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| Courtesy of Warner Bros. |
Iconic
filmmaker George Miller is 70 years old and the last time he had a non-Happy
Feet movie in theaters was all the way back in 1998. But the exhilarating Mad
Max: Fury Road proves he can still run circles around directors half his age. Miller
could’ve easily churned out a lazy sequel to collect a quick paycheck,
especially in this era of ’80s nostalgia and corporate product greenlit solely on
name recognition. Instead, he made one of the greatest action movies of all
time.
That’s
right – I said “all time.” And before you think I’m resorting to hyperbole, I’m
actually being somewhat conservative in my assertion. Take a quick peek at
other reviews on Rotten Tomatoes and you’ll find phrases like “masterpiece,” “tour
de force” and “magnum opus.” We should probably let a little time pass before
throwing around words like that, but they honestly feel accurate. Fury Road is the kind of movie that could revolutionize the film industry.
Don’t
be worried if you haven’t seen the first three installments, which rocketed Mel
Gibson to superstardom. This standalone entry explains everything you need to
know about the character in the first five minutes, much like the James Bond
franchise bringing in a new 007. And those of you thinking Fury Road isn’t a
“real” sequel because Gibson’s not in it can rest easy. Tom Hardy – one of this
generation’s finest actors – is a worthy successor, reinventing the character
for a much harsher world.
This
Max has been alone for far too long, feral and driven to the brink of insanity
by the ghosts of his long-dead family and others he couldn’t save in this
unforgiving wasteland. And I’ll let you in on a startling, yet ultimately
awesome secret: Max is a supporting player in this story. His name might be in
the title, but the movie belongs to Charlize Theron’s character, a fierce,
noble warrior who immediately enters the annals of cinema’s greatest heroes.
Miller has something vital to say about the role of women in society, and Theron
helps him deliver that message loud and clear.
Years
after the murder of his wife and son, former cop Max Rockatansky (Hardy)
wanders the postapocalyptic landscape alone because he believes the key to
survival is not getting too attached to people. In the opening scene, he’s
taken prisoner by followers of the tyrannical Immortan Joe (Hugh Keays-Byrne)
and used as a “blood bag” for Nux (Nicholas Hoult), one of his injured soldiers.
Moments
later, Imperator Furiosa (Theron) – one of Immortan Joe’s most trusted
officials – disappears with five of the dictator’s young brides (Rosie
Huntington-Whitely, Zoe Kravitz, Riley Keough, Abbey Lee and Courtney Eaton).
Soon, his army is chasing Furiosa across the desert wastelands to retrieve what
their leader considers his “property.” Chief among the pursuers is Lux, still
receiving blood from a bewildered Max because he’s chained to the hood of Lux’s
car.
Eventually,
Max ends up helping Furiosa and her young cohorts as they flee from Immortan
Joe. They’re heading toward Furiosa’s homeland, which she has dreamed of since
she was kidnapped as a young girl and where she hopes the brides will find
safety.
Fury
Road, as the title suggests, is essentially a massive, two-hour-long car
chase. Any exposition we get occurs as characters are crashing into cars,
shooting people with an assortment of weaponry and shouting over the music of
Immortan Joe’s personal heavy metal band that accompanies him into battle (a
truly bonkers and genius idea). From the time Max is captured until the end
credits roll, there is almost no time for viewers to catch their breath.
In
the hands of a lesser director, such prolonged action sequences could lead to
desensitization (just look at any of Michael Bay’s 94 Transformers movies).
But Miller, in a genius display of storytelling, makes sure every explosion,
car crash and fistfight is rooted in the characters’ motivation and development.
Stuff doesn’t just blow up because it looks cool; it happens because Max and
Furiosa need it to, or because Immortan Joe is trying to recover his
“property.”
The
nonstop action is also gripping because almost all of it is achieved using
practical stunts and effects, which is practically unheard of in today’s CGI
era. Why spend all that time planning and executing real explosions and
crashing real cars when it’s easier to just throw some money at computer
animators? Because the difference is stunning, that’s why. Miller stages every
sequence with such detail and precision that it’s like watching some grotesque
ballet. Every shot is fascinating, weird and beautiful thanks to Miller’s distinctly
vivid color palette.
The
phenomenal performances are another component of the film’s success. Hardy’s
interpretation of Max is much different than Gibson’s, but just as compelling.
He probably has fewer than 20 lines, but he conveys pages of dialogue with a
single facial expression. Hoult is terrific as well, taking advantage of his
character’s fascinating evolution. The less I say about it the better, since watching
Lux learn new information about his world is a big aspect of the movie’s soul.
But
the most praiseworthy element of Fury Road – by far – is Theron’s
career-topping work as the film’s best character. In a lot of action movies, a
woman can either be feminine or a badass, but not both (Aliens, Terminator
2). In Furiosa’s case, Miller and Theron understand that she’s a badass
because of her femininity. It’s an important difference, and it provides a
perspective that’s frequently missing from action movies without resorting to
lectures or sermonizing.
For
some reason, Fury Road doesn’t seem to be on many moviegoers’ radars. That’s
disappointing, because they’re going to miss out on a truly breathtaking
spectacle. Don’t be one of those people who sees this on Blu-ray or cable in a
few years and wonders why nobody told them about it. I’m telling you now: see
this wonderful, whacked-out marvel as soon as possible.
Mad
Max: Fury Road is rated R for intense sequences of violence throughout, and
for disturbing images.
Grade:
A
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