Tag Archives: Charlize Theron

2026 Films, Action, Adventure, Blockbuster, Epic, Fantasy

The Odyssey-2026

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The Odyssey-2026

Director Christopher Nolan

Starring Matt Damon

Scott’s Review #1,542

Reviewed July 23, 2026

Grade: A

Christopher Nolan’s film The Odyssey (2026) is a breathtaking spectacle that feels cinematically invigorating and inspired.

It’s movie magic at its finest.

Fortunate to see this film in an enormous IMAX theater, it’s the perfect and recommended way to see a film of this scale. A crowded and energetic audience is also suggested to connect with the overall moviegoing experience.

My hat goes off to Nolan, who has gotten asses back into empty theater seats in recent years where they belong.

It was thanks to his 2023 film Oppenheimer, which won Best Picture, that cinema became a mandatory part of moviegoing enjoyment again, along with the progressive Barbie (2023).

In the story, Odysseus (Matt Damon), king of Ithaca, embarks on a perilous journey to return home after the Trojan War, after many years away from his land and loved ones.

Crossing the Mediterranean Sea with his fellow soldiers, they soon find themselves battling not only the elements but an array of deadly obstacles and mythical creatures that await the men along the way.

In clever and intriguing form, the story traverses a few different timelines.

It is told in non-linear fashion, from early romantic sequences between Odysseus and his wife, Penelope (Anne Hathaway), to the backstory of his son, Telemachus (Tom Holland), and nemesis, Antinous (Robert Pattinson).

We immediately learn that Odysseus has been away for years, but what happens during those years is mysterious and aching to be slowly unraveled.

Other characters like Menelaus (Jon Bernthal), Helen of Troy/ Clytemnestra (Lupita Nyong’o), Athena (Zendaya), Circe (Samantha Morton), Calypso (Charlize Theron), various nymphs, and others are featured as Odysseus and Telemachus’ stories are explored.

Additionally, lands and worlds like Hades, a distinct realm where individuals go after death, and Aeaea, an island inhabited by the villainous Circe, are featured.

Having some knowledge of Greek Mythology is extremely helpful, as it can be quite difficult to keep track of who everyone is and how their history is part of Odysseus’s.

My two favorite sequences are when Odysseus’s men desperately land on Aeaea, fraught with severe hunger. Circe, who seems motherly and kind, delights in preparing steamy stew and other delicious food for them.

As they greedily chow down, they begin to cough and choke, turning into pigs. Circe turns wicked, vowing revenge on the men for an apparent attack on her sister years earlier.

The final thirty minutes of The Odyssey features a grandiose and daring fight sequence after Penelope declares she will marry whoever can string Odysseus’s bow and shoot an arrow through a row of axe heads.

The suitors all fail, but Odysseus succeeds and reveals his identity to her, culminating in a reunion. The hall erupts in battle, Odysseus slaying the challenging suitors.

The sequence features thunderous sound effects that, to me, sounded like footsteps running along a jogging path increasing in their intensity and momentum as the fight turns darker and bloodier.

Way back to the films The Dark Knight (2008) and Inception (2010), directed by Nolan, I vividly recall being enamored with those similar sound scores.

To say that The Odyssey is a spectacle is an understatement.

It proves with technical precision and grandeur that there’s no filmmaker quite like Nolan to reignite an ancient adventure and that there’s no limit to magnificence and perfection in cinema.

Lush seas, gritty battles, and mythical creatures abound in this opus.

Still, the film also has quality acting and a bit of heart too, so the story is never overwhelmed by the technical stuff, which is always a fear in blockbusters of this nature.

Damon, Hathaway, Holland, and Pattinson get top acting praise from me.

Terrific chemistry exists between Damon and Hathaway, specifically, making their passionate and dedicated love story remarkably believable.

I’ve heard complaints about the film being too ‘woke’, a derogatory term tinged with racism and homophobia. Nolan wisely makes the film inclusive, featuring a trans actor (Page) and several black and brown actors.

The Odyssey (2026) offers action, adventure, battles, and all the other trimmings expected from an epic action film shrouded in fantasy and magic.

But on an entirely different level.

It also offers tenderness, humanity, connection, and heart that exceed expectations all around.

