Tag Archives: Charlize Theron

Summer of Bad-Ass Ladies: The Sequel!

Last year, around this time, we saluted the women who breathed fresh air into a moviegoing season that typically reeks of testosterone.

Many of 2014’s summer blockbusters were headlined by women, including Angelina Jolie, Emily Blunt, and Scarlett Johansson — cause for celebration. There was so much awesomeness going on that we declared it the “Summer of Bad-Ass Ladies.”

Now it appears summer 2014 wasn’t a blip on Hollywood’s radar, but the beginning of a promising trend. The films of summer 2015 were packed with substantial roles for women, who effortlessly stole scenes –and, in some cases, entire movies — from their male co-stars.

(That said, annoying female stereotypes persist. Did “Jurassic World” really need to punish Bryce Dallas Howard’s Claire for loving her job too much and not being into kids?)

As we close the books on the year’s most explosive moviegoing season, it is with great delight that we dub it “Summer of Bad-Ass Ladies: The Sequel.”

Below, we revisit the baddest of these pioneering bad-asses. We hope we’ll be seeing them next summer, too.

Mad-Max-Fury-Road-final-trailer

Charlize Theron in “Mad Max: Fury Road”: For the sake of its promotional campaign, Warner Bros. pretended that Tom Hardy’s Max is the star of “Fury Road.” But if you’ve seen the film, you know it is Theron who owns virtually every frame of this magnificently bleak and beautiful post-apocalyptic action flick. With a shaved head, oily face paint and one arm, tough-as-nails truck driver Furiosa is the heart and sinew of director George Miller’s female-centric road movie, with Hardy’s Max mostly along for the ride. When it comes to sci-fi heroines, she’s right up there with Ripley and Sarah Connor.

What’s even more impressive? There isn’t a single damsel in distress to be found in “Fury Road.” The cast’s menagerie of bizarre supporting characters includes strong, resourceful women of all ages and personalities. Why should this be such a rare thing? Hollywood execs should use Miller’s forward-thinking epic as a template for all summer blockbusters to come.

ex_machina_2015_movie-wide

Alicia Vikander in “Ex Machina”: There are so many wonderful, eerie and astonishing things to discover in writer-director Alex Garland’s artificial intelligence thriller. Chief among them is Swedish performer Vikander, also delightful in “The Man From U.N.C.L.E.,” who brings to life the strikingly beautiful, eerily lifelike humanoid at the center of the film. With her cherubic face and curvaceous CGI body, Vikander’s Ava is alluring and dismaying, uncannily perfect, and completely believable. Is Ava the perfect object of male fantasies or a master manipulator? Is she a girl waiting to be rescued or a skilled self preservationist? In a film where nothing is quite what you expect it to be, Vikander is the biggest surprise of them all.

mission-impossible-rebecca-ferguson

Rebecca Ferguson in “Mission: Impossible — Rogue Nation”: Last summer, Tom Cruise starred in “Edge of Tomorrow” but willingly took a back seat to the incredibly bad-ass Emily Blunt, who dominated the clever sci-fi thriller. Weird rumors about Katie Holmes aside, maybe this guy deserves some feminist cred. This summer, he did it again, basically ceding his role as headliner of “Mission: Impossible — Rogue Nation” to intriguing newcomer Rebecca Ferguson.

As enigmatic triple agent Ilsa Faust, Ferguson matches Cruise step for step and blow for blow in executing her own stunts and when it comes to intrigue, she’s a lot more interesting than the one-dimensionally heroic Ethan Hunt. The film’s most electrifying sequence, an attempted assassination in a Vienna opera house, is almost entirely Ferguson’s show. Coolly shimmying up the rigging in the sleekest, and most practical, of silk gowns, she’s practically auditioning to take over the franchise.

feacffd963965ea49ce124f52299da89a17b6331

Melissa McCarthy in “Spy”: McCarthy has always been brilliant at satirizing social convention, but she’s so likable and so good at what she does, we hardly notice the sly statements she makes. In “Spy,” she reunites with “Bridesmaids” director Paul Feig and tackles the male-dominated genre made famous by James Bond and Jason Bourne, playing a timid CIA analyst lured out from behind her desk and into the dangerous field.

