readx;?“ This is a wonderful commercial film, but it is not just a simple commercial movie, the huge and profound ideological core shines with wonderful human brilliance, and truly combines business and art perfectly. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 infoThis is perhaps the most outstanding commercial work of art since Titanic, and this is perhaps the most outstanding commercial work of art since 2001: A Space Odyssey. ”

Just as the New York Times is to East Coast media, the Los Angeles Times is also a leading figure in West Coast media, with influence large enough to cover the entire Pacific Rim region, even in the Hollywood film industry, comparable to professional and authoritative media such as "Variety" and "The Hollywood Reporter". Now, the Los Angeles Times' commentary for Fury Road is full of praise, which is unbelievable.

"Strello's works always have a delicate and real texture, outlining the emotions of the characters, and then slowly going deep into the essence of social life, and the reflection and precipitation after watching the film is the most essential part of the whole film. Color, light, composition and other elements have become the weapons of Strello's emotional expression, and deep psychological hints and abstract social metaphors are hidden in every corner of the shot, which is exerted to the extreme in 'Fury Road'.

From the design of each car, it fits the character and reality, like a piece of leaves to piece together the grandeur of the entire towering tree; to the construction of each scene, the red desert all over the sky, the vigorous collision and explosion, and the clear and translucent blue sky, like branches supporting the huge structure of the entire story; and then to the shaping of each character, opposition and cooperation, hatred and trust, hostility and friendship, like the roots of an intricate tree digging down the depths of the soul.

Strello takes the aesthetics of violence to a whole new level, and the collision of blue, red and black is more elegant and magnificent than court oil paintings; The confrontation between the iron sheet, the wind, the sandstorm and the body is more magnificent and graceful than the classical symphony; The mixture of blood, sweat and tears is more beautiful and moving than a sonnet. The violent confrontation of Chiguoguo is presented without embellishment or polish, raw and impulsive, rough and brutal, the fragility and indifference of life are interpreted to the extreme against the backdrop of the end of the wasteland, and the hearty visual effects detonate the adrenaline carnival, even crazier than the fireworks display on the Fourth of July.

But after the energy is cathartic, the inner reflection frenzy surges, extracting all the emotions in the body, and falling apart in an instant, giving people a glimpse of the cruelty, bloodshed and indifference in the last days, even in the dark ages when faith has collapsed, freedom and dreams have lost their meaning, and the desire for water and food has reduced human beings to animals, crawling forward in the midst of disasters by virtue of survival and ability.

The awakening of human nature, the yearning for freedom, the scorching of dreams, the revival of women's rights, and the support of faith are not only the last rays of the end of the wasteland, but also the last chance for human society.

Following the crime trilogy, Strello uses a post-apocalyptic world to construct a society where blood and sand dance together, answering the questions left over and preserving the spark of hope. The return of Max, the persistence of Ferroza, the awakening of Nax, and the heroism of Angarade, the four characters have joined forces to dedicate the most exciting, exciting, and eye-catching commercial blockbuster in the 21st century, and at the same time have joined forces to build the most profound, shocking, and ghostly artistic masterpieces in the 21st century. ”

The "Los Angeles Times" film review has set a footnote for the "road to rage" with "the perfect combination of business and art", and such a clear and unambiguous attitude is indeed impressive, not to mention, the perfect score that matches it is also a continuation of the attitude of other mainstream media.

Full marks, perfect. This seems to be the best interpretation of "Fury Road".

From the "Seattle Post" to the "San Francisco Chronicle" to the "Los Angeles Times", the most influential news media on the entire West Coast have maintained a unified opinion, which also means that all the suspense is over, even the West Coast forces are worshipping, and the praise frenzy of "Fury Road" has been unstoppable.

"Sin City" and "Hard Candy" are still vivid in the eyes of the two cult works, but "Fury Road" has completely broken the shackles of cult movies and created the craziest praise feast of cult movies since "Star Wars", does this mean that "Fury Road" also has the possibility of replicating the miracle of "Star Wars"?

This is still an unknown, only time will tell, and only the market can prove, this is not a feat that film critics can accomplish with the pen and the barrel. But what is certain is that film critics are more than willing to push for such a historical process, and the West Coast and East Coast media have reached an unprecedented consensus, and even "Variety" has temporarily shaken hands with "The Hollywood Reporter" and expressed the same opinion.

