Check out this Mashup of Unbreakable Kimmy Schmidt & Fury Road

Check out this Mashup of Unbreakable Kimmy Schmidt & Fury Road

Check out this Mashup of Unbreakable Kimmy Schmidt & Fury Road

Boiled down to basics, Mad Max: Fury Road and Unbreakable Kimmy Schmidt share a surprising bit in common: Both have great music, and a similar narrative.

 

One is the story of a group of women who are freed from their entrapment under a deranged man who led them to believe the apocalypse happened. The other is Mad Max: Fury Road.

So YouTube user Ethan Lee put the two together for the mashup no one knew they wanted, but everyone absolutely needed.

Set to the earworm theme song from Unbreakable Kimmy Schmidt, the story of Imperator Furiosa (Chralize Theron) and the women she saves from Immortan Joe works quite nicely with the lyrics describing Kimmy Schmidt’s plight.

Watch the mashup above, which may cause the Kimmy Schmidt theme to be stuck in your head yet again—but this time set to the explosions of Fury Road. [via EW]

 

After his 30-year absence, there was no guarantee audiences would be keen on another parched excursion in the company of Max Rockatansky. Very much a low-budget, midnight-movie kind of proposition for the first two Mad Maxes, building up to something of Hollywood stature for the third, there’s no mistaking the pressure this time. A $150m budget plus a rumoured $100m in marketing puttingFury Road – releasing in 69 territories – puts Fury Road in the indisputable worldwide blockbuster ballpark.

A $45.4m US opening in that context looks like a disappointment, but given that the film is R-rated and, with Tom Hardy and Charlize Theron headlining, contains no A-list stars, it’s a qualified success (the 24th best R-rated debut). It’s the best Mad Max debut – and puts Fury Road in a strong position to become the top-grossing film of the series, even adjusted for inflation (which would lift Beyond Thunderdome’s $36.2m to $82.8m). Given the almost unanimously worshipful reviews, studio Warner Bros will be hoping that George Miller’s film has the same kind of durability at the box-office as its protagonist does in the outback.

Even if that comes to pass, the international figures are concerning – $64m from 68 markets – set against meaty costs. That doesn’t say must-see blockbuster to me; more cult breakout that you pray doesn’t have a three-figure-budget. Fury Road’s $7m UK figure was beaten into second place by Pitch Perfect 2, but still enough to make it top territory; $6.6m was enough for No 1 in South Korea and $6.1m for France; but $4.9m in Australia has to be counted as a stumble, given the franchise’s uniquely screwy antipodean identity.

Compared to other adult-certified films that have performed better (Fifty Shades of Grey opened at $20.8m in the UK in February), Fury Road feels like it’s labouring to get much beyond the geek quorum that remembers and reveres the original films. Hopefully, the film’s superior quality will change that over the coming weeks.

But it’s a problem for now. It feels like Fury Road is suffering because it’s up against Pitch Perfect 2 in many countries, whose easy mainstream hooks are picking up the female audience more readily (see below) than the abstract case for Miller’s film as an anti-patriarchal work that emerged when the reviews embargo was lifted on 11 May. There was no sense in the long-term marketing campaign that this could be a selling point for the film – and a 70% male US audience on opening weekend is the result.

Bravura trailers aside, the publicity was rather diffuse, with Charlize Theron’s shaven-headed Furiosa mystifyingly prominent on posters at the expense of Tom Hardy, the ostensible star of the show. There was also an impersonal poster campaign that relied on bland road-warrior imagery that would only resonate with Mad Max aficionados, and a “mastermind” billing for dirctor George Miller that, again, preaches largely to the converted.

It feels as if there wasn’t a clear sense of who to aim Fury Road at beyond the cult-movie crowd, or that someone lacked the conviction to sell it to women because of the fear of losing the male audience. Now, if the film is to meet its costs, the studio is partly reliant on the last people they usually ask to sell stuff for them: the critics. [via The Guardian]

 

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