McCarthy may be may be sending up the exotic, over-the-top world of Hollywood espionage, but she also has a lot of fun and gets to do everything 007 does — a moped chase in Budapest, a killer knife fight — only she’s way more hilarious.

background

Elizabeth Olsen in “Avengers: Age of Ultron”: When it comes to creating memorable on-screen superheroines, Marvel has been a bit slow to evolve. Scarlett Johansson’s Black Widow is a formidable force but is seriously outnumbered by her male colleagues, who don’t have to stuff themselves into a slinky, black catsuit before saving the world. So it was a welcome moment when Olsen’s otherworldly Scarlet Witch made the scene in “Age of Ultron,” wielding some very cool telekinetic abilities. You can see just see the neighborhood kids mimicking her witchy powers of mind control while playing superhero. That’s something long overdue.

maxresdefault

Kate Mara in “Fantastic Four”: Comic book movie reboot “Fantastic Four” took a critical and fiscal bruising when it debuted earlier this month. The film is widely considered a disaster but it contains at least one overlooked element: Mara’s thoughtful portrayal of invisible woman Sue Storm. Watching the actor at work, it’s hard to believe that only 10 years ago, Jessica Alba’s Sue was largely celebrated for the way she filled out her skintight suit. In sharp contrast, Mara’s performance emphasizes Sue’s brains over her body. She is arguably the first female superhero whose intellect is more important than her sex appeal.

Photos: http://www.techinsider.io; http://www.youtube.com; marvel.com; tribecafilm.com, http://www.zimbio.com.

Advertisements

‘Mad Max’: Insane, Intense, Inventive, and Runs on Girl Power

Mad Max: Fury Road
Three and a half stars (out of four)
R (intense sequences of violence, disturbing images)
120 minutes
The film is playing in 3-D, but due to a terrible conversion, it’s best to opt for crisp, clear 2-D.

The mad vision of “Mad Max: Fury Road” is so insane-intense-inventive, it demands to be seen. If you only take in one action movie this summer, this has to be it.

Fans of the original trilogy, which starred a young, crazy-eyed up-and-comer named Mel Gibson, will be pleased to note that “Fury Road” maintains the grotesquely mutated genetic material of its predecessors: parched post-apocalyptic setting, weirdly descriptive slang, colorful, carnie-like characters, hurtling camera angles, a certain Ford Falcon Interceptor and a villainous warlord, played with deranged relish by “Mad Max” villain Hugh Keays-Byrne.

The film functions handily as either a sequel or reboot and boldly announces the return of director George Miller, who conjured up the phantasmagorical world introduced in 1979’s “Mad Max” as only an Australian medical doctor turned film student could.

Miller was 69 during the making of “Fury Road” and his singular perspective comes to the screen undiminished, even enhanced. The movie is part environmental fable, part feminist fever dream and 150% high-octane action extravaganza.

“Fury Road” was intended to be realized a decade ago with Gibson reprising his role as dystopian cop Max Rockatansky. Middle Eastern wars, freak rains in the Australian desert and Gibson’s eventual public meltdown scuttled those plans, paving the way for Tom Hardy to inherit the Road Warrior’s extremely distressed leather jacket.

Hardy dons this mantle as comfortably as if he’d been born to play it. Miller introduces the always fascinating actor’s even wilder-eyed, more desperate, more silent Max on the run.

He never really stops running.

“Fury Road” is essentially one long, ingenious action sequence. In the film’s first hour alone, Max is pursued, captured, tattooed, caged and strapped to the front of a moving car as a human “blood bag” to an ailing “War Boy.”

And that’s before he meets Charlize Theron’s Furiosa, the bad-ass, bald driver of a massive custom truck, aka War Rig, belonging to Immortan Joe (Keays-Byrne) the theatrical, oxygen-mask-wearing dictator of Miller’s toxic wasteland.

Joe presides over The Citadel, pacifying the half-dead survivors who reluctantly serve as his subjects with the prospect of clean, cool, gushing water. He sends Furiosa on a mission to Gas Town to load up on the Earth’s second most critical remaining resource, but she has other ideas.

As she and Max are chased by Joe’s entourage, a freak-show caravan of Valhalla-obsessed, albino War Boys and jury-rigged junkyard cars that’s at once terrifying and hilarious (watch out for Electric Guitar Guy), they become unwitting allies in delivering the “treasures” hidden in the hold of Furiosa’s rig to a mythical paradise known as the “Green Place.”

Filmed in the eerily unspoiled deserts of Namibia, “Fury Road” feels remarkably real — tactile, scruffy, dirty — as surreal and strange as its world may be. Miller opted for physical props and old-fashioned, practical stunt work instead of computer-generated imagery. It’s a difference that sets the film above the sometimes soulless CGI of this summer’s blockbuster fare, movies like “Avengers: Age of Ultron,” “San Andreas” and “Jurassic World.”

The tribal-punk-rock-scrapyard-demolition derby aesthetic of “Fury Road” is amplified by the film’s minimalist dialogue. The audiences pieces together just what it needs to and infers the rest with an efficiency that imbues the movie with a primitive, streamlined power.

“Fury Road” is ferociously bleak and violent and, yet, it has these small, unexpected human moments that make it almost … lovely?

