Favourites of 2015: Star Wars: The Force Awakens

Some of my earliest cinema-going memories are of the re-releases of The Empire Strikes Back and Return of the Jedi. Funnily enough I can’t actually remember seeing A New Hope until it’s VHS release. I collected the action figures, the posters, even the Darth Vader drink cups, which all still remain up in the storage attic. Lightsaber duels with my brother, and pretending my bicycle was an X-Wing, it’s fair to say that Star Wars was an important part of my childhood. But I also share the customary disappointment towards the prequel trilogy. As a result, the notion of another series of squandered potential in the hands of creator George Lucas was understandably disheartening. Yet the news of J. J. Abrams sitting in the director’s chair after the successful reboot of Star Trek put some of those fears to rest. 

The Force Awakens doesn’t stray too far from the tried and tested elements of its predecessors, yet manages to construct new foundations and offer enough intrigue to establish itself as the beginning of a new trilogy. Daisy Ridley and John Boyega’s entrance into the Star Wars Universe offers a new lease of life and perspective. A determined scavenger with a mysterious past, and a reformed Storm Trooper allows for a compelling set of characters with an engaging chemistry. Meanwhile Adam Driver’s menacing Kylo Ren, Domhnall Gleeson’s General Hux and Andy Serkis’ Supreme Leader Snoke leave a strong impression that gives glimpses into the true state of the “Dark Side”, even if it’s first oughting ends in a predictable loss. The return of the franchise’s classic characters; Han Solo, Leia Organa and Chewbacca carefully and respectfully pass the torch to the charismatic youth that hope to ascend to similar stature. 

Star Wars: The Force Awakens was a welcome and satisfying end to a rather disappointing year in cinema over here in Japan. From the iconic text crawl accompanied by John Williams’ score, to the sounds of Tie Fighter blaster cannons, J. J. Abrams has recreated some of the magic and spirit that has made the Star Wars Universe so endearing and iconic. And while questions still remain to be answered, I can’t argue that the film left me with a smile. 

Mad Max: Fury Road Review

I’ve always admired the Mad Max franchise’s depiction of a post-apocalyptic wasteland filled with ferocity, savagery and the roar of rusty engines. V8-powered, bolted together vehicles churning fire and oxidised steel on a horizon of hell is a welcome contrast to the grayscale and zombie-ridden surroundings the “post-apocalypse” genre has been saturated with. Yet as a story of “The Road Warrior’s” revenge, redemption and survival, the series hasn't had the same impact as its visuals and sound. George Miller’s recent career has been one filled with dancing penguins and little of anything resembling action cinema. Yet for a director who’s been 30 years absent from the franchise, Mad Max: Fury Road is arguably the best in the entire series. 

Essentially a two hour vehicular chase, Max is caught up in Imperator Furiosa’s break for freedom 

while being chased by Immortan Joe’s convoy of adrenaline-fuelled madness. The theme of survival is encapsulated in nearly every facet of the film’s world; the citizens of the Citadel are ruthlessly held under Joe’s clenched grip over the water supply. Joe himself needs to continue his line through his breeding girls. Furiosa’s attempt to escape the horrors of her current situation and Max’s sheer perseverance to endure. There’s little doubt that Fury Road focuses its attention on the action and visuals, which leads to the film suffering from a lack of depth towards the end. Yet for a script that’s light on substance, the likes of Charlize Theron and Tom Hardy offer a compelling team as the wreckage ensues. The brief moments of respite offer enough character to maintain their mysticism whilst giving them some semblance of humanity and empathy. Theron’s Furiosa takes centre stage in a commanding, yet fragile performance that steals the show from Max. Tom Hardy is suitable gruff and cynical under the unfortunate circumstances he finds himself in. There’s a flashy yet vain attempt to “re-address” his tragic backstory and psyche, but he shares the characteristics of a protagonist from the spaghetti western formula; weathered and mumbling. It’s entertaining, but a few more lines of dialogue wouldn’t have hurt him or the film. The supporting cast, especially Nicholas Hoult, does a similarly fine job.

While light on story and dialogue, the barebones nature offers a solid foundation for which the visuals and sound design flourish. The world of Mad Max is one of “fire and blood” and “madness” as our protagonist says in the opening monologue, and while the harshness and hostility of the environment and its inhabitants is clearly evident, the film is visually stylish and repeatedly stunning to watch. For an apocalyptic wasteland comprised of deserts and rocky outcrops, Miller injects a swell of colours and tones; yellows, oranges, and blues that add variation and vibrancy. The warped realities of society and humanity shown within the set and production design, help craft the treacherous surroundings and its characters. The symbolism of Valhalla, the War Boys’ chanting V8 in front of an podium of steering wheels, and the harvesting of “mother’s milk” add a twisted richness to film’s design. These small details further the construction and theorising of these personalities and locations which has been a staple of the franchise’s style. The careful use of CGI and Miller’s desire to champion practical effects really adds to the sheer savage and hard-hitting nature to the film. Vehicles twist and buckle under the weight of collisions and debris litters the pristine sand dunes. Everything has force and an incredible amount of speed. Meanwhile Junkie XL’s thunderous soundtrack of pounding drums, vigorous guitar strumming and sharp shifts in tone reinforce the crazed fury that’s being depicted on screen.

Mad Max: Fury Road is another fine example of action cinema that doesn’t require an over-zealous  and contrived screenplay to remain engrossing and thoroughly entertaining. A simple narrative, interesting characters, incredible production design and thrilling stunt choreography turn the two hour runtime into a beautiful and unhinged storm of destruction and lunacy. It’s lovely.

8/10