2003 Films, Biography, Crime Drama, Drama, LGBTQ+ Drama, LGBTQ+ Films, Serial Killers, Top 250 Films

Monster-2003

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Monster-2003

Director Patty Jenkins

Starring Charlize Theron, Christina Ricci

Top 250 Films #174

Scott’s Review #347

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Reviewed January 9, 2016

Grade: A

Monster (2003) may feature one of the best acting performances of all time-Charlize Theron simply embodies the role of the notorious female serial killer, Aileen Wuornos, in a simply astounding triumph.

The mannerisms, the anger, and the charisma that Theron portrays are nothing short of brilliance.

This brazen acting is simply the best aspect of Monster and the main reason to witness the film.

Besides, the film itself is great.

The film immediately focuses on Theron- we meet the down-on-her-luck prostitute sitting in tatters underneath an overpass.

Suicidal and with five dollars to her name, she goes to a dive bar for one last beer. Having blown five dollars, she reasons that the money will go to waste if she does not spend it.

Her older confidante is Thomas, a grizzled man assumed to be an occasional client of hers, played by Bruce Dern. She goes to a gay bar and meets Selby Wall (Christina Ricci), a lesbian.

Aileen insists she is not gay but winds up spending the night with her in Selby’s family home. The two form a connection and bond immediately, spending more time together and becoming immersed in each other’s lives.

When Aileen is brutally raped and beaten by a client, she begins down a dark and murderous path, killing men she meets after she steals their money.

Selby eventually catches on to this and is conflicted over whether to turn her friend in or serve as an accomplice to her crimes as the police close in on the pair.

Enough cannot be said of Theron’s performance. She becomes Wournos- from her walk to her infamous manic mannerisms, and her hair flip.

Theron, a gorgeous woman, gained weight, used false teeth, and became simply unrecognizable in the role of a brutal, angry, and trashy-looking woman.

Ricci also deserves praise, but plays her role as a bit clueless or dimwitted, counterbalancing Theron’s manic, in-your-face role.

It works well. Both characters long for love and companionship and are misfits.

In a sweet scene, the pair go roller skating together, hand in hand, to the famous rock song, “Don’t Stop Believin”.

This is a great scene.

One can argue that the director, Patty Jenkins, softens the way that Wournos is written. Known as a hardened, mean woman, Jenkins writes her as much more sympathetic.

This can also be attributed to the fact that Theron emits some vulnerability to the character- the woman never knew love until she met and bonded with Selby.

Needless to say, Monster (2003) is a dynamic, energetic film, thanks in large part to the powerful performance of Charlize Theron- a role that awarded her the Best Actress Academy Award.

Oscar Nominations: 1 win-Best Actress-Charlize Theron (won)

Independent Spirit Award Nominations: 2 wins-Best First Feature (won), Best Female Lead-Charlize Theron (won), Best First Screenplay

2011 Films, Comedy, Dark Comedy, Independent, Independent Comedy

Young Adult-2011

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Young Adult-2011

Director Jason Reitman 

Starring Charlize Theron

Scott’s Review #1,267

Reviewed June 17, 2022

Grade: A-

I am a big fan of Jason Reitman films.

Though classified as comedies, they lack the qualities I most dislike in many mainstream comedies: slapstick, formulaic gag setups, and potty jokes that feel completely staged and redundant.

Instead, he weaves wry, sardonic humor, cynicism, and intelligence into his films, enhancing the writing and clarifying the characters’ motivations.

Most of his characters are damaged and unhappy, suffering from inner conflict or instability, but the result is witty humor that gives laughs to those who can think outside the box and immerse themselves in the characters’ heads.

Thanks to a brilliant screenplay by Diablo Cody, a female character’s thoughts and conflicts take center stage.

Reitman’s best films include Juno (2007), Up in the Air (2009), and Young Adult (2011), which are right up there with the others, with a darker tone than Juno.

Along with Reitman and Cody is a terrific performance by Charlize Theron, who rightfully should have received an Oscar nomination. That is tough to do in a comedy, and she settled for a Golden Globe nomination instead.

The movie poster for Young Adult reveals a lot about her character. With an annoyed, flabbergasted look and pajamas, she immediately gives off the vibe of being slovenly, fed up, and looking for a fight.

Theron is great at playing take-no-prisoners, tough characters with a bit of edge and a no-bullshit attitude.