To say that Miller has done something groundbreaking with the sheer number of strong women included in its bizarre menagerie of characters isn’t an exaggeration. There’s not a useless damsel in distress to be found among the resourceful female fighters who occupy virtually every frame of the film.

Theron’s angry, hopeful Furiosa is an action heroine for the ages — psst, don’t tell anyone, but she’s more the star of the film than Max is — right up there with Ripley and Sarah Connor.

Miller, who conceived the story with comic book artist Brendan McCarthy and actor Nick Lathouris, clearly has serious issues on the brain: the environment, religious fanaticism, oil wars, poverty, the enslavement of women. And, yes, it’s true that playwright and feminist activist Eve Ensler consulted on the film.

If any of this makes “Fury Road” sound like a drag, don’t believe it for a minute.

Mostly, the movie is a mad, mad, mad, mad rush.

 

 

This Weekend, See ‘Maleficent,’ Skip ‘A Million Ways’

Maleficent
Two and a half stars (out of four)
Rating: PG (Fantasy action and violence, frightening images)
98 minutes

Angelina Jolie has always kinda scared me. Not because she used to wear vials of blood around her neck and sleep with knives under her pillow, but because she’s always been something of a goddess, so chilly and unapproachable. Maybe that’s why she’s perfect as the iconic villain of Disney’s “Maleficent,” a revisionist history of the studio’s own classic animated film “Sleeping Beauty.”

As a kid, the sorceress and her eerie, horned silhouette struck terror into my heart. Jolie melts into the stuff of my childhood nightmares so effortlessly, with cheekbones Marlene Dietrich would kill for and a purr that’s pure, silky evil. “Maleficent” is a surprisingly sympathetic take on the object of my youthful fears, putting a clever enough spin on the gorgeously animated 1959 “Sleeping Beauty” with a refreshingly feminist twist.

The movie imagines a colorful back story for the fairy tale’s famous baddie, envisioning her as the winged, nature-loving guardian of an enchanted forest whose betrayal at the hand’s of an ambitious lover drives her to cast that notorious narcoleptic curse upon an innocent princess. This alternate myth gives Jolie ample opportunity to display many facets of an intriguing character. Clad in leathery black, there’s something of the sexy dominatrix about her but she’s also vulnerable and funny and downright tragic with a magnificent sneer and a killer villain’s laugh.

Unlike co-stars Sharlto Copley, who plays the maniacally paranoid King Stephan, and Elle Fanning, as the simpering Aurora (apparently, it is too much to ask to have two interesting female characters in one movie), Jolie ingeniously underplays what could have been an unbearably hammy performance.

“Maleficent” is heavy on visual effects. It was directed by first-timer Robert Stromberg, a former VFX artist and supervisor. He’s populated the film with an ensemble of obnoxious CGI fairies and cutesy woodland critters. Not all of them are convincing, but Jolie is the only special effect this movie really needs.

A Million Ways to Die in the West

 A Million Ways to Die in the West
One and a half stars
Rating: R (strong crude and sexual content, language, violence and drug material)
116 minutes

There may be “A Million Ways to Die in the West,” but there are only a handful of jokes hilarious enough to send yer whiskey snortin’ out yer nose, pardner.

Writer-director Seth MacFarlane seems to be on to something by playing this Western parody mostly straight. As the title suggests, the film pokes fun at the often lethal living conditions of the 1800s frontier, but the concept proves limited. This ain’t no “Blazing Saddles.”

At first, the sight of villagers in the tiny Arizona outpost of Old Stump perishing in sudden and random ways — getting squashed by a block of ice or gored by a runaway bull —  is mighty amusing, but the well of laughs quickly runs dry. What’s left is a fairly predictable story about a misfit sheep farmer (played by MacFarlane) who befriends a like-minded, sharp-shootin’ cowgirl (a game Charlize Theron), only to run afoul of her outlaw husband (Liam Neeson).

The film’s gags are just as irreverent, raunchy and politically incorrect as you’d expect from the creator of “Family Guy” and “Ted” and the Oscar’s most controversial host. There’s a running joke involving the town virgin (Giovanni Ribisi) dating the town whore (Sarah Silverman) and Neil Patrick Harris does unspeakable things to a couple of dandy bowler hats, but there is a general dearth of laugh-out-loud moments. Even a moustache-themed dance number doesn’t feel nearly as clever or strange as it should.

There’s a reason MacFarlane doesn’t usually star in his own films. He’s just too smug to play the sarcastic but likable everyman. But the ubiquitous Harris is a hoot as his romantic rival, the preening proprietor of the local moustachery. There’s also a priceless joke that almost makes sitting through this overlong, underwritten comedy worthwhile, at least for “Back to the Future” fans.

 Photos by Disney, Lorey Sebastian