Figures will therefore fluctuate each week, and totals for individual titles can go up or down as we update our estimates.īecause sales figures are estimated based on sampling, they will be more accurate for higher-selling titles. In particular, we adjust weekly sales figures for the quarter once the total market estimates are published by the Digital Entertainment Group. We refine our estimates from week to week as more data becomes available. The consumer spending estimate is based on the average sales price for the title in the retailers we survey. The market share is converted into a weekly sales estimate based on industry reports on the overall size of the market, including reports published in Media Play News.įor example, if our weekly retail survey estimates that a particular title sold 1% of all units that week, and the industry reports sales of 1,500,000 units in total, we will estimate 15,000 units were sold of that title. One can't escape the feeling that society is still teetering on the brink of collapse, but are our saviours the ones in shiny suits rather than leather jackets? Only time will tell.Our DVD and Blu-ray sales estimates are based on weekly retail surveys, which we use to build a weekly market share estimate for each title we are tracking. Cast your minds back to the London riots of 2011 and the ripples of law-defying anarchy that ensued. The cruel method in which Max brings down one antagonist, offering him the choice of sawing through his ankle in five minutes or his metal cuffs in ten minutes - while chained to a car that's about to explode - is remarkably similar to the scenarios of the Saw movies that later emerged.ĭecades on, perhaps one reason the original Mad Max remains so effective is because it all feels vaguely plausible. That savage glint that emerges in his eyes is still there in Tom Hardy's portrayal. By the end of the movie, Max is one of those men - albeit with a skewed moral compass at his core. The influence of A Clockwork Orange and Straw Dogs can be felt throughout Mad Max in its unhinged tone, which derives from the volatile nature of those men who are no longer willing to exercise restraint and play by the rules. Shades of George A Romero's masterpiece Dawn of the Dead can be seen in its aesthetic depiction of societal breakdown, all played out amidst blue skies that seem to offer some forlorn hope. The second and third movies in the franchise also chart that disturbing erosion of society. There are still cafes, supermarkets and luscious greenery around - all the things that are destroyed by the time Max squishes that lizard (RIP) at the start of Fury Road. The world of Mad Max still has the last vestiges of law in place. His honourable themes have been there all along. Moreover, it deserves to trigger a greater appreciation of George Miller's entire body of work. It all syncs up superbly well with what we're witnessing now, 36-years later. Then, shortly after the Rockatansky family take refuge in a remote farm, it's up to an elderly lady and her shotgun to fend off Toecutter and his band of malevolent men. In one pivotal scene, Max's wife Jessie thwarts the evil Toecutter (the brilliant Hugh Keays-Byrne, who also plays chief villain Immortan Joe in Fury Road) by kneeing him in the balls, driving off and picking up her hubby on the way. Yet a viewing of Mad Max shows that writer-director George Miller was defining characters by their spirit, not by their gender, back in 1979 too. It's as if every previous action movie had defined their female leads by their willingness to f**k the male star. Much has been made of the strong female characters in Fury Road, with even assertions of a feminist agenda at play. His eventual descent into madness, a credible progression given what he endures, very much mirrors the rapid deterioration of a society that's precariously balanced on a knife-edge between civilisation and chaos. We witness his last days of normality, full of introspection and moments of domesticity spent in loving embraces with his wife and playful encounters with his young child. But the Max we meet is far from the wrathful warrior he'd become.
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