Mad Max: Fury Road

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."

"Mad Max: Fury Road" is not the sort of film I enjoy and I after watching it, I am not a huge fan though I deeply respect the filmmakers. The reason I even saw it was the insane reaction the public had to this one...and the critical reviews were all surprisingly good. I wanted to see what all the hubbub was about...and try to understand why folks liked it so much. My take on it is that if you enjoy a film that is non-stop amazing action, then this one is for you. As far as the story goes, it's plot is super-thin--but the movie is handled so well and the stunts so amazingly insane that you don't mind. Worth seeing--but I sure wouldn't like to see a lot of films like this. Additionally, it was VERY refreshing to see a film where so many women are NOT mindless objects to be killed or protected--several are about as strong and heroic as Max himself--and no doubt this is why women seemed to like the film so much.

The opening is wild, kicking off with a captivating start. I think everything about this movie is perfect: the visuals, the action, the dialogue, the costumes, the acting... it was both beautiful and apocalyptic. I loved how everything felt like a rock 'n' roll fest.

I love dystopian movies, but you don't have to be a fan to recognize how amazing this was. It's a story of survival in a savage wasteland, every scene felt epic. I liked the cult-like nature and how they glorified their deaths like they were Vikings. Everything was eccentric and crazy, with non-stop action for nearly the whole movie.

It's really dystopian and wild, so it's surprising that this was actually a mainstream hit. "Do not become addicted to water" was such a wild statement, lol.

The premise is very simple; I don't think I can think of a more simplistic movie that worked so well. They drive out into the desert, then make a U-turn back to where they came from. That's it. And it's a blast. This is my favorite action movie, jam-packed with crazy sequences.

The movie is really just one huge dystopian action sequence, so I guess the drawback could be that it's all action. If you're looking for something more, you won't find much. Apparently, Mad Max lore has some complex and darker elements, and maybe the upcoming Furiosa will delve deeper into that.

Furiosa was probably the main character; it felt like Mad Max himself was just tagging along. The villain, Immortan Joe, was great. All the characters are memorable. And because the premise is so simple and the movie is so action-packed, it feels shorter than it actually is. It's just great fun and keeps me glued to the screen. Looking forward to Furiosa: A Mad Max Saga.

Don't take my word on this one. I recognize that I am in a small minority of people who didn't care for this move. It wasn't bad! I just think it wasn't for me. The crazy vehicles were obviously pretty cool but I couldn't rationalize the worldbuilding in it. Broke my suspension of disbelief and I couldn't really enjoy the rest of the movie I guess.

I was left speechless when this finished. It can be hard to describe indeed.... but I'll go for it... Sheer madness that isn't sullied by bad acting or laughable lines. A blockbuster that is gritty and doesn't have a sense of humour that could be equated to a fluffy kitten. No 'lets all hug' sentimental BS. This is seriously a movie I thought I'd never see: a CGI-filled blockbuster that I flat out loved. The stunts are so much fun, the FX so great, it is the first movie I have seen where I have thoroughly enjoyed all this type of stuff - probably because the cinematography for once doesn't suffer cos of it. It is all incredibly shot. The action is so brutal and appropriately high-octane. I thought to myself more than once, 'I think I am loving this more than Terminator 2' but other than that, there wasn't time to think. It kicked off fast and barely stopped, and the lulls were amplified by the insanity preceding them. Plus it is a dark film, which made it even better. I many people do an Aussie accent even close to well, was Hardy actually trying for that? Either way, he didn't talk much so it didn't really matter. This is more Theron's movie than Hardy's, he doesn't say much and does next to nothing for the first third or so. Theron's Furiosa is more of the hero is the story, if there were to be a hero in such a grisly and dark world. I don't even like this type of movie but the execution is everything. I'm gonna go see this again, soon. 4.5/5