Mad Max: Fury Road sets the bar for action films. It's a minor miracle of filmmaking, and its remarkable in so many ways that such a production even exists. Yes, it's probably already come and gone from a theatre near you, but it’s now available via multiple streaming video providers and is coming to disc September 1. If you haven't seen it you should prepare your home entertainment system for the experience, because you really don't want to miss this one.
Some time in the very near future, the world just goes straight to hell. Prior Mad Max films chronicled some apocalyptic decline, and Fury Road adds a water shortage to that list. In this bleak environment, the titular Max (Tom Hardy) finds himself captive of Immortan Joe (Hugh Keays-Byrne, who also played Toe Cutter in the first Mad Max film), dictatorial ruler of an oasis. Unbeknownst to Joe, however, one of his more powerful henchpersons, Imperator Furiosa (Charlize Theron) has plans, ones that may destroy Joe's little empire. Unrelenting action ensues.
It's been some 30 years since Max last graced the silver screen. The delay meant a change in lead actor; Mel Gibson's personal off-screen issues aside, he's a little long in tooth to gallivant across the outback anymore. The film is all the better for the change, because Max isn't really the film's focus. That focus is Furiosa. As a result, Max becomes more of a side character in his own story and, again, this is all to the good.
Because Theron's performance as Furiosa is superb. Actually, every performance in the film is great. Some parts don't require great effort, yet everyone commits to their character and sells their little part to perfection. Furiosa, along with Nux (Nicholas Hoult), has an actual character arc to traverse, and that makes all the difference.
Because Furiosa is apparently fed up with tyrant Joe and his water-hording, woman-enslaving ways. Over the course of the film we learn why by learning more of Furiosa's background. It's very well done, especially since the film just drops you bang into the action and you pick up on all of this are it roars along.
Much has been said that this is some great feminist moment and there's a germ of truth to that. But a lot of the hyperbole is overwrought. For example, much is made that at a critical juncture it's Furiosa who can make the shot, not Max, ignoring that 1) the target was much closer by the time she takes the gun and 2) she steadied her aim on Max's shoulder.
That cooperative relationship is what I love about this film. It's Max that comes up with the ultimate solution to Furiosa's problem, but she has to implement it. It's a beautiful film about teamwork and to hell with political diatribes and messages.
And then there's Nux, who has his faith crushed and needs to find it again, so he may be shiny and chrome once more. Hoult's work here is awesome; he has the perfect face for a human version of a kicked puppy. Watching him rally from his fall is great.
Look at me, raving about the acting, the characters, and even the plot, and ignoring the absolutely bonkers action sequences which will make this film legendary. Miller opted to ignore the entire apocalyptic muted color scheme and as a result the images and colors of this film pop out at you without becoming cartoonish. By careful choreography he makes rapid fire cuts in a sequence without losing the audience (due credit to editor Margaret Sixel). Every single vehicle in the film was real, able to be driven and, ultimately, slammed into each other. The stunt work shouts for the Academy to create a new Oscar category.
Miller’s directing is flawless. John Seale’s cinematography is some of the best I've seen. The practical visual effects are amazing. CG is used throughout to create an unholy landscape for events to unfold across (the sandstorms you see in the trailer are not necessarily the most impressive), yet the film never loses its sense of physical reality. The music by Tom Holkenborg (emerging from behind his Junkie XL persona) supports this film in much the same manner that Steven Price's music supported Gravity. Is it as immediately Oscar-worthy? Perhaps not, but it's perfect for this film.
Also, I've referenced this before but I think we're seeing the return of the great action film, one where carefully blocked out scenes are shot with precision, the intent being to actually bring the audience along. This may be nothing more than shaky cam finally dying, the blowback from the audience finally sinking into the thick skulls of producers everywhere. If so, hallelujah! If not…well, we'll always have Mad Max: Fury Road as the benchmark against which all such films should be measured.
Some time in the very near future, the world just goes straight to hell. Prior Mad Max films chronicled some apocalyptic decline, and Fury Road adds a water shortage to that list. In this bleak environment, the titular Max (Tom Hardy) finds himself captive of Immortan Joe (Hugh Keays-Byrne, who also played Toe Cutter in the first Mad Max film), dictatorial ruler of an oasis. Unbeknownst to Joe, however, one of his more powerful henchpersons, Imperator Furiosa (Charlize Theron) has plans, ones that may destroy Joe's little empire. Unrelenting action ensues.
It's been some 30 years since Max last graced the silver screen. The delay meant a change in lead actor; Mel Gibson's personal off-screen issues aside, he's a little long in tooth to gallivant across the outback anymore. The film is all the better for the change, because Max isn't really the film's focus. That focus is Furiosa. As a result, Max becomes more of a side character in his own story and, again, this is all to the good.
Because Theron's performance as Furiosa is superb. Actually, every performance in the film is great. Some parts don't require great effort, yet everyone commits to their character and sells their little part to perfection. Furiosa, along with Nux (Nicholas Hoult), has an actual character arc to traverse, and that makes all the difference.
Because Furiosa is apparently fed up with tyrant Joe and his water-hording, woman-enslaving ways. Over the course of the film we learn why by learning more of Furiosa's background. It's very well done, especially since the film just drops you bang into the action and you pick up on all of this are it roars along.
Much has been said that this is some great feminist moment and there's a germ of truth to that. But a lot of the hyperbole is overwrought. For example, much is made that at a critical juncture it's Furiosa who can make the shot, not Max, ignoring that 1) the target was much closer by the time she takes the gun and 2) she steadied her aim on Max's shoulder.
That cooperative relationship is what I love about this film. It's Max that comes up with the ultimate solution to Furiosa's problem, but she has to implement it. It's a beautiful film about teamwork and to hell with political diatribes and messages.
And then there's Nux, who has his faith crushed and needs to find it again, so he may be shiny and chrome once more. Hoult's work here is awesome; he has the perfect face for a human version of a kicked puppy. Watching him rally from his fall is great.
Look at me, raving about the acting, the characters, and even the plot, and ignoring the absolutely bonkers action sequences which will make this film legendary. Miller opted to ignore the entire apocalyptic muted color scheme and as a result the images and colors of this film pop out at you without becoming cartoonish. By careful choreography he makes rapid fire cuts in a sequence without losing the audience (due credit to editor Margaret Sixel). Every single vehicle in the film was real, able to be driven and, ultimately, slammed into each other. The stunt work shouts for the Academy to create a new Oscar category.
Miller’s directing is flawless. John Seale’s cinematography is some of the best I've seen. The practical visual effects are amazing. CG is used throughout to create an unholy landscape for events to unfold across (the sandstorms you see in the trailer are not necessarily the most impressive), yet the film never loses its sense of physical reality. The music by Tom Holkenborg (emerging from behind his Junkie XL persona) supports this film in much the same manner that Steven Price's music supported Gravity. Is it as immediately Oscar-worthy? Perhaps not, but it's perfect for this film.
Also, I've referenced this before but I think we're seeing the return of the great action film, one where carefully blocked out scenes are shot with precision, the intent being to actually bring the audience along. This may be nothing more than shaky cam finally dying, the blowback from the audience finally sinking into the thick skulls of producers everywhere. If so, hallelujah! If not…well, we'll always have Mad Max: Fury Road as the benchmark against which all such films should be measured.
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