Mad Max: Fury Road (MA)
Starring: Tom Hardy, Charlize Theron
THE definition of irony – Mel Gibson is clearly madder than he’s ever been, but he now can’t get a run in Mad Max.
It symptomises what is a strange, big film in so many ways. Admittedly, the physicality of this incarnation of Max is probably beyond Gibson in his dotage.
Much like Francis Ford Coppola filming Apocalypse Now, director George Miller and crew have gone in to the field with too much money, too much equipment, and they have gone completely insane.
This time it’s in the desert, not the jungle, but you get the idea.
Let’s start with the good: this film is visually stunning on a level unlike any other film you have ever seen – it’s almost operatic in scale. The production design is impeccable, and reminds one of the biblical phrase of the lust of the eye.
The screen is in constant, frenzied, unstoppable motion. The stunts are literally incredible – it seems a miracle no-one was killed.
That’s about the end of the good.
Where the film falls down is in its character – none; its plot – minimal; and its script – almost none.
With just 41 lines for lead character Tom Hardy as Max, it’s almost a silent movie.
There’s literally no concept of who Max is, where he’s from or what made him who he is.
The entire film is one long flame-filled chase through the sand – a road movie with bonus explosions.
Charlize Theron steals the show with her haughty catwalk presence, making it more of a Mad Maxine. Testify for the sistaz, Charlize.
A plethora of old and bold Australian actors join the effort, and the Australian accent features prominently in the wall of sound that assaults viewers and shakes their seats.
The car people will love some of the weird and wonderful creations roaming the desert – Valiant Charger tank, anyone?
This film is no classic, but Miller has created a flawed masterpiece with strengths as great as its weaknesses.
– Jason Beck
