Directed by George Miller

People are going crazy over this film and it’s not hard to see why: in a blockbuster-filled climate, over-saturated with CGI and family-friendly values, Fury Road is unabashedly unapologetic with what it wants to be. Loud, brash and bordering on insane, Fury Road is the popcorn-munching movie equivalent of presidential candidate Donald Trump (perhaps that’s quite a leap). Tom Hardy and Charlize Theron work their acting chops to bring some level of pathos to the screen, but some other casting choices ended up as severely distracting, and actually quite grating to hear at times. Is the film attempting to criticise misogyny, or misogynist itself? It’s debatable, but casting Rosie Huntington-Whitely as a mute damsel-in-distress personally brought back some harrowing Michael Bay flashbacks. At the end of the day however, Fury Road is still a non-stop adrenaline rush that is honestly quite rare these days, so maybe I’m being too harsh. After all, some people love Donald Trump.



Directed by Michael R. Roskam

Tom Hardy and James Gandolfini in a film together is a recurring wet dream of mine, and in The Drop it finally came true. This is an actor’s film: the beauty of it lies in the physicality of the actors and how they could be thinking and acting contradictorily at almost every turn. The film doesn’t have quite the climax one would hope for, but watching these actors work is worth price of admission alone.



Directed by Steven Knight

I admire the bravery of the filmmakers, shooting the entire film within the confines of a moving car: low-budget filmmaking is still alive. Tom Hardy convincingly plays a man torn between his own morals, learning the hard way that you can never please everybody. Ultimately, it was a bit difficult to relate to Locke as the film went on, other than having that feeling of, “Damn, I’d really hate to be in his position.” A clever film, but one that just falls a bit shy of becoming a fully engaging experience.