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I enjoyed it very much.
However, I don't think it surpasses THE ROAD WARRIOR.
For me the big difference is the reality of the action sequences. TRW was truly breathtaking because you could tell they were really doing the stuff (or it damn well looked like they were!)
MMFR , on blu-ray at least, had a lot of fake looking stuff with rear projection being very obvious.
Perhaps the cg was better realized in the theater.
Coolest stunts: the pole vaulters - AWESOME!
check it out!
bruce
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Posted: |
Nov 7, 2015 - 7:25 AM
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By: |
Ralph
(Member)
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Jalopy survivalism in the aftermath of apocalypse became the central theme of Miller’s hyper Argosy tale “The Road Warrior.” That wasn’t the original intention; the director had in mind a Joseph Campbell-inspired myth about a loner hero warring against anti-chivalry. The story would evolve into an inflated Jung-heavy pulp journey mixing greed for the 7 Sisters oil and other natural resources with tongue-in-cheek s & m among the lususes naturae. In “Mad Max: Fury Road,” the jalopies — including a Valiant Charger, Cadillac DeVille, Mercedes-Benz Limo — remain prominent and likewise ready for a spread in the annual post-nuke edition of Auto Restoration. Even Rolling Stone will want to wax poetic about the traveling stage complete with multiple speakers and a cuming-with-fire guitar, in essence an update on the history of music in battle.
For a while this 34-years-later retread stays marginally entertaining, with some visual eye-candy supplied by John Seale. Then the inevitable: the de rigueur format takes over, a loss of interest builds, and in spite of Miller’s aim to rely on “real” effects and reduce the expensive fakery, everything begins to look like an overload of tired CGI. Just one example: butching up Charlize Theron isn’t enough so the tricksters give her a gratuitous prosthesis. Devotees, including many here at FSM, talk about the movie’s “depth” and “intelligence,” as if Theron as a stand-in for Sigourney Weaver qualifies, neglecting the fact that viewers have to overlook a few of her lassie charges appearing to be creepy groupies not very eager to be rescued from the Outback’s chief ogre (who needs clarifying subtitles) and that the lady seeders called the Vuvalini are, by optical appraisal, a terminal fancy. The cheat of Miller’s scorched, desolate domain is that sex seems the province of the aberrant, but what are we to make that here he adds ghostly white, kohl-eyed saltpeters from Cirque du Soleil as sub for the Hell’s Angels bondage in “TRW”? No surprise in Miller duplicating “TRW” climax, yet even with the Cirque du “pole dudes” it’s a lot less exciting — very minute is storyboarded to death. He also lifts the wrong bits from “Mad Max Beyond Thunderdrome,” what with the menagerie of freaks laboring to utilize the makeshift mechanics. (Okay, there aren’t any “right” bits to lift, either.)
Difficult diva Tom Hardy as the current Max isn’t provided the lengthy stargazing shots that Miller gave Mel Gibson. Wrong penalty: both the audience and the movie require Hardy’s testosterone. What’s allowed, once the iron bar mask is removed, manages to be sufficient to guess the potential to re-charge Max’s batteries and in the next outing confirm he can get it up for someone else, moving beyond suspicions of autosexuality. There is one surprise: Occasionally suggesting a British Tom Berenger, Hardy becomes a bonnie version as well as the ideal candidate to do the bio of Charles Laughton.
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I must admit i watched this with some trepidation of "oh that'll be another movie old henry over-promotes with his generous 10 scoring" -  but fair play to him, it had a good pace and was most decent.
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