Though Romero’s larger budget allows him a generous number of establishing shots showing the extent of the zombie plague, he sets the majority of the action in a shopping mall. George Romero’s sequel to his seminal no-budget indie Night of the Living Dead (1968) expands the scope of the zombie apocalypse from the original’s remote farmhouse to the greater United States. Pixar movies are aimed at mall America, but how many of the kids in 21st century have grown up on canopied streets behind white picket fences? It’s one thing for the toys to be from the 1950s, but the movie’s race, class, and gender values seem stuck there as well. It somewhat mitigates its major flaw, which is that it doesn’t even try to reflect the diversity of its audience. The hellscape serves as a much-needed counterpoint to the plastic sheen of suburbia that encases this series. His callous treatment reaches a frightening climax when he sends Woody and friends hurtling into a molten garbage smelter. Abandonment trauma has twisted Lotso into a brutal authoritarian who rules the toys at the daycare center with an iron fist.
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But the core of this film is the tragedy of Lotso Huggin’ Bear (Ned Beatty). This deftly-written, inventive sequel finds our favorite Pixar toys, including Woody (Tom Hanks) and Buzz Lightyear (Tim Allen), mistakenly donated to a daycare center when their long-time owner, Andy, leaves for college. Perhaps they missed the part in Return of the Jedi (1983) when Luke throws down his sword and chooses to be LITERALLY ELECTROCUTED TO DEATH rather than kill Darth Vader.Īll three of the Toy Story follow-ups arguably rank among the best sequel movies ever. Much of the rancor (no pun intended) directed at this movie derives from some fans’ belief that Luke Skywalker’s nonviolent stance in the film somehow doesn’t match his heroic characterization in the original trilogy.
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Even so, that duel – steeped in inky blacks and blood reds – is epic, and gives Rey (Daisy Ridley) and Kylo Ren (Adam Driver) their most thrilling moment of the sequel trilogy. The throne room fight and the climax owe a little too much to Return of the Jedi (1983) and The Empire Strikes Back (1980) respectively. Rian Johnson's movie, conversely, does everything it can to be original within its corporate constraints. Have you noticed that deafening silence online? It’s the sound of Last Jedi haters who know they can’t defend the abysmal The Rise of Skywalker (2019), which will go down as one of the most derivative (and possibly worst) movie sequels ever made. It also ranks pretty high on our best 007 movies.
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By the end, Silva and the female field agents are either dead or back behind desks, while the movie favorably compares Bond to a British bulldog, as though post-colonialism was never a thing.īut whatever you think of the movie’s politics, it is vigorous entertainment and top-flight professional filmmaking, featuring a Best Original Song winner by Adele one of Bond’s best villains in Silva and the most ravishing cinematography by Roger Deakins you are likely to ever see in a spy film. Meanwhile, effeminate poseurs like the villain Silva (Javier Bardem) - overly in thrall to digital technology - embody the new. Here, the aging Bond and M represent the old ways - brawny men taking charge and protecting the homeland. Skyfallwas canny enough to recognize that the core of the Daniel Craig Bond films (sequelized, as opposed to just serialized as former Bond movies were) lie in the relationship between Bond and M (Judi Dench) - a mother figure to Bond’s orphan. It also captures the punk aesthetic at a time when it stood for working class indignation and not just the sale bin at Hot Topic. Released during a terrifying era of the Cold War, The Road Warrior (1982) remains a powerful evocation of the global fear of nuclear armageddon.
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But the final chase with Max driving the tanker is one of the great movie sequences - a ballet of kinetic action that channels Buster Keaton’s The General (1926), and climaxes with a sensational twist that reveals the depth of Max’s sacrifice.
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When a band of savage punks (in the literal sense: they sport mohawks and leather bondage gear) terrorize a peaceful community for their dwindling fuel reserves, the loner Max (pre-superstar Mel Gibson) helps the community escape by luring the punks away with a gas tanker. After the first Mad Max (1979) - made for pennies - was an unexpected international success, director George Miller let his freak flag fly in this sequel, which renders even more bleak and weird the post-apocalyptic future from the original.