This is Kinemalogue, the cinema blog (it's Greek so that means I'm educated in all the wrong ways). We will almost certainly discuss things other than movies, from time to time, because there's a lot of things I love and hate that aren't movies and which I will compulsively shout into this vast emptiness about. But we'll grok that fullness when we come to it. The primary mission for now is to share thoughts on new, old, and very old movies.
In commemoration of their combined release on Blu Ray, over this troika of virgin posts, I'm gonna tell you what I thought about one of film's most celebrated post-apocalypses, from its humble Ozsploitation beginnings in 1979, through its 1981 breakout into the mainstream and what Roger Ebert (pbuh) infamously declared one of the best movies of 1985, to my hopes for the Mad Maxes to come.
Oh, and: welcome home. We love you.
Directed by George Miller
Written by George Miller, James
McCausland, and Byron Kennedy
With Mel Gibson (Max Rockatansky),
Joanne Samuel (Jessie Rockatansky), Steve Bisley (Jim Goose), Hugh
Standing tall amongst the classic films
of our childhoods—or adulthoods, or pre-existences, or post-existences, if you can still get Netflix service at the Omega Point—in any event
classic films of the late 70s and early 80s—Mad Max has the
distinction of being the movie I think I’d most like to see get
remade; because despite its enormous importance to its own franchise, to the genre of badass 80s action cinema, and indeed to the culture as a whole (see how Mad Max taught us not to descend into biker barbarism?), it also has the distinction
of being only marginally good.
Rest assured, gentle reader, I do not
dislike this first outing in Max’ trilogy, and am not unsympathetic to the fact that it is director George Miller's debut effort. However, to see Max for the
first time in perhaps two decades, after dozens of viewings of Road Warrior and Thunderdome, is almost necessarily to be unimpressed by it.
"Can't we just get beyond