Tag Archives: Post-apocalypse

“MAD MAX: FURY ROAD” Review (✫✫✫1/2)

A lovely day and a flaming guitar. 

I’ve never seen a movie break as many rules as Mad Max: Fury Road does and get away with it. I’ve never seen a movie so loud, obnoxious and over-the-top that still manages to impress me by the time the end credits roll. Previous movies have done the same thing Fury Road has done and failed spectacularly. Transformers. Resident Evil. Underworld. G.I. Joe. Fast and Furious. All of those films are every bit as explosive and stupid as Mad Max: Fury Road is, and yet I don’t love them as much as I do Mad Max. Why is that?

I think its because the movie knows its just that: a movie. It knows that it’s loud, obstinate and stupidly explosive. It knows that its a blockbuster of exceedingly epic proportions that shakes the theater so much, it makes viewers shat in their pants. And more than anything else, it knows it is an action movie, with all of the fun and flaws alike bundled with it.

So what does a director like George Miller decide to do with that, knowing this is the fourth film in his own franchise? Fix the mistakes that are present in all of his predecessors?

No. Instead, he decided to embrace them, like a soldier throwing himself onto a hot grenade.

The end result is exactly how it sounds: bloody awesome.

The plot (if you can call it that) follows Max Rockatansky (this time portrayed by Tom Hardy) after the events of Road Warrior and before Beyond Thunderdome. In this desolate landscape called planet Earth, Max is a survivor of Nuclear war, traveling dry and sandy deserts in silence and solitude. Everyone else around him is either dead or has signed up in the mad crusade of Immortan Joe (Hugh Keays-Byrne), a tyrannical warlord who has idolized himself as a god and has labeled everyone under him as his followers. Considering he has control over the only water source over hundreds of miles, the survivors have little choice but to submit to him.

One of these followers is Furiosa (Charlize Theron), a fierce female warrior who is charged with transporting Joe’s water to a nearby town with her small battalion. Little to Joe’s knowledge, however, Furiosa is transporting something else: all of Joe’s wives. Now on the hunt from Joe and all of his maniacal followers, Furiosa needs to team up with Max to escape the desert landscape and free the wives that have been under Joe’s cruel control for so long.

Is the plot as stupid as it sounds? The answer is no, because the film really doesn’t have a plot, only the resemblance of one. The narrative is a weakness all of the films in the series share with each other. While other science-fiction movies have a rich amount of lore and backstory behind them, Mad Max doesn’t have as much to boast about in its own series. Really, as far as story goes, all of the Mad Max movies are kind of weak in narrative scope. Here’s the plot for all of them: a guy is trying to survive against a homicidal maniac in a deserted landscape. That’s it. It’s a big case of “what you see is what you get.”

Here’s where Mad Max: Fury Road is different though: there’s a lot to see. Even though the plot is about as thick as a studio pitch, Miller displays this meager plot in spectacular, stunning, eye-popping action and explosions, and even a few soft moments of short dialogue exchanges between characters.

The stunts are unlike anything you’ve seen in any of the previous movies. The most destruction you found in Mad Max and Mad Max 2 was cars exploding and toppling over into deep sand dunes and rocky road pavements. In this movie, vehicular manslaughter is the least of the destruction found in the film. In one of the first action sequences, an entire armada of Joe’s fleet follows Furiosa into a giant sand storm of extremely windy proportions. In another scene, gang members viciously chase Furiosa’s truck in a tightly-cornered crevice of mountains. In another, a flunkie gets blinded by gunfire, puts cloth around his bleeding eyes, then fires blindly at Max and his gang like a crack-happy trigger maniac. For crying out loud, there’s one underling in the film that uses a guitar flamethrower.

Yes. That’s right. A guitar flamethrower.

It’s obvious that the film is ridiculous and absurd in the most gleeful of ways. Yet, what I like so much is that in between all of the over-the-top and in-your-face action, there’s actually a purpose and a reason for actors being in the movie. Yes ladies and gentlemen: this is an action movie that has actual acting in it. Hardy replaces Mel Gibson’s role with hardened machismo and stiffness to his gesture, and while Max is still mostly a flat character, Hardy portrays him with a sort of intrigue to him that makes you curious about his history, even though we already know most of it. Theron, however, impresses me the most. She’s incredibly versatile in the film, being a firm and uncompromising action heroine in one moment, and an emotionally exhausted and stricken survivor in another. She’s honestly the real lead in the film, with Max being more of a supporting character to Furosia’s rebellion against Immortan Joe. The film is really empowering to females, and that’s an incredibly rare thing, especially for an action movie.