Mavis Gary (Theron) is a successful but frustrated teen-lit writer who realizes her high school sweetheart, Buddy Slade (Patrick Wilson), has just become a father with his wife, Beth (Elizabeth Reaser).

Mavis decides to return to her small hometown and cause trouble.

She feels her life is slipping away, and she’d love to steal Buddy away from Beth and ride off into the sunset for presumed happiness. She also knows that life usually doesn’t work this way.

Mavis forms an unusual bond with a former classmate, Matt (Patton Oswalt), who has also struggled to move past high school.

The two connect in the unlikeliest of ways since they didn’t exactly travel in the same circles during high school. Matt has his own powerful story since he was gay-bashed, causing him to be permanently disabled.

Matt and Mavis are both relatable characters to most of the audience. Who hasn’t ruminated over their past life in high school? For some, high school is a glorious time filled with memories of pep rallies, parties, and graduation.

For others, the mere thought conjures up memories of insecurity, moodiness, and awkward experiences. Most people have some of both.

Mavis, Matt, and Buddy each close out their high school chapters in different ways, so the fun is seeing each character’s feelings surface amid conflict. Matt and Mavis turn to all-night drinking binges to ease their pain.

The best scene showcasing Mavis’s anger and Theron’s exceptional acting occurs at an outdoor party celebrating the naming of Buddy’s daughter.

As the entire town is gathered on the front lawn, Beth spills punch on Mavis’s dress, causing Mavis to fly into a rage, insulting Beth, and finally confessing that she was once pregnant with Buddy’s child but had a miscarriage.

The hateful Mavis, the hurt Beth, and the embarrassment of the townspeople are on full display. The scene is wonderful and shows how the events connect to the rest of the story.

Reitman brings complexity to his characters in Young Adult (2011) and proves that dark comedy, especially character-driven, provides emotional power amid the laughs.

I love that the ending is ambiguous rather than wrapped up in a nice bow like too many comedies.

Thanks to wonderful acting, insightful writing, and wise direction, the film is well-remembered and undoubtedly a source of inspiration for upcoming comedy writers and directors.

2019 Films, Biography, Drama

Bombshell-2019

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Bombshell-2019

Director Jay Roach

Starring Charlize Theron, Margot Robbie, Nicole Kidman

Scott’s Review #972

Reviewed December 26, 2019

Grade: B+

Bombshell (2019) is the type of film that, depending on your political affiliation, you will either refuse to see or see and have a love/hate reaction to.

As a non-lover of the “news” network Fox News, I am firmly ensconced in the latter camp, so my opinion of the film is mixed.

The importance of releasing the film during a time of political turmoil in 2019 is crucial and intentional, which is why I commend the film.

Still, the subject matter of sexual harassment against women is complex to watch and a sobering reminder that this behavior continues to occur.

The performances of the principal players — Charlize Theron, Nicole Kidman, Margot Robbie, Kate McKinnon, and John Lithgow — are outstanding and key to the film’s success. Theron and Lithgow receive the lion’s share of makeup and prosthetic work, making them look identical to their real-life counterparts.

Beneficial is a myriad of Fox News political figure portrayals (Sean Hannity, Jeanine Pirro, and Bill O’Reilly) with frighteningly good accuracy, creating a surreal effect.

The film centers on female Fox News personnel in Manhattan and their sexual harassment allegations against founder Roger Ailes (Lithgow).

The central figure- Megyn Kelly (Theron) is conflicted over the risks to both her career and her financial stability if she comes forward and admits her harassment by Ailes years ago, after Gretchen Carlson sues the network.

Margot Robbie plays Kayla, a young Fox employee whom Ailes also harasses.

McKinnon plays a closeted lesbian and confidante to Kayla, who works for the network despite being liberal and a massive admirer of Hillary Clinton.

The plot is fast-paced and unfolds like a quick page-turner, with some sections narrated by Kelly. Bombshell feels timely and has a distinct “ripped from the headlines” makeup.

The fact that the real-life events occurred as recently as 2016 is a striking aspect that will captivate the viewer, especially those who follow United States politics or current events.

The story is fresh and vibrant, with a sense of familiarity, rather than a tale from an event decades ago that many viewers have forgotten or were too young to remember.

I had difficulty feeling much sympathy for most of the characters, which detracts from the film’s overall impact.