"Daring! Wild and uninhibited! Proud of talent!

This is Lancelot-Strello, the one-of-a-kind Lancelot-Strello. This young director, in the face of the world's condemnation, has created a 'berserk road', which is not only the weirdness and distortion of steampunk, nor the desolation and cruelty of the end of the wasteland, but also an epic of the rise of women! This courage alone is unrivaled in the whole of Hollywood.

Last year, Lee filmed a 'Brokeback Mountain' that frightened the whole of Hollywood, and to this day there are still people who refuse to watch this work, as if they are afraid that after watching it, they will become gay, or they will be brainwashed by homosexuals, and the panic that cannot be avoided in the face of the virus has become a joke.

This year, Strello filmed a 'berserk road' that shocked the whole of America and overwhelmed the masculinists. This is a film that makes people ignore gender, women are not vassals of men, and men are not the steps to promote women, everyone is equal and respects each other. But some people don't think so.

They can't stand a 'man' action movie where women shine, they can't stand a movie where 'the male protagonist doesn't kill the Quartet and overrides the heroine', and they can't stand a movie that 'the whole process is high-energy, the hero and heroine don't burst out of love, but the comrade-in-arms is so good to see that people explode'.

Perhaps, these 'racists' will gradually change after all, or maybe not, maybe 'Berserk Road' will still be like last year's 'Brokeback Mountain', once again miserably ignored, and another little-known work will take away all its light; maybe 'Berserk Road' will fail miserably at the box office, not only because the cult style is unacceptable to the world, but also unacceptable to most male audiences who are the main force of the summer season. However, Strello took this step, an unwavering step, showing a mind and vision that was far more progressive than the times.

This is reminiscent of the far-reaching crime trilogy.

It's unimaginable that a complete summer popcorn commercial work, a first-class, simple and crude visual blockbuster, has actually excavated such a connotation. It's a wasteland in the background, but hope, a hardcore action movie, and an independent woman who really holds up half the sky - what a powerful counterattack for filmmakers who think that squeezing a few sexual/sensual action actresses on the big screen can embody feminism.

Max, Ferrosa, and Nax, the three characters support the wasteland world conceived by Strello, and Angarad becomes the dark thread that connects the stories, and on the basis of George Miller, truly constitutes a complete worldview, and develops a vigorous vitality. This is 'Mad Max', this is not Mad Max, this is Strello's 'Fury Road'.

Lancelot-Strello, a director, an actor, a screenwriter, and a master. His work 'Fury Road' has truly pushed himself to the throne of a master. How fortunate we are to be one of the witnesses. ”

This is a review from Variety magazine, which focuses on the feminism that Hollywood films lack. Every practitioner in the film industry knows that this is "a man's, a man's, a man's world", from the academy's award tendencies for actors, actresses, supporting actors, and supporting women, to the difference between men and women with different pay, and then to the female vase of commercial films, all aspects of the entire industry reveal the essence of a patriarchal society that has been inherited for thousands of years.

Even in recent years, women's rights have begun to rise gradually, and there have been "Tomb Raider", "Catwoman", "Kill Bill", "Thunderbolt", "Magic Warrior", "Resident Evil", "Operation Smith" and other female-dominated fight movies, Angelina Jolie has become a representative of a new generation of female stars. But as Variety magazine and Roger Ebert put it, these works are all works that are dressed up as feminist and target the male market with the visual effect of sexual/sensual figures, and in the final analysis, these female characters are still a weapon used to please men.

However, "Fury Road" is completely different, it not only gives Ferrosa a complete personality, but also strips away gender differences, and truly puts Ferrosa and Max on the same level, and the two sides trust each other, help each other, and move forward together. This is the real breakthrough - equality, the slogan that has been shouted for more than half a century, but it is the first time that it has appeared on the big screen of a movie in a real and vivid way like never before.

This is definitely a milestone in film history, just like last year's "Brokeback Mountain".

Therefore, for the first time, "Variety" magazine also left behind the prejudices and differences between them and the "Hollywood Reporter", and conveyed the same ideas and identity.

Suddenly, people realized that all the mainstream media, all the authoritative media, and all the professional media unbelievably maintained a unity of opinion, which is unbelievable for a commercial film. (To be continued.) )