Release: Friday, May 15, 2015
Written by: George Miller; Brendan McCarthy; Nico Lathouris
Directed by: George Miller
For a lesser population, what a lovely day it is indeed, a day in which a franchise is reborn. To anyone else not attuned to what was once a legitimate excuse for Mel Gibson going crazy, Mad Max: Fury Road feels like what a Michael Bay action sequence wants to be when it grows up.
Before dealing with the flack I’m going to inevitably receive for that comparison, may I remind you that Bay, despite himself now, has a knack for building enthusiastic, explosive entertainment. Whereas the aforementioned splurges on expense, George Miller ingeniously . . . well, he splurges too actually. Except here a $150 million budget is appropriated toward some mind-blowingly technical stunt work that is liable to leave most breathless, begging for more.
Max Rockatansky (Tom Hardy) is seen at the film’s deceptively quiet open recounting his days of hardship via a gruff narrative, briefly reflecting upon a troubled past before being snapped up by a passing horde of baddies, undoubtedly the inspiration for some of this year’s most popular Halloween costumes. Behold, the War Boys. He is taken to a strange and desperate civilization known as the Citadel, a relative oasis presided over by the tyrannical King Immortan Joe (Hugh Keays-Byrne) who keeps most of the communal water and greenery to himself and his minions.
Charlize Theron’s Imperator Furiosa, a shaven-headed, fearless amputee with a face covered in soot, finally has had enough of living in such conditions. She goes rogue, fleeing the Citadel in Joe’s ‘War Rig’ and down an indistinct but narratively significant path of sorts, bound for a better way of life. On board the Rig are Joe’s Five Wives — a collection of beauty that recalls Bay’s casting sensibilities. But Bay doesn’t go for talent, really. He just stops at ‘good-looking.’
Perhaps that’s the only thing Joe cares for as well. Enraged by the knowledge of their escape, he sicks the War Boys on the Rig, igniting a thunderous and violent chase across remote desert landscapes and into a sand storm that makes The Perfect Storm look like a gust of wind. Valleys become death gauntlets, their outer limits patrolled by bikers who are expecting a shipment of gasoline be delivered by Furiosa in exchange for her safe passage through. As sure as a Michael Bay car chase, more disaster awaits there.
Miller and Bay are both adrenaline junkies — the former addicted to cartoonish madness; the latter to closing the gap between CGI spectacle and cinema-related migraine. One of these addictions is healthier (at the very least, artsier) than the other. But the constant raucous atmosphere can be overwhelming for newcomers to this depraved world of half-dead humans clinging to life however they can. For a good portion of this ride Max is used as a blood bag to nurse Nux (Nicholas Hoult) back to . . . uh, health. And one of the Five Wives is very pregnant. This isn’t a thinking man’s movie, but if there’s one thing Fury Road is adept at other than delivering non-stop thrills, it’s showing humanity’s will to endure some crazy shit.
With Hardy replacing Gibson in the titular role, one that strangely bears less significance when put beside an iconic Charlize Theron, Fury Road threatens to abandon its cult classic status, exploding into potential box-office behemoth territory. Despite an outrageous, gothic dress code this costume design will likely remain one of the hottest topics of the summer. Maybe all year.
Apparently The Avengers: Age of Ultron is still playing in some theaters. Well, now there’s a new kid on the block and his name is
Mad Max Absolutely Ridiculous. Decorated in war paint, yelling at the top of his lungs he demands you know his name. After spending two hours with him you aren’t likely to forget it. Perhaps that’s the most significant distinction between these auteurs of the action spectacular.
Recommendation: Decidedly one-note when it comes to plot, Mad Max: Fury Road is still a unique experience — brutal and relentless action combined with beautiful visuals and a gung-ho spirit that fails to dwindle. Having seen the originals isn’t a necessity but I’d imagine it would help round out Max’s character more. Action junkies and fans of George Miller’s brand of filmmaking must see this movie. It’s a curious thing, too: there are two films coming out later this year (one this summer) with as much potential to deliver the goods and both indisputably appealing to larger audiences, but I wonder if these films will be as successful in recruiting new fans as Miller’s latest has been.
Running Time: 120 mins.
Quoted: “Hope is a mistake. If you can’t fix what’s broken, you’ll go insane.”
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