By now, you’ve hopefully gotten the idea of what the movie is like and whether you’d be interested in this sort of thing or not. The film definitely has its flaws, but by God, the movie is just so freaking entertaining. I can’t sum up the film any better than that. Now go get your movie ticket. There’s a flaming guitar that you need to see.

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“MAD MAX 2” Review (✫✫✫)

Where is your home, Max? 

I’m convinced that George Miller’s Mad Max series is an excuse to blow rugged vehicles up in spectacular fashion. Not that’s a bad thing. Crashes and explosions are exhilarating, after all, when done convincingly and used conservatively. That’s a big reason why most action filmmakers don’t succeed at what they do: they fail to produce anything new or different. They’re the same thing over and over again until the experience stops being entertaining and becomes more mind-numbing. It’s almost like an anesthetic exercise rather than an example of entertainment.

But with Mad Max 2, it’s action that actually matters. The setting is convincing. The premise is solid. The cars, costumes, and props all add to the surrealism of this post-apocalyptic environment. And then characters are placed into this desperate environment, this eerie spread of gloom and hopelessness where we watch as these human beings react to the same problem they are all facing: survival.

Taking place years after the first Mad Max, Mad Max 2 follows the world after an energy crisis consumes the Earth, and petroleum becomes a rare commodity. Some survivors form communities in order to build up each other’s chances of survival. Others join a gang lead by the vicious ringleader Humungus (Kjell Nilsson) that hunt and kill landscape scavengers.

However, one man stands among them, neither beggar or hunter, a man set apart from the rest of the world in his own search for peace and survival.

His name is Max Rotansky (Mel Gibson), and he lost his human spirit after he lost his wife and child in a hit and run years ago before the energy crisis.

With writer-director George Miller returning from the first Mad Max film, Miller seems to have a clearer idea of what he wants Mad Max to be: a high-octane, ridiculous action movie that refutes stereotypes and expectations. The film is spectacular in more ways than one, and most of it is for the reasons that made the first Mad Max mildly entertaining.

One of the things that Miller does as a director is remain adamant about using practical effects in his films. I am in 100% support of this decision, because practical effects, however over-the-top, always makes the most convincing effects. This was one of the few things that I enjoyed about the first Mad Max, in that the stunt and chase sequences were so seemingly absurd and ridiculous, and yet they weren’t, because they were all shot in real time. The car chases were authentic. The bikes and automobiles flying over bridges and crashing spectacularly were authentic. The explosions were authentic. Everything in that movie challenges what could be achieved visually, and not in the computer-animated graphic variety that Tron did. It challenged what shapes vehicles could crash into and how big it could explode afterward. It challenged the scope of destruction in an action picture, and what stakes could be built on top of that.

Mad Max 2 does the same thing Mad Max does in the destructive, chaotic nature of vehicular manslaughter, but with one key difference. It has a better development of the world it’s trying to create.

Don’t get me wrong: a lot of the problems from the first movie persist for this one. Max is still mostly a one-dimensional character with little more expression than the scowl on his face. The plot is straightforward and without many revelations or surprises in them. And the villain, however interesting, is extremely cartoonish. Humungus is essentially a beefed up Jason Voorhees, and his interest extends just about that far as well.

But from what I’ve come to understand about the Mad Max series is that the story isn’t supposed to come from the characters. It’s coming from the scenery all around them, this desperate and depraved world that Miller is illustrating as a warning to mankind’s nature. We didn’t get the sense of this world in the first Mad Max because it still felt like society was intact: that there were cities and townspeople still going on about their somewhat normal lives. In this film, there is no such thing as a normal life. Cities and towns have been reduced to war zones and rubble. People live in buses and tents instead of houses. Plentiful grassy plains have been replaced with desert sands. A regular meal consists of a can of beans if you’re lucky. And for whatever humans are left to survive, their form of currency is oil and water. This world is the definition of desperate.

This in turn, makes Max Rotanksy a perfect protagonist for the film, despite his neutrality as a character. It allows you to absorb the film with your own eyes, not clouded by the emotions of another character.

What we have left is an effective action movie that lets the audience carry the film’s weight just as much as the cast and crew does. It’s rare to find an action movie like this, where the viewer actively engages and thinks like the film’s characters do. Usually action movies tell viewers to turn off their brains and be drowned in an orgy of explosions and testosterone. This movie does something different. This movie asks viewers what an action movie is, what it is supposed to be, and what it can be. And at the center of it all is one lonely man; a slave to the roads that he was born from.

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