Mad Max:
Fury Road blasts straight into fifth gear as Max (Tom Hardy) is
captured by the War Boys, the fascist King Immortan Joe’s (Hugh Keays-Byrne) devoted
militia, and taken to the Citadel in the apocalyptic desert. When every
resource is scare and sacred, Max seems destined to remain trapped underground,
his blood forcibly transfused into the sick War Boy Nux (Nicholas Hoult). However,
when Imperator Furiosa (Charlize Theron) drives off with a war rig and Joe’s
Wives – five women whose sole purpose is to breed – Joe sends out his entire force
to bring his chattel back. With only survival in his mind, Max reluctantly teams
up with Furiosa and the Five Wives to find a green homeland for them all.
It seems impossible to fully capture how great Mad Max: Fury Road is in words. But try
we must, although with consideration to not spoil any viewing pleasure. It is
the action movie that puts all other recent action movies to shame
retrospectively. The practical effects in this film are astonishing and each
subsequent action sequence is better than the last. It has high octane thrills with
a feminist heart pumping lifeblood into the story. It is a 21st century
grindhouse flick - constantly changing the frame rate, intercutting and
bursting with colour - but contains plenty of themes to mull over once your
heart stops racing. Mad Max: Fury Road
has a deeply rich world, constructed from the surviving materials of the
apocalypse – petrol, blood and water are the main sources of fuel in this
barren landscape. After the end of the world, tribalism has taken over both in
mind-set and warfare. War Boys dive into their enemies’ vehicles suicidally, believing
they will be reborn in Valhalla as their reward. Explosive spears, shields
made out of metal road signs and knives are favoured alongside machine guns and
pistols. For all the destruction onscreen though, it never becomes needlessly
gory, choosing its bloody moments carefully for increased impact.
Mad Max:
Fury Road is relentless in its pacing yet all the character’s
motivations are established clearly. Whilst it may be called Mad Max, the main focus of the film is
on the women, director George Miller’s apparent attempt to make up for the lack
of female action heroes. The Five Wives defy their patriarchal leader,
abandoning their relatively luxurious and safe life, to denounce their
objectification and to reclaim their humanity. Yet they refuse to adopt Joe’s
tyrannical methods, they only kill in self-defence and are striving to start a
peaceful life. Each Wife has their own distinct character and their own
abilities: some are able to fight or defend; the others offer emotional support
or information to help. Furiosa is this generation’s Sarah Connor or Ellen Ripley;
she can hold her own in a fight against Max and negotiate the numerous hazards
in the scorched landscape. Furiosa is capable of making difficult decisions, but
will do everything in her power to protect the Five Wives and the hope they cling
on to.
Charlize Theron is terrific as Furiosa, focused on the goal
in front of her and turning her ferocious oil painted eyes at any enemy trying
to stop her. Theron captures Furiosa’s resourcefulness and her uneasy attempts
to gain Max’s trust with subtly. Tom Hardy is equally as impressive as the
titular Max, at first a reluctant ally only focused on survival until a chance
of redemption from the past presents itself. Hardy has hardly any dialogue, conveying
the majority of his emotions in tiny gestures and grunts. Nicholas Hoult gives
a career standout performance as Nux, the wild and almost foaming at the mouth
Wild Boy, on a mission to impress his leader Joe. The over 150 stuntmen and
stuntwomen involved in Mad Max: Fury Road
should also be praised for their stunning work, without whom these extraordinary
practical effects would have been impossible to achieve.
Mad Max:
Fury Road is this decade’s defining and game-changing action movie, with
George Miller showing everyone how it is done. The film is filled with sorely
needed great female action characters and fabulous performances from all
involved. For the first time in years, I can honestly say – and I am sure I am
not alone in this – I cannot wait for the sequel to this film.
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