Mad Max: Fury Road Screen 39 articles

Mad Max: Fury Road


Mad Max: Fury Road Poster
  • Miller makes sure to deliver a setup that's unequivocal, a resolution that's untroubled. Within its furious action, it delivers surprisingly simplistic gratifications that are no less enervating for the positive feelings they generate. The political underpinnings of "The Avengers," "Avengers: Age of Ultron," even Zack Snyder's Superman film, "Man of Steel," are more ambiguous and more complex.

  • Even though I didn’t enjoy the picture much — it kicks off at such a high pitch that there’s nowhere for it to go but bigger and louder, and it offers just more of the same fractured, visually nonsensical editing we get in nearly every contemporary action film — it’s a painless way to ease yourself into more than ten days of movies about suffering peasants and the like.

  • While I’m not inclined to notarize it as savior of genre film, I did think it was pretty fascinating in its fusion of aggressive production design and extensive post-production manipulation. I’m thinking in particular of the way flashes of light in a sandstorm are depicted as the film’s color correction flipping violently between silvery b&w and a burnt sepia tint, and how night scenes are done in a very ostentatious faux-day-for-night style, closer to silent era dyeing than anything else.

  • Once Furiosa and her comrades return to the city, Max fades away. The universal hero has no role there. But he was not even that. He was the universal donor. He is a fantasy about a kind of male nurturer who gets the heroine home. He is analogous to the George Clooney character in Gravity or the Matthew McConaughey character in Intersellar. This is not feminist cinema but a new kind of masculinist cinema — as far as it is prepared to compromise.

  • Or, GLENN DANZING'S LESSONS OF DARKNESS. That the self-awareness of the stark-raving masculinity kills neither the excitement nor the joke is impressive. Miller uses real cars, so the stunts seem more realistic; and undercranks, so the stunts look more like cartoons. Double-feature with another estrogenal-adrenal chase movie starring a hapless cipher, SEVEN CHANCES.

  • Thirty years have passed since our last visit to George Miller’s sun-scorched post-apocalyptic wasteland, and yet “worth the wait” still seems a puny response to the two hours of ferocious, unfettered B-movie bliss offered by “Mad Max: Fury Road.”

  • Miller punishes his audience with pleasure, orchestrating the rubber-burning pandemonium with the illicit smirk of someone who knows he's giving us exactly what we want—only way more of it than they ever thought they could handle. Way more than the film's 120 minutes can handle, judging by the breakneck speed utilized by Miller's cinematographer John Seale (apparently relishing the opportunity to rip apart the same desert sands that netted him an Oscar for The English Patient).

  • Miller's expressionistic style has always sought to put on screen what characters are experiencing in their minds, turning cinematic space into psychic space. But this might be his purest expression of that approach to date. If the earlier Mad Maxfilms were post-apocalyptic gearhead classics, this one is a waking, rolling nightmare. Its every frame is packed with body horror and automotive carnage, distinguished less by its authenticity and more by its cringing surrealism.

  • Miller’s Mad Max: Fury Road is a hammer-down, cast-iron-plated, diesel-exhaust-belching manifesto on the physics of screen action, a metamechanics monster truck show with everything but a Robosaurus. It is something like the rundown in the last third of Mad Max 2 (1981) stretched to feature length – I don’t believe I have seen a film on this scale so single-mindedly dedicated to the heat of pursuit since, well, Mel Gibson’s Apocalypto (2006).

  • Over half of Mad Max: Fury Road unfolds in action-spectacle nirvana. Movement, images, and some plucky actors carry all the emotion and humor a movie of this scale needs, and its kinetic force delivers an adrenaline boost to your system.

  • The social commentary here is broad, earnest, and welcome; the trick is that Miller and his cowriters Brendan McCarthy and Nico Lathouris have found a way to work these loftier concerns into what is basically an extended, 120-minute chase sequence, and to generate images that speak eloquently in the absence of dialogue.

  • Could it be, six features deep at the most exalted film festival in the world, that this writer’s favorite film isn’t some scrappy Critics’ Week indie or an ennui-driven Eastern European drama of profound sociopolitical relevance — but rather, the $150-million studio juggernaut Mad Max: Fury Road? Nothing new needs to be said about the most inventive, thrilling, lyrical action flick in ages except that it’s radically more feminist than Emmanuelle Bercot’s Standing Tall

  • Miller has unified diverse ideas (drought, white supremacy, sexual enslavement, action-movie feminism) into a theme. It plows forward at a breakneck pace, but this is an old man’s action film, dangerously energetic, but also, in its angry way, wise — about how to generate, vary, and sustain violent motion, and about what all that motion means, what and whom it’s for.

