MAD MAX: FURY ROAD review by Carlos Aguilar.

Any post-apocalyptic scenario in which the maniacal ruling warlord deliberately appoints someone to play music while he and his army of equally insane slaves chase their enemies to the death deserves to be acknowledge as utterly original. It’s obviously not as fun to be a grotesque leader if your battles aren’t properly scored as you travel through the desert. Genius details like this propel George Miller’s 21st Century reimagining of his own deranged universe diabolically entertaining.

But MAD MAX: FURY ROAD is of course more than just a vehicle for some amazingly batshit characters to roam around, it also reignites our interest for the intricate and sometimes incomprehensible mythology that Miller introduced a few decades ago. His vision is noticeably current but undeniably timeless, and even if there are very few moments to breath and take it all in, there are some bigger ideas wrapped in-between the spectacular stunts and operatic nuttiness of it all.

mad_max_fury_road

For example, Miller gives us what could possibly be the first real female action icon of modern cinema, Imperator Furiosa, played exquisitely by Charlize Theron. Yes, some might argue that The Avengers’ Black Widow is a recent example, but as compelling as Johansson’s character is at times, it doesn’t compare to the raw strength Theron delivers. There is no doubt this is a two-hander that could have been titled “Furiosa and Max are Both Mad.”
Of course, what most fans want to know is whether or not Tom Hardy measures up to Mel Gibson’s legendary portrayal of the fearless rebel, and the answer is no. However, this doesn’t mean Hardy is bad, but that intelligently enough, and certainly under Miller’s direction, he decided to create a new version of Max that can’t really be compared to the original. The star was given a chance to start from scratch in a similar, but uniquely transformed world.

You must be asking what exactly is the movie about, and that is perhaps the hardest question to answer when watching the film. As silly as it might sound “Fury Road” is actually more of a greatly enjoyable attack on the senses that is more concerned with keeping you on edge than with plot points and explaining the mechanics of its world. What do we know about Max or Furiosa’s origin? Hardly anything. Do we know why the masked villain has all the power or how he came to obtain it? No. Are any other details explained such as the reason behind the aforementioned guitarist who is chained to one of the cars to play music on the road, or the purpose of the silver substance that Nicholas Hoult’s character sprays on his mouth constantly? Not a chance. Do they make the film less deliciously maddening? Not for a second.

MadMaxFuryRoad

Inevitably some of these questions will come to mind seconds after it’s all over, but they will be irrelevant while one is intoxicated by Miller’s talent as a filmmaker. The simplest description can be summarized as two fugitives turned warriors in a wasteland who are running away with several young girls who used to serve as breeders for a horrifying warlord. Still, that’s really just the surface.

What’s incredibly noteworthy about the film, besides Miller’s ability to reinvent his own chaotic universe, is the fact that he did it in the old-fashioned way this type of epic productions used to be made. He took his crew to the desert, he created the cars, there were real stunts, and he paid incredible attention to the cinematography, which was masterfully crafted by John Seale. By placing these visual elements at the forefront, Miller got rid of unnecessary dialogue and gifted us an exhilarating, gritty, often hilarious, and totally unforgettable movie that encourages you t get rowdy and get lost in its choreographed insanity.

MAD MAX: FURY ROAD is now playing in theaters nationwide.