Mad Max: Fury Road
Have you ever been so excited about a film but no one around you really paid attention? For me, in my group of friends, Mad Max: Fury Road seemed like a joke of a film resting on the laurels of a reboot that were over-saturating the cinematic community. I mean, not for me personally, just the people I knew who groaned at the trailers or shrugged their shoulders. However, with every chaotic trailer that was shoved down my orifices, I couldn’t help but clap my hands and rejoice. It looked spectacular. And I’m not one to shout, “I told you so” but heck yes, that anticipation, that excitement was extremely justified. Because the film just isn’t good - it’s impeccable.
Mad Max: Fury Road is the somewhat continuation and re-imagining of George Miller’s cult series of films. Luckily, he returns as director and writer in order to produce one of the most energetic and impossibly entertaining action movies of all time. Starring Tom Hardy and Charlize Theron, Mad Max: Fury Road revolves around the titular character as he is kidnapped and forced to become a blood donor for the sickly warriors of mountainous town Citadel. However, he comes embroiled in a plot when he is taken for a spin on the eponymous Fury Road as he is forced to follow Imperator Furiosa, a one armed warrior who has freed five breeders from the clasps of villainous leader Immortan Joe.
To strike a balance between thorough story depth, expansive arcs, raucous action and batshit insanity is no easy feat yet Miller has accomplished it so terrifically that you’ll be salivating for more by the end of it. The intensity of Mad Max is so, well, ferocious it is damn near impossible to place it in a category as it drives mercilessly down its own path. Miller, with barely a sniff of CGI (apparently only the sky is computerised), has enhanced the cinematic experience by gifting us with story, a dystopian world and some intense visuals that no other mastermind could muster. It beats, immediately, with this kinetic energy like the drums and flaming guitar of the theme music car that follows our villain around (well, we never said he did anything in halves). The design of the film is plentiful - adorned with these vibrant oranges that translate the heat of a near waterless desert world, and wickedly surreal costumes that’d give the citizens of The Hunger Games’ Capitol a run for their money in the “What The Fuck Do We Wear In The Future?” award. All this comes together in this chaotic entertaining away that’s like stick your face into the fires of Valhalla in masochistic pleasurable way. It’s high octane action with the violent beauty of a man who’s wielded his budget and idea to a phenomenal level of filmmaking
A lot has been said about the female based action. True, Tom Hardy’s Max is not the leading character here though arguably, he never truly was in the first place. Whilst the British actor, who flits through different roles gloriously, is a welcome addition to the fight, with his will to survive and twitchy sense of not belonging, and becomes this much needed aid to our heroines. Yet he isn’t relied upon nor is he the knight in shining armour, he is in the wrong place at the right time.
Because this is the journey of Imperator Furiosa and her band of wives revolting against the Immortan Joe and their right to live by their own desires and thoughts without being porked by his baby-making stick. The message of “We Are Not Things” rings true and their desperate journey helped by the brilliant Furiosa is great envisioned. Charlize Theron brings her A-Game as Furiosa is not all action, no heart - she is a filled with hope, redemption, pain and suffering that still round-kicks and guns down those who stop her. Having her as the centric character, heading down the rocky road not just for the women but for herself is a triumph for film as she is a stunning lead and Theron, both delicately and defiantly, captures all sides of her character.
And no woman is wasted here. That’s the terrific thing about the film. They are all different, with wavering lengths of resolve and plight that, when push comes to shove, level up their journey because of necessity and survival. From the wives, pregnant, young and scared, to the motorcycle gang of old women - no female is spared for the struggles of a man and none are needed for rescue. The combine together, spar off and battle in a true film of equality and strength.
The countless amount of reviews that have lauded up the movie are all, indeed, correct (though Mark Kermode’s sheepish three stars is a lone review in the crowd. Still makes a lot of good points though). If I were to be picky, I’d guess for about ten seconds, the film stagnates. But it is a momentary thing as the cast gather their willpower and fight for yet another scene of debauched, nightmarish and fun fighting. Every element here comes together, including Nicolas Hault’s twisted Nux (proving that the young actor is one of the vital around). It’s tremendously entertaining, and should be celebrated many, many times over.
Now you’ve finished reading this, plus the other great reviews, why aren’t you watching it yet?
Oh, you’ve already seen it?
Ok.
Watch it again.