The standard definition that the term “Fox News” usually conjures is one of male chauvinism and the good old boys club, with old-fashioned machismo ruling the roost.

Why would any woman choose to work for them or align themselves with the Conservative party, which is not a fan of women or women’s rights?

With this fact in mind, it was difficult for me to watch the film.

To build on this, CEO Roger Ailes is written as the clear villain with no redeeming value. During one scene, he salivates over Kayla when she visits him in his office and instructs her to lift her skirt higher and twirl for him. The scene is sickening, and we feel Kayla’s embarrassment and humiliation.

In a cheer-out-loud moment at the end of the film, she quits, unable to remain in such a corrupt corporation.

One of the only likable characters is Jess Carr (McKinnon), probably fictitious. Hardly fitting the mold of the female staff, not perky or showing leg, she goes out for drinks with Kayla and admits to being gay; the two end up having a one-night stand.

The character is unique, and McKinnon makes wise acting choices.

Worth mentioning is Ailes’s long-time secretary Faye (Holland Taylor). Surely, she knows the antics that go on in her boss’s office, but she almost serves as an accomplice. Why?

Sad to realize that, as recently as 2016, women were still having to face discrimination in the workplace. Industries with powerful men still can be toxic and poisonous to women attempting to climb the ranks.

If the women harassed at Fox News were not top anchors, there is no way the accusations would have even been heard. What about the receptionists, cleaning staff, or administrators who are harassed?

Would anyone listen to them? This message crossed my mind while watching Bombshell.

With fantastic acting and incredible makeup, time will tell if Bombshell (2019) remains a relevant film. Leaving the viewer with an unsatisfying ending rather than a hopeful one, it isn’t easy to sympathize with most of the characters, even when they are supposed to be sympathetic.

Bombshell would make a perfect companion piece to Vice (2018), a similar political, yet superior film.

Oscar Nominations: 1 win-Best Actress-Charlize Theron, Best Supporting Actress-Margot Robbie, Best Makeup and Hairstyling (won)

2018 Films, Comedy, Drama

Tully-2018

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Tully-2018

Director Jason Reitman

Starring Charlize Theron, Mackenzie Davis

Scott’s Review #905

Reviewed June 2, 2019

Grade: B

Tully, a 2018 film release, received wide recognition primarily due to a Golden Globe nomination for Best Actress in a Comedy, achieved by its star, Charlize Theron.

The actress carries the film and delivers an excellent performance, a great example of casting.

The film is targeted at a specific audience: females with newborn babies, mothers of children with behavioral issues, or women who have experienced something similar in their lifetime.

As such, the perspective is clearly from the female point of view, and men may not find much, if anything, to relate to. Nonetheless, the film is a worthy watch, though I’m not sure I’d classify it firmly in the comedy category. This may have more to do with who directed it.

Jason Reitman, famous for his creations Juno (2007) and Young Adult (2011), is known for coming-of-age films with dark edges. Nonetheless, I’d carefully teeter the movie more into the drama genre than straight comedy.

We meet a very pregnant Marlo (Theron) as she is about to give birth to her third child, the implication being that it is an unplanned pregnancy. She is already frazzled by her other two children, one of whom is Jonah, who has a developmental disorder, causing stress.

Her world consists of battles with Jonah’s school, her absent-minded husband Drew (Ron Livingston), and her brother Craig (Mark Duplass), who has married an affluent woman and tries to help Marlo.

Craig offers to pay for a night nanny, which would allow Marlo to be quiet, and she finally accepts. She meets the bizarre Tully (Mackenzie Davis), who slowly changes her life.

Theron reportedly gained over fifty pounds in preparation for the role and completely immersed herself in the part. Ordinarily, a gorgeous woman and an astounding actor, she is convincing as the tired and unfulfilled suburban mother.

Haggard, going through her day-to-day routines, reveals that she yearns to be young again. She finally revisits her old stomping grounds in Brooklyn, where her passion is awakened in New York.

Theron not only transforms her appearance but also portrays an enormous amount of emotion teetering between a responsible mother and a flighty middle-aged woman.

To say that Tully is a “woman’s film”, a phrase I dislike, is not entirely fair, but women will likely relate to the film the most. Men are not written exceptionally well; we see Drew meandering around the house, mostly staying in the bedroom, oblivious to his surroundings.

