Note: There aren’t exactly twists or anything to spoil in FURIOSA, but this is all spoilers. You really should see the movie first. This review is the discussion afterwards.
There are over one million things I’ve always loved about the MAD MAX movies, and one of them is that they’re separate tales. There’s no continuity, no narrative references to or consequences from a previous chapter, and other than Max Rockatansky and his Last of the V8 Interceptors there’s never been a returning character, location or faction. They don’t necessarily take place in any order, and they’re so separate that some people think Tom Hardy’s Max is a different character from Mel Gibson’s. I’ve always thought of them as more like the Man With No Name trilogy than, say, STAR WARS.
But FURIOSA: A MAD MAX SAGA isn’t a MAD MAX movie. Says it right there in the title – it’s a saga. And we knew it was the backstory of Furiosa, written in conjunction with MAD MAX: FURY ROAD, shown to Charlize Theron to help her performance, at one point supposedly considered to be shot back-to-back, at another to be done as an anime movie directed by Mahiro Maeda (director of the Second Renaissance episodes of THE ANIMATRIX and animator on NAUSICAA and KILL BILL VOL. 1). So FURIOSA is a traditional prequel in the sense that it depicts an earlier stage of the specific world and characters of FURY ROAD. (read the rest of this shit…)
For those who currently do or want to start patronizing me on the ol’ Patreon, I have posted my review of THE PRIMEVALS, Full Moon’s Yeti vs. lizard men movie that was the passion project of their top stop motion animator David Allen, first pitched in the late ’60s, filmed in 1994, and thought dormant when he died without quite finishing it in 1999. Now it’s been miraculously unfrozen and coming to VOD soon.
May 25, 1994
The trailer for Luca Guadagnino’s CHALLENGERS looked kinda like a 2020s version of a 
I am a human, but I love those apes and that planet they got. I really have enjoyed the entire PLANET OF THE APES series except for 
On May 13, 1994, Johnny Carson was on Late Show with David Letterman, his final televised appearance. Times were rolling on, guards were changing. That same day Miramax, an indie studio recently purchased by Disney, had their biggest opening ever with a bitter R-rated comic book adaptation. While boomers were preparing to commemorate the 25th anniversary of Woodstock, here was a movie with a soundtrack full of Lollapalooza bands, their names underlined on the poster, above a 1-900 number you could call “for music CD preview.” That particular demographic hadn’t really been cinematically catered to so directly, and they showed up, as did others. It was even well reviewed by critics, who were unlikely to be comic book nerds or Nine Inch Nails fans in those days.
THE LAST STOP IN YUMA COUNTY is a new indie crime movie from rookie writer/director Francis Galluppi. I’d seen some good reviews, the trailer looked intriguing and I read that Sam Raimi saw it and hired Galluppi for an 
