Mad Max Fury Road Film Review :
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George Miller’s “Mad Max” films didn’t just make Mel Gibson a star—they completely transformed post-apocalyptic entertainment with their visceral stunt work and singular vision of an increasingly desperate future. Three decades after the last film, the oft-maligned “Mad Max Beyond Thunderdome,” Miller finally returns to this desolate landscape for the highly-anticipated “Mad Max: Fury Road,” recasting the title role in the grizzled visage of Tom Hardy and upping the stakes with promises of vehicular mayhem on a level commensurate with what modern CGI audiences have come to expect.
From its very first scenes, “Fury Road” vibrates with the energy of a veteran filmmaker working at the top of his game, pushing us forward without the cheap special effects or paper-thin characters that have so often defined the modern summer blockbuster. Miller hasn’t just returned with a new installment in a money-making franchise. The man who re-wrote the rules of the post-apocalyptic action genre has returned to show a generation of filmmakers how they’ve been stumbling in their attempts to follow in his footsteps.
An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and most everyone is crazed fighting for the necessities of life. Within this world exist two rebels on the run who just might be able to restore order. There’s Max, a man of action and a man of few words, who seeks peace of mind following the loss of his wife and child in the aftermath of the chaos. And Furiosa, a woman of action and a woman who believes her path to survival may be achieved if she can make it across the desert back to her childhood homeland.
George Miller’s new film gathers up all that we seem to crave, right now, from our movies, and yanks it to the limit. There is a moment, in “Mad Max: Fury Road,” when Max (Tom Hardy) washes blood off his face. This is unsurprising, since he has just engaged in one of many fights, but two points are worthy of note.