He is somewhat aware that a night nanny exists, but is more concerned with playing video games or traveling for work than with who is raising his child. He loves his family, yet is somewhat only half there, and his motivations and feelings are never explored very well.

The writing of this character perplexed me, or rather, I wondered why the character was written this way, to begin with.

As events progress, Tully serves up a brilliant twist ending, blurring the lines between fantasy and reality in a daring way.

The character of Tully becomes a godsend for Marlo. Suddenly, she is inspired by the younger woman who has her whole life ahead of her. Could Marlo be a bit jealous of the young and thin nanny? Tully inspires Marlo, but could she not be all that she seems? The final reveal leaves questions dangling over the viewer.

Is Tully all in Marlo’s head? Is it merely a coincidence that Marlo’s maiden name is Tully, or the reason for the nanny in the first place?

Tully (2018) plays like a female-centered coming-of-age story, ideally suited for women over 30. Others can enjoy it as the story has layers and borders on a character study, but the target audience is clear.

The surprise ending is tremendous and raises the film way above mediocrity; otherwise, it’s a traditional genre film.

Theron’s performance also adds an immeasurable amount to the film.

2017 Films, Action, Thriller

Atomic Blonde-2017

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Atomic Blonde-2017

Director David Leitch

Starring Charlize Theron, James McAvoy

Scott’s Review #857

Reviewed January 19, 2019

Grade: B+

Atomic Blonde (2017) is a female-empowering action/spy film directed by David Leitch, a former stuntman. The film plays similarly to James Bond, but with the genders reversed.

The film is visually stylish, featuring dynamic music and cold, crisp location sequences of Europe.

The story is not the main appeal and cannot always be followed, but thanks to a great performance by Charlize Theron in the title role, the film is pleasant and recommended for fans of either the spy or action genres.

Based on the 2012 graphic novel The Coldest City, the film is set in Berlin in 1989, and its central theme is the collapse of the Berlin Wall amid a spy story and the Cold War backdrop.

A grizzled female MI6 agent, Lorraine Broughton (Charlize Theron), is quizzed about events that occurred during her recent time spent in the German city investigating the death of a fellow spy.

She recounts her mission via flashbacks and the whereabouts of a mysterious list that reveals the names of MI6 and KGB Russian agents. Lorraine deals frequently with David Percival (James McAvoy), an odd colleague who may or may not be trusted.

The plot and subsequent story are hardly the finer points of Atomic Blonde, and the title—a play on the words “atomic bomb”—is too cute to be taken seriously.

The novice director is a former stuntman, so one should not expect high art or exceptional writing material. The largest issue besides the plot holes and implausibility of the story is that it is not engaging. After thirty minutes of trying to ascertain who had “the list,” I gave up and tried not to follow too closely, instead enjoying the film’s other qualities.

Theron is well cast as bleached blonde vixen Lorraine—harsh as nails and badass. With icy eyes and a sneer that makes the most formidable opponents cringe, the actress has the charisma to make the role her own.

The tall and fit woman endures too many fight scenes to count, but her pizzazz and wherewithal make the character believable. Her toned physique is not dissimilar to that of her character in Mad Max: Fury Road (2015).

Bisexual, Lorraine has a brief romantic escapade with Delphine Lasalle (Sofia Boutella), a young French agent, until the woman is murdered.

Any advEuropean adventurer can be enamored for, logistically speaking, the exciting locales featured heartily in Atomic Blonde.

Sleek and modern, the photography and cinematography departments do a fantastic job of giving the film authenticity and audacity to reveal the terrific nooks and crannies the best cities offer.

Given the number of high-speed car chase scenes and a fantastic underwater sequence, London, Paris, and Berlin are all given their just due.

The feminist overview that Atomic Blonde possesses is worthy of praise. Able to tangle with the best of them, Lorraine takes no prisoners and is determined to battle until the end or until she is too bloody to fight back. She is tough yet sensitive and puts up with no nonsense.

Still, she has a heart, as evidenced by not only the violent death of her girlfriend and her subsequent reaction but also her calm despair at being unable to save a drowning man’s life. Lorraine’s calm and resilience, instead of over-dramatic emotional outrage, make her a character that has developed very well and is a role model for young women everywhere.

