Can we stop pretending that this isn't a fucking masterpiece and admit that Miller is the one true kino master working...

Can we stop pretending that this isn't a fucking masterpiece and admit that Miller is the one true kino master working today, only rivaled by Malick?

No, fuck off.

Yes, stay here.

Should I watch it in BW or is that a meme?

Color first viewing.

BW if you wanna rewatch. I wish he had cut all dialogues too.

Really? I would have loved a radio version.

Too many hollywood cliches for it to actually be more than decent

>Can we stop pretending that this isn't a fucking masterpiece
sure

> admit that Miller is the one true kino master working today
i can admit that

> only rivaled by Malick
mfw

>BW if you wanna rewatch. I wish he had cut all dialogues too.

The movie works without any of the dialogue. And it's not just because the story is simple, that's not slight against the film. The film tells the story so well visually that you don't really need the sound.

My favorite scene is when Max drinks the water through his mask
Boy there are a lot of great little moments like what
What an excellent movie

Malick would kill himself if he knew what you are saying about him,

No he wouldn't. His favorite movie is Zoolander after all.

>His favorite movie is Zoolander after all.
Is that a rebuttal? Zoolander is better than anything Miller could dream of.

Whoever disagrees that this movie is one of the greatest action movies ever made desperately needs to watch more movies

Jesus christ

this

He also loves Smokin' Aces.

They may tell different stories or have different sensibilities (although debatable, Malick is a renowned lover of pleb comedies), but they share an obsession with making purely visual cinema, creating a purely cinematic grammar/language, ie kino, on a large-scale and with complete mastery.

Kino is pure audio-visual flow, kinetic: movement, film as music ie based around tempo, intuitive and sensitive visual storytelling, rather than filmed theater or possessing didactic pretenses

It goes back to the abstract nature of silent cinéma, genres may vary, it can be arthouse poetry like Malick, experimental autism like Brakhage, genre potboiler like Mann or even mass blockbuster like Miller

Other various examples: Buster Keaton, Robert Bresson, Andrei Tarkovsky, Sergio Leone, NW Refn, even JL Godard

Criticisms of kino you'll often hear is 'it didn't even have a script!' 'it didn't have a story!'

(Notice how you'll hear the same thing about both Fury Road or Knight of Cups coming from kino-illiterate plebs)

Hope that helps

>Jean-Luc Godard, I respect him a lot for how he sees things and approaches filmmaking... Some of the things in his films are admirable, however I cannot consider him a complete filmmaker. What he does isn't cinema. He uses cinema. It's like Ingmar Bergman, who uses cinema to create literature. Godard uses cinema to paint with music. (…) He is the filmmaker I feel the closest to today. Godard's work intersects with mine. We share a common trait. Everything we do relies on inherently cinematic writing. We only express ourselves through images and sounds.
- Sergio Leone

The only problem is that action movies are garbage.

It's an excellent music video. As a movie it's lacking in many departments.

>action movies are garbage

Cinema is a kinetic art. Action genre is, inherently, the most kinetic genre, as an action set piece is non-stop movement rather than literary dialogues. Therefore the most inherently cinematic. You don't understand the medium if you believe otherwise, or think about it in terms of style vs. substance or high-brow vs low-brow mindset.

If you wanna understand what kino is, read Bresson's essay on Le Cinématographe. He disliked typical patrician-core. Then in his older days, his little niece took him to the movies to see what the normal young people were watching. It was a James Bond movie, and he adored it. There was movement, a mix of images and sound that was unique to the medium and books or theater couldn't replicate. He thought he had finally witnessed was the cinematic ideal he had been pursuing his entire life.

>[on "For Your Eyes Only"] Robert Bresson admired the film. "It filled me with wonder because of its cinematographic writing ... if I could have seen it twice in a row and again the next day, I would have done."[71][72]

Action cinema is really the closest thing we have to genuine patrician cinema these days, as it displays pure kinetism, pure cinematic form. Armond is one of the few critics today who understands this.

Other similar examples include:
Tarkovsky praising James Cameron's Terminator
Bergman praising John McTiernan's Die Hard (McTiernan then giving him a nod in Last Action Hero)
etc etc.

>[About potential Mad Max spin-off kinos]: It would be wonderful if it was someone like Guillermo [del Toro] or someone like that it would be fantastic. There are several. I would say there are three, but I won’t say who they are. I keep talking about this being visual music, you need someone very, very strong on film language and syntax. It’s not just lumping a whole lot of action together without any coherence.”
- G. Miller