Mad max fury road movie
Morgan with an ornate false nose and holes in his waistcoat to accommodate his chained nipple rings!
#MAD MAX FURY ROAD MOVIE FