The box-office success of “Mad Max: Fury Road” [reviewed by Jason] and “Ex Machina” is the quintessential personification of lowbrow versus highbrow films. We Americans – indeed, most of the world, civilized or no – love both types. I have come to pick up Jason’s gauntlet and praise the latter film, but not at the expense of the former, for I, too, loved them both. And as writers and artists and students of the craft of storytelling, so should you. “Ex Machina” begins by celebrating the brilliance of the creative lions of Silicon Valley, in this case Nathan [Oscar Isaac], and the wonders of technology, like the Google-like empire he has built. Yet Nathan is now, not unlike Thoreau, retired to the woods to contemplate his next brilliant move, for nothing less than topping his earlier triumph will satisfy this…

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When I saw the trailer for Mad Max: Fury Road last summer, it gave me a massive, throbbing anticiboner. I love Mad Max. I love Tom Hardy. The initial images looked like they were doing it the right way, instead of throwing a modernized and weak-sauce reboot at us. Turns out it was that and much, much more. Fury Road is the best movie I’ve seen this year, with nothing else coming anywhere close. It’s so damn good we can use it as a guide for how to improve our fiction. That’s right: we can learn about our craft from a postapocalyptic chase scene full of flamethrowers and electric guitars. This is true even if you’re writing cozy mysteries on the moor, or hilarious chicklit about designer jeans and eating disorders. For example: Fury Road Crushed the Cinematography…

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