This is not what anyone would plausibly describe as an actor’s film. But they look their parts, and that’s ultimately more important. Neither Hardy nor Theron (nor anyone else in the film) delivers a particularly strong performance.
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(This is the rare movie that is genuinely worth seeing in 3D.) The reliance on stunts and practical effects helps contribute to Fury Road’s throwback-y appeal: At times the movie feels almost like a tone poem to early-’80s excess, a cross between a monster-truck rally and a Plasmatics concert. The action sequences are mesmerizingly choreographed and feature blessedly little overt CGI. The picture was shot by the Oscar-winning cinematographer John Seale ( The English Patient), who came out of retirement for the project, and his eye for quality shows. This all no doubt sounds tremendously silly, but Miller deploys his playthings with such visual virtuosity and outright ferocity that Fury Road never plays like a joke, inside or otherwise. (Sign me up for the Coma-Doof spinoff.) Fury Road is an A-plus B-movie, an action flick so vivid and visceral that it comes almost as a revelation. Enter the Doof Wagon, a monstrous heavy-metal amplifier on wheels-horns, speakers, kettledrums worthy of the Blue Man Group-and its frontman, the Coma-Doof Warrior, who hangs from strings like a marionette, wielding a two-headed guitar-cum-flamethrower. Of course a war party as rock-operatic as Immortan Joe’s needs its own soundtrack, and “Ride of the Valkyries” is not going to cut it here. The techno-primitivism is all of a piece: This is a world made up entirely of gears and chains and internal combustion engines. There are cars that bristle like hedgehogs and bandits who resemble Tusken Raiders, dive-bombing motorcyclists and chainsaw-wielding attackers who swoop down, Cirque de Soleil-like, on the tips of flexible poles. The creepy stilt-folk who wander silently through a fetid swamp. The mascara’d, shave-pated War Boys, huffing chrome spray paint with glee. The toothy, death-mask respirator worn by Immortan Joe (partly so we don’t recognize Keays-Byrne as the same actor who played Toecutter in the original Mad Max). If the narrative is simple, however, the costume and production design are magnificently baroque: the retro-futurist vehicles, emblazoned with skulls and tricked-out with spikes or tank treads or cannons. It’s a plot almost as linear as Max and Furiosa’s journey across the sands. The bad guys chase the good guys, occasionally catching up with them in time to initiate a set piece of delirious automotive destruction. There are good guys (most of them technically gals) and bad guys (pretty much all of them physically repellent in one manner or another). Dialogue is scant, and exposition all but non-existent. And that’s pretty much the movie.įury Road is a remarkably lean film, uncluttered by the discursive backstories, subplots, and hand-wringing moral quandaries that bring so many contemporary action movies to a grinding halt. When Immortan Joe assembles his own vehicular posse to hunt her down, Max, a captive, is brought along as a hood ornament and human “blood bag”-that is, an as-needed intravenous plasma transfusion for Joe’s ghostly “War Boys.” Max escapes, joins Furiosa on her odyssey toward a better future. So Furiosa steals a heavy “war rig” with five such women stowed aboard, and begins her trek across a seemingly endless desert. But she’s more furious still at Joe’s enslavement of his “breeders,” fertile women treated as sexual chattel to bear his babies. An important lieutenant in the army of brutal warlord Immortan Joe (Hugh Keays-Byrne), she is nonetheless furious that she was long ago plucked from her home to serve.
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Imperator Furiosa (Charlize Theron) is-you guessed it-furious. (Also, his dog, way back when, although that goes unmentioned in this telling.) (The very first scene of the movie finds him stomping a gecko flat, then eating it.) But mostly he’s mad because he was unable to save his wife and daughter from death at the hands of roving marauders. He’s mad that the world collapsed, that thermonuclear conflict led to a bitter Darwinian struggle for scraps and water amid the post-apocalyptic landscape. Max Rockatansky-played by Mel Gibson in the original trilogy and by Tom Hardy here-is mad.
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