  • George Miller's Mad Max: Fury Road is a really magnificent slab of cinema language at its most effectively elasticized. I've seen it twice within four days, once in 3D, and again in super-big-screen 2D, and both times I felt positively transported. The speediness and the suspense of the simultaneous car chases/firefights/hand-to-hand combats and more had, for me, the effect of being suspended; metaphorically holding my breath and waiting to get pulled out and up into a place to exhale.

  • The most important thing [about Miller], as becomes apparent in watching the utterly splendid Mad Max: Fury Road, is that he knows what he’s doing – a rare trait in a genre where bloated budgets lead to films-by-committee and action scenes ‘directed’ by second-unit specialists. The summer will surely bring any number of cinematic rides aiming to quicken our collective pulse, but it’s almost a given that none of them will have the impact – whether visceral or emotional – of this movie.

  • Fury Road goes even further: the film is almost nothing but chase, with each high-octane action sequence shunting into the next at breakneck speed. The result is less John Ford than Buster Keaton – specifically, the comedian's 1926 masterpiece The General, with its madcap there-and-back-again pursuit up and down 150 miles of railway track. With its spare dialogue and dazzlingly choreographed and edited stunts, Miller’s film often feels like a great silent movie – albeit a very loud one.

  • Even after two viewings, I feel as though I've only scratched the surface of Mad Max: Fury Road. George Miller's action fantasy is astonishingly dense for a big-budget spectacle, not only in its imagery and ideas but in the complex interplay between them (Chicago Tribune critic Michael Phillips has aptly likened the movie to a symphony).

  • A dialogue count in this film would reveal a scarcity of words normally reserved for the slow art house film and in some ways the excessive visual qualities of the film take it away from the mainstream where narrative is so often prized. This quality, combined with the stereoscopic excess in the film, means that Mad Max: Fury Road stands out from the other 3D blockbusters we are going to see this year.

  • One reason why Fury Road looks so good is results from Miller’s and and his cinematographer’s decision to avoid the look of most post-apocalyptic movies... The transformation of the desert into rich yellow and orange tones was done with what was obviously aggressive digital color grading. It runs marvelously counter to the dull blues, browns, and grays that form the dominant look of so many action films.

  • While we’re on what passed without comment, I’ll just say what a thrill it was to see Mad Max Fury Road on the big Debussy screen. This was certainly the blockbuster that has engaged me more than any other in the last half decade, a glorious genre romp of dazzling stunts, visceral images and terrific acting.

  • The menacing symphony of Mad Mad: Fury Road, rather than a cautionary tale, sounds like the field-recorded soundtrack of our dark times. The apparent dissonance between the world director George Miller conjures up and the one we live in is more a stylistic difference rather than a substantial one. Considerably vast portions of our planet are caught in a state of perpetual warfare not that dissimilar from the one depicted in Fury Road.

  • One of the many reasons MAD MAX: FURY ROAD is so successful as an action film is the editing style. By using “Eye Trace” and “Crosshair Framing” techniques during the shooting, the editor could keep the important visual information vital in one spot…the Center of the Frame. Because almost every shot was center framed, comprehending the action requires no hunting of each new shot for the point of interest.

  • Like Bong Joon-ho's underrated Snowpiercer (another film closely allied with comic-book style), Mad Max: Fury Road is a movie that shakes us not only with its shocks and speed and cinematic inventiveness, but also with its grand, Metropolis-like vision of an entire society teetering on the edge of an abyss. It's a therapeutic apocalypse.

  • Virtually perfect, so long as you don't mind that Max is still barely a character, even after four films. (I do kinda mind, unfortunately.) Much of the pleasure here involves little more than gaping in astonishment at the movie's existence; it's hard to believe that a man born in 1945 was given truckloads of money to create something this relentlessly nuts.

  • Although Miller employs digital trickery in Fury Road, and ingeniously so, the return of Mad Max is a celebration of old-school resourcefulness—an adrenaline-high, audiovisual experience whose impact derives from meticulously pre-planned sequences, with every single shot clicking together effortlessly and forcefully to form a satisfying whole.

  • One could have stayed home and seen George Miller’s Mad Max: Fury Road, but nowhere would it have looked better or felt more kinetic than in the Théâtre Lumière.

  • Nearly 40 years after launching his iconic post-apocalyptic road-movie franchise, George Miller set out to surpass his own daunting high bar for kinetic action cinema. The result — a breathless (and almost wordless), deliriously inventive, female-centric chase picture — made the 70-year-old Miller seem like the coolest kid on the block, and left most other summer movies looking positively prehistoric.

  • Mad Max: Fury Road is one giant speedball of a movie, a two-hour adrenaline and guzaline fueled chase through the Post-Apocalyptic very near future which could be now tomorrow. Fury Road is a war cry, an explosive call for revolution in the guise of a high speed chase that feels like a trip through Burning Man fueled on Meth and LSD.

  • What works so well here is the delivery of some fundamentally sound but fuzzy concepts, hurtling off the screen at such a level of high camp ridiculousness that the sheer audacity of the presentation is spellbinding. Words are secondary to concentrated feeling conveyed directly through action, with progress depicted as a ramshackle, collectively operated vehicle hurtling forward through the barren desert, all kinds of adversaries nipping at its heels.

  • Such visual storytelling it's staggering, as exhilarating a formal experiment in seeing bodies move through space as any dance performance I've attended, albeit as a product of a story built with the bones of a logic monster after its fat's been rendered off it and the only meat left is elastic sinew, not brute muscle mass, despite the magnitude of sounds and the apparent freight of a runaway pulled downhill by gravity.

  • Rationality in dystopian futurism, of course, is the lynchpin to its resonance. In the face of a world that no longer looks like the present, the hint that it’s a mutation of the present is what gives it credibility and truth. But where Mad Max: Fury Road differs from so many of these kinds of narratives is how it extends this rationality to gender norms. [i] And, by doing so, toys with the action genre’s enshrined idea of the Hero.

  • What critics talk about when they talk about Chuck Jones is his ability to entertain, and George Miller’s savvy to the movie magic locked in cartoon formulas is at the heart of Fury Road’s appeal. At best, Fury Road’s success may reveal the potential of animation conventions to expand the horizons of action flick worlds, in all their frantic magnificence, their lurches and skids.

  • In Fury Road, one most immediately and explicitly responds to Miller's pronounced exhilaration to be working on such a vast scale to mount what's, at heart, a cult film. This is the Lawrence of Arabia of highway-demolition movies, abounding in tableaus that could only be hinted at in the prior installments of the series.

  • Fourth installments of franchises aren’t typically associated with quality, or any ambition grander than scraping those last few dollars from the bottom of the barrel. Yet George Miller’s Mad Max: Fury Road upends all expectations—about how action sequences are composed, what themes a blockbuster can contain, or who a film’s actual protagonist can be—and puts most other filmmakers working on this scale to shame.

  • Did George Miller consult radical-feminist tracts of the 1970s when envisioning the electrifying fourth installment of his dystopian franchise? The title character is nearly superfluous; the planet is saved and the patriarchy toppled by woman power, as Charlize Theron's Imperator Furiosa goes rogue and joins forces with wizened, chopper-riding separatists.

  • I wasn't even sure how I felt (as in, deeply) about this movie other than I was overwhelmed and I couldn't forget it. And I saw it again. It was so inventive, so unrelenting, so beautiful to behold, and shot with such an assured grip on its controlled chaos, that it felt beyond mere action -- poetic and at times, potently emotional.

  • Tinkertoys in a landscape that’s like a painting by Yves Tanguy, while in the foreground the Ed Roth car from the cover of The Birthday Party’s Junk Yard album drives by at 150 miles an hour. The most cartoonish film in a year of films like Warner Brothers cartoons is also one of the best. How? Mad Max: Fury Road is that one-in-a-thousand reboot that will greenlight even more reboots, none of which will justify its existence like this one.

  • George Miller dialed up the modern blockbuster to full blast. A cohesive vision with a structured journey built around themes of survival and endurance, [the film] showcased what is otherwise the narrative and thematic drought within the Hollywood blockbuster machine... Miller zeroes in on the sensuality of the environments, the carefully crafted machines and scorched landscapes. His future may be bleak, but it is filled with wonder and a hope derived from human ingenuity.

  • The metal-twisting, pyrotechnic vehicular carnage is consistently exhilarating—“pure” action at its most gloriously over-the-top. But the thrill of escape takes on a different meaning here; while science fiction traditionally looks to the future, Fury Road is all about the eternal past, racing to catch up in the rear-view mirror.

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