McAvoy is cute as a button as David adds comic relief and sly witticisms to many scenes. He often appears shirtless, exposing his lean and muscular physique. As a fan of sexual dalliances, he is both combative and flirtatious with Lorraine, though he never beds her.

A yin to her yang and sparring partners throughout, David is a nice addition to a cast containing mostly serious characters.

The 1980s-themed musical score features nostalgic songs peppered throughout the film, seemingly every few moments.

Atomic Blonde plays like a bold music video with intelligently penned songs, not disposable crap. The inclusion adds a genuine celebration of the decade of decadence crafted thoughtfully.

Treats such as the masterful “Voices Carry” by ‘Til Tuesday, “London Calling” by The Clash, and “Der Kommissar” by After the Fire is placed perfectly during relevant scenes.

With a ballsy lead character and enough action to envelope a nearly two-hour action thriller Atomic Blonde (2017) is a gift in the atmosphere and great ambiance. Forget bothering to deep-dive into the complex story too much- it isn’t worth it.

Admittedly, the coveting style over substance can be forgiven because the nice elements overshadow the negatives.

Atomic Blonde (2017) best serves as a kickback and enjoy the ride experience.

2015 Films, Australian, International

Mad Max: Fury Road-2015

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Mad Max: Fury Road-2015

Director George Miller

Starring Tom Hardy, Charlize Theron

Scott’s Review #287

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Reviewed November 20, 2015

Grade: C-

Having almost nothing to do with the original (and far superior) 1979 version of Mad Max, the 2015 Mad Max, sub-titled Fury Road (presumably for the endless car chases across the desert), looks great from a visual perspective.

The charisma of Tom Hardy and Charlize Theron is appealing, the story is non-existent and the film grows tedious after the initial admiration I first felt for the camera work and the dream-like vision the film possesses.

Initially, and admittedly, I was quite impressed with the film- a dreamlike, glossy look makes it a fantasy that one can escape into.

However, after some time, I began growing tired of the visuals, viewing it as a somewhat video game, instead of noticing the lack of story, which glared.

Sure, the thinly laid plot-line involved a rebel, Max Rockatansky (Tom Hardy), escaping the War Boys, where he has been kept as a blood donor against his will, joined by Furiosa (Charlize Theron) and a group of young, beautiful females escaping a life of breeding.

The group joins forces to allude, Immortan Joe, who chases them throughout the barren desert as they strive to reach safety in the beautiful “Green Place”, a land of prosperity that Furiosa remembers from childhood.

But this synopsis is similar to countless other action or adventure tales that have come and gone without distinction.

Again, compared to the original, I was expecting more from Mad Max: Fury Road and did not receive it.

The story fails because there is no rooting value. Since the film is a fantasy, per se, I did not find much investment in the characters getting to the “Green Place”.

The sweltering heat of the post-apocalyptic desert gives the film a roasting, tense look, and the action is almost non-stop.

Cartoon-like characters come and go, writhing on tops of cars or simply looking sinister with sneers and evil smirks, adding little to the story. Who are they? What is their purpose other than to look menacing?

I did admire the character of Furiosa. With a buzz-cut and a bad-ass swagger, the character is no-nonsense and in control throughout the film.

Certainly an inspirational female character, she adds zest to the film, which, on the surface, seems male-dominated. A female who can inspire and impress in this day and age is reasoning enough to mention.

Inexplicably, the reviews for Mad Max: Fury Road were positive and I do not get that. My overall perspective disagrees with these findings. I do not mean to imply that the film is “run of the mill” in an overall critique. It’s not.

There are fits and starts of creativity, as the glossy look of the film is admittedly a treat and a spectacle, but, alas, without a compelling story, this only goes so far before it begins to wear thin as an overall production.

Little chemistry or much dialogue between Hardy and Theron exists. Both are top-notch talents in their own right. Rather, grunts and facial expressions run rampant between the pair.

If the film was going for any sexual connection between the two, especially given the hot, steamy desert atmosphere, this intention fell flat as I noticed none.

To admire visually, the latest Mad Max (2015) may be worth a glimmer, but as a film that contains the entire package, this one is not worth its salt.

Oscar Nominations: 6 wins-Best Picture, Best Director-George Miller, Best Sound Editing (won), Best Sound Mixing (won), Best Production Design (won), Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design (won), Best Film Editing (won), Best Visual Effects