Ana Lily Amirpour’s debut as a feature director came in the form of the genre-bending vampire romance film A Girl Walks Home Alone at Night. The film, shot in supple black and white over a soundtrack of trance-inducing electronica and angsty punk, was a beautiful piece about maintaining relationships in an environment rife with isolation.
On paper, Amirpour’s second film The Bad Batch exists in a similar world. Arlen (Suki Waterhouse) is released from “Bad Batch” prison into the desert wilderness of the Texas-Mexico border.
A dystopian world in which cannibalism is a viable form of survivable (viable to the point of being morally questionable as opposed to morally intolerable), isolation is all Arlen has. Especially after she is captured by a family of cannibals and Continue reading The Bad Batch (2017) Movie Review
Seven years after an unknown “incident,” one man (Oriol Pia) lives in a world of isolation. Graffiti is quiet in this regard. Indeed, no words are spoken. The most we get out of Pia verbally is him howling in a call-response fashion with his dog.
Graffiti has a familiar feel to other post-apocalyptic stories, most overtly Continue reading Graffiti (2016) Short Film Review
“High Octane” is seen being forcibly tattooed onto the back of Max Rockatansky (Tom Hardy) in an early scene of Mad Max: Fury Road as part of his new label as a slave “blood bag.” The same tattoo may as well be stamped across the entire film. This fourth Mad Max installment is essentially a nonstop car chase across the post-apocalyptic desert wasteland. There is only a handful of chances to breathe, during the four or five fade-to-black ellipses, before we are thrust back into the merciless, saturated orange of the barren landscape.
Amid the onslaught of cars ripping other cars to shreds and drug-fueled white-painted grunts pitching themselves at other cars with explosive sticks, Continue reading Mad Max: Fury Road (2015) Movie Review