Mad Max: Fury Road

I see a lot of negative reviews for this movie popping up. People complaining that there is a lack of story and character development, and too much action.... too much action? Really? Have these people never seen a Mad Max movie before? How is that a bad thing in a Mad Max movie? Fury Road feels like an 80's action movie, with a preposterously large budget, and it is GLORIOUS. This movie was an epic ride. So many awesome set pieces, incredible car designs, twisted and bizarre costumes and characters, and a lot of really strong warrior women as well.

I've also heard it said that this movie contains a lot of feminism. Strong female characters that kick butt, is not feminism people! There's no anti-men message here. Just a cast which is dominated by more women than men. And about time for a change! Charlize Theron is my new favorite actress after this (it used to be Sigourney Weaver and Linda Hamilton). She really takes the spotlight, and that is about the only criticism I can think of with this movie. It's not so much about Mad Max, but about road warriors in general, and specifically Theron's character. I didn't think Tom Hardy was quite as good as Mad Max as Mel Gibson was, but he wasn't terrible. He just didn't lend enough presence to his character in this movie. Which may be a hard thing to do when the movie does not focus on Max.

Special mention should also be given to all the side characters. The villains are enjoyably menacing, especially Hugh Keays-Byrne as Immortan Joe, John Howard as the People Eater, Richard Carter as the Bullet Farmer, and I also loved Melissa Jaffer as the leader of a gang of elderly motor ladies.

Go see this movie if you like Mad Max!

The rationale behind the success of 'Fury Road' predominantly lies with director George Miller whose commitment and love for the film series that he's been developing since its first outing in 1979 is evident throughout, and it's pretty obvious that he knows how to craft a damn fine action sequence. Without this passion, the film would have likely stooped as there's not much else in the way of a plot or character development, even though Theron tries her hardest to give us an enthralling new action heroine to be revered. Aside from the aforementioned writing setbacks, 'Fury Road' is a powerhouse in the technical categories. With stunning contradictory cinematography from John Seale giving us a post-apocalyptic world of lavish colour rather than your typical muted tones, a heart-pounding score from Junkie XL and exquisite production design work that rightfully earnt the film an Oscar (one of six) for its spectacular vehicle design.

Rewatching this before Furiosa felt like a cornucopia of action, eye candy and quite simply, madness. It's a film that has a simple plot and premise but is heavy on pretty much everything else from dedicated actors sinking into the madly written lines and plot, gorgeous cinematography, an excellent audio score and the excellent use of practical effects. Seriously it uses such a blend of practical effects within special effects that compliment each other so well you start to believe they're actually in these crazy chase sequences including a ridiculous one through a live sand storm that was wicked to watch unfold. My only complaints would be it could have used a little more complex plot and Max himself could have been in the movie more as a protagonist instead of feeling like a supporting character in a movie with his name in the title. Other than that it's a wild ride from start to finish with almost near non stop action to keep you invested until the climactic, while partially abrupt, finish.

George Miller returns to live-action filmmaking with one of the greatest action films ever put to screen. 'Mad Max: Fury Road' is ridiculous in all the right ways.

For those who have seen the original films and loved them, you'll fall in love all over again with this film. Tom Hardy takes the reigns this time around as Max - a man of few words who has been hardened by the world in which he lives. Along with him is Charlize Theron as Imperator Furiosa - a woman who seeks redemption by helping five young '"wives" escape from the film's antagonist.

Leading up to the film's release, many speculated if this would be just another action film that lacks a solid narrative and motive, but I am happy to say that this is simply not the case. Yes, the film does fill 80% of its run-time with action sequences, but it never gets in the way of the humanity between these characters that Miller has brought to life. There are some emotional moments. Specifically, with Theron's character. Is the story something we haven't seen before? Not at all. But in a film loaded with action, it's nice to see a solid narrative.

Now, how about those action sequences? Incredible - exhilarating - jaw-dropping. George Miller has put together some of the greatest, most memorable action set-pieces ever. One thing that sets the action in this film apart from a good majority of mediocre action films today is that every action the character's make have an affect on them. For good and for bad. The action is not pointless. It's motivated. And it's glorious to behold thanks to the use of practical effects, incredible stunt work and stunning cinematography.

'Mad Max: Fury Road' has set a new standard for action films. It's arguably the greatest action film of the 21st century. It's that good. George Miller has brought back what we loved about 80's action films while also brining new ideas to the table. It's the best time I've had in a theater in a long time, and I couldn't help but laugh in appreciation of the ridiculousness that was unfolding before my eyes. The film left me feeling giddy, with a big smile on my face.

Cold-blooded, botanically medieval, crusades-like, and horrifically thrilling—that's Fury Road. As for Max, it looks like he's the same archetypal Bane, only this time, he's more immune to "I'm not afraid, I'm angry." He's silent, and angry, and frustrated. He's Rango-like, reflective of the quest to solve the water-mystery. With everything red, orange, and yellow, it seems like you're viewing 300 blended in Saw, and over-the-top F&F.

George Miller revises his ideological construct in the most exhilarating, dreadful, and striking manner this time. For all I know, the audiences spoil themselves with "cinematic orgasms," if that's a thing, throughout the movie. They're not afraid of the porcupine-trucks, maybe a little on the edge of madness, but that goes without saying. Here's a hint as to what it was like: Bane and Miranda beating the beep out of war-painted, anti-Christian, Hulu tribe—only this time, it's some dark, full-raged action with mountain bikes, and trucks, and springy tentacles moving idiotic half-Willy, half-Wonka The Da Vinci Code Bettany's horrendous versions. Miller puts his tribal culture in the crux of action, which reveals an unorthodox, authoritarian, and devout portrayal of enmity. The sport-arena action is complemented by prayers in Citadel, banging of drums, skeleton-wheels, and skeleton-feels. It has a bizarre feeling—you're dredged into the modernity of Prometheus and antediluvian era of the Exodus.

More than anything—Max's deafening seriousness, Furiosa's bald-grace, armless-attraction, sense of responsibility, and and absolute congeniality to the role (always imposingly remarkable,) religious affirmation, banging, puffing, booming, clatter, splash, tick-tick, boom—the "fantasized-realism" behind all the get-off-my-property-you-crazy-lunatic is what gives you the honesty-chills. The stunts, the effort, the don't-care-about-ourselves-just-love-the-movie-please pledge, and the extraordinarily enormous—480 hours of footage into 120 minutes of freaking-awesome warfare—blows me off of my seat in the cinema to the pale, scorching blaze of the sun, amidst the crazy-eyes of this action-genre Orange is the New Black. Even the over-editing has that medieval, darkly comical feel to it, just like 300 for example (can't think of another movie with such aberrant effects, but such positive response.)

But like any other movie, there are points where you start questioning yourself. Nothing seems to justify Max & Furiosa's relationship, mutual combats, strategies, certainty of plans, and stuff like that. But by then, the movie's not about logic or sense anymore; it's more about seeing what you wouldn't in ages. With such a brilliant ensemble—I mean it was pretty good for a solely madness-based movie—you couldn't care less about the abacus-loving dumb-toads sitting in exactly the middle seats of the theater to get the most balanced view of the screen, and judge the minus-plus of the 120 minute long clip. I feel like reporting their stupidity to the CIA—enough with the pen and paper!

Mad Max comes equitably with the characters, their roles, and the titular projections. Each name is qualified by its corresponding characteristic with the character in the movie—Spikers, Rictus Erectus et cetera. This complements the heartfelt glow to the movie itself—everything's done for the movie. They didn't feel any need to impose worldly sense into it, which is the best part, because that miniature world seemed pretty damn believable to me—but why? Maybe it were those religious beats, maybe the dragon-roars of engines, maybe it was just the psychological effect. Whatever it was, it did what it planned to.

Mad Max: Fury Road puts forth the idea that there's so much more to combats than mere combats—MMFR incorporates belligerent, spoiling-for-a-fight attitude, oppressed landscape, estranged and barbaric drug-lords, heavy-weight weaponry and wheelers, and poster-paint bombings. The intensified red-blaze of fire, the sandstorm-effect, the preposterous turn of events, the nonsensical touch of things, and the wacky script—everything wrong with the movie is everything good about the movie. Mad Max: Fury Road revises the post-apocalyptic scene—utter dryness of region and minds—and uses the irritating sense of that dryness into a rigorous will to get past it with victory—Fury Road's victory. It's not about the comparative analysis of protagonists and the white-witty-wackos, it's about what's happening throughout. And when it happens, you're only remark is: "What a lovely day."