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Max may be understood as the plot's central figure, but this is actually Furiosa's show all the way, and Theron is a beautifully furious heroine that can tussle with any man. Like the previous installments being inspired by current events, this fourth entry also boldly speaks to contemporary concerns about individuality and moral depravity, and Miller explores these ideas by alerting our eyes to a new action hero for the 21st Century, one we've been sorely missing for the last couple decades. With the highly-talented production designer Colin Gibson constructing the Frankenstein-like vehicles - one porcupine-like gang of marauders awesomely alluding to Peter Weir's 'The Cars that Ate Paris' - Miller succeeds on every level, delighting the senses as so few have in years. Each one allows for the action to play out on the screen without the confusing rapid-fire edit cuts and lingers on the many expressive faces of the cast. He composes beautiful extreme wide shots to give a majestic sense of space and distance, and then spruces things up with medium shots and close-ups to heighten the suspense.
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Carefully working with cinematographer John Seale, Miller uses the full frame in dazzling fashion to immerse his viewers.
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As though Miller were directly commenting on the current state of action movies, he demonstrates how to properly make an action film while harkening back to the days of good-ole fashioned practical special effects. It's visually striking choreography of live-action stunts seamlessly blended with CG wizardry, and it's sometimes difficult to tell the difference where one begins and the other ends. What ensues is basically an extended scene of the road battles from ' Road Warrior' and ' Beyond Thunderdome,' and Miller saturates the screen with one breathtaking action sequence after grippingly stunning action sequence, each leaving a memorable impression. Driving an armored tanker truck filled with water, gasoline and Joe's most prized possessions - five young women forced into breeding his children - the disease-ridden leader chases after them with his army of white-painted War Boys and with the aid of his equally insane brothers' war parties from Gas Town and Bullet Farm. In a script Miller co-wrote with graphic novel writer Brendan McCarthy and Nico Lathouris, the plot follows Hardy's Max through the Australian outback, grudgingly assisting the tough-as-nails Imperator Furiosa (Charlize Theron in her best role in years) escape the tyrannical clutches of the messianic Immortan Joe (Hugh Keays-Byrne, best remembered as "Toecutter" from the 1979 original). He's now a wounded soul of very few words, on the verge of cracking, continuously haunted by visions of those he was unable save in the past. As in the previous films, our reluctant antihero has already given up hope of a new civilization, a lone scavenger driven purely by survival, and Hardy does a marvelous job stepping into the role that made Mel Gibson a worldwide star.
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For nearly two hours, Miller takes us on what could be the most insane road movie ever produced, once again setting the former MFP officer and widower in direct opposition to a lawless maniac. As soon as Max explains he exists somewhere between the dead and the living, the Australian-born filmmaker kicks it into high gear, tightly gripping the back of the audience's neck and doesn't let go until the last final minutes.
In the opening moments, Max Rockatansky (Tom Hardy), seen staring out into a lifeless desert abyss and munching on raw mutant lizard, announces that crazy is the new norm in a wasteland created by the careless pillaging of Earth's natural resources and atomic wars.Īs if finally tired of doing family-friendly fare with tales that followed an optimistic pig and a dancing penguin, Miller opens this brilliantly spectacular motion picture with the loud sounds of engines revving.
In Miller's wretchedly dystopic yet action-packed nightmare, those base natures give rise to power-hungry megalomaniacs and madness. When all four features are watched in sequence, this is merely another glimpse of a society slowly reverting back to greedy, animalistic instincts - a twisted progression of devolution.
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Thirty years after the last installment in the ' Mad Max' franchise, and another thirty-six since the first that started it all, George Miller returns to his apocalyptic vision of the future in the high-octane bombast that is 'Fury Road.' And like the films which preceded it, this fourth entry in the series is a spectacular display of humanity barely surviving on the brink of extinction.