Zoolander 2: Mini-review


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Ben Stiller

Ben Stiller looking far less ridiculous than he does in Zoolander 2

D+Sometimes, movie sequels are worth the wait. George Miller spent nearly 30 years developing Mad Max: Fury Road, and the result was one of the best films of 2015. And sometimes they aren’t. Ben Stiller waited 15 years after the original to make Zoolander 2, and the result is one of the worst films of 2016.

Zoolander was a satire on the fashion industry and, specifically, handsome but empty-headed male models like Derek Zoolander (Stiller) and his arch-rival Hansel (Owen Wilson). The sequel pretty much goes over the same ground, with the now over-the-hill Derek and Hansel teaming up with Interpol agent Valentina Valencia (Penelope Cruz) to investigate the assassinations of various celebrities, including Justin Bieber. Eventually, the trail leads to the villainous fashion designer from the original film, Mugatu (Will Ferrell).  

Stiller’s social satire was already on the way out in 2001, and it’s completely passé now, as nobody really cares all that much about high fashion in a social media world in which a single viral video can turn anyone into a trendsetter. Nor has Stiller found any suitable replacement targets for his barbs. Indeed, the opening segment, which pokes fun at Bieber and the selfie phenomenon, is about the only thing remotely resembling cutting edge satire in Zoolander 2. Lacking any good new material, Stiller doubles down on the idiocy humor, outlandish outfits, and celebrity cameos that occasionally worked in the original movie. However, he repeats the same jokes numerous times to increasingly lesser effect. He also adds a new character in Zoolander 2, Derek’s overweight, tweener son (Cyrus Arnold). This character allows Stiller both to insert tasteless, unfunny fat jokes into the script and, at the same time, hypocritically feign a theme of tolerance. Occasionally, the new material is funny, most notably in Kristen Wiig‘s hilarious performance as a designer who mangles the English language worse than she mangles fashion. Far more often, it isn’t, such as Benedict Cumberbatch‘s bizarre androgynous model named All. In a movie that glorifies stupidity, the single dumbest thing about Zoolander 2 was the decision to make the film in the first place.    
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Mad Max Fury Road: Mini-Review


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Charlize Theron

This ultra-glamorous Charlize Theron does not appear in Mad Max Fury Road

A-Let’s cut to the chase here. Mad Max: Fury Road is the best action film in years, one that is destined to show up on all-time lists of such movies. Further, with this film on top of his original Mad Max trilogy, director George Miller cements his reputation as one of the best action directors of all time. Still further, Charlize Theron‘s Imperator Furiosa is second only to Sigourney Weaver‘s Ripley from the Alien movies as the best action heroine of all time.

Given more than 30 years since the original Mad Max trilogy to fine tune his vision of a post-apocalyptic dystopian future, Miller has created a barren desert world in Fury Road in which water, not oil, is the key to power. Immortan Joe (Hugh Keays-Bourne) controls a vast amount of water at a rocky outcrop called the Citadel and has become a demigod to his followers, most notably a host of hopped up War Boys, including Nux (Nicholas Hoult). Furiosa kidnaps Joe’s prized “possession,” his breeder women, and absconds with them in a heavily armored tanker truck. She soon teams up with Max (Tom Hardy), who has himself escaped from Joe’s clutches, to try to stay one step ahead of Joe’s pursuing armada.

Fury Road has a deceptively simple plot, with the bulk of the movie consisting of several intricately designed and incredibly exciting set pieces. The 30-minute finale is a worthy successor to the climactic set piece in Miller’s earlier The Road Warrior. This time around, however, Miller has the benefit of a vastly increased budget and much improved technology. Miller uses that technology sparingly, however, preferring actual stunt work over CGI and traditional cinematography and deliberate editing that lets viewers understand exactly what’s happening. The production design is also amazingly creative, with vehicles seemingly cobbled together from spare parts that prove to be remarkably versatile in the nonstop combat in which they are engaged. Miller isn’t known for character development, but the main characters here are surprisingly well drawn in one or two scenes. Tom Hardy’s Mad Max has few lines but Miller establishes the character’s emotional baggage through brief flashback moments. Charlize Theron displays her emotions more openly and movingly at times; the movie is really about her quest for redemption. Fury Road winds up being neither a true remake of nor a sequel to any of the original Mad Max movies. Instead, it is an expansion of George Miller’s vision and the art of action film making to a truly exceptional level.
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