seemed like a good thing to check out as soon as it hit VOD last week.
It’s a single location movie, and the location is a diner out in the middle of nowhere, Arizona on a sunny day in the unspecified past, probly early ‘80s. A traveling cutlery salesman (Jim Cummings, THE WOLF OF SNOW HOLLOW) pulls up at the gas station next door, the owner Vernon (Faizon Love, BEBE’S KIDS, who’s very good in this) explains that they’re all out of gas, but the fuel truck is supposed to arrive soon. Also there’s not another gas station for 100 miles, but you’re welcome to wait at the diner next door. (read the rest of this shit…)
1. Patreon
Toss me a couple bucks a month, support the good shit, also get access to a bunch of exclusive writing. This is my primary source of writing money that has allowed me to cut down to part time at the day job. Thank you!
2. Buy my books from your local bookseller or somebody
click here for my Amazon author page (NOTE: My ten year contract has passed on the Titan books, so I don't get residuals on them like I do WORM ON A HOOK and NIKETOWN, but I would love for you to read them because I'm proud of them)
EXTRA CREDIT: Review them on Amazon! That would really help me out. Unless you didn't like them, in which case forget I said anything.
4. My exciting line of fashion and leisure products
(I get a couple bucks per item, you get a cool t-shirt, mug or lifestyle item)
-
