George MILLER's MAD COME BACK === No script, just sounds, explosions, stunts & MAD vehicles. Men shout, grunt or keep their mount shut. Females gasp, look terrified & speechless. === Bruits, explosions, cascades & véhicules de malade ont remplacé le scénario. Les mecs hurlent, grognent ou la ferment. Les nanas halètent, ont l'air terrifiées ou la bouclent. A voir en avion si votre voisine ne vous intéresse pas.
How good are storyboards right? this idolises the production process, honouring the craft so successfully it makes me feel bad for wanting more. Two years on, the weaknesses add up as we watch from home cinemas; Hardy, the familiarity, any dialogue not the five lines oft quoted. But it also retains the thrill of Miller's hell, which next time I hope is weirder and more varied.
Watching the Black & Chrome Edition, it solidifies Mad Max: Fury Road as one of the most important and explosives films of the decade, with links to Verhoeven's Starship Troopers, Tsukamoto's Tetsuo The Iron Man and Lang's Metropolis. Beyond the green anarchism, its assault on toxic masculinity and the heritage of the action hero now seems prophetic two years later. Beneath the loud chaos lies the silent storm.
It won't be the first time a film has paid homage to 'Stagecoach', and it won't be the last. But George Miller has done it superbly...twice. 'Road Warrior' was purer in its way, but 'Fury Road' drags the saga kicking and screaming (sound and fury?) into a more vivid and more nihilistic era. Some say Max takes a back seat--figuratively *and* literally--to Furiosa in this film, and I agree. Good idea. Viva La Furiosa!
This is probably the only time I've actually enjoyed a film that mostly consists of car races, bloody fights, and unnecessary flame throwing.There was clearly a lot of effort put into the writing and display of the characters and the dystopian universe they inhabit. But, personally, it felt like an R rated, steam-punkish remake of my favorite George Miller film, "Babe 2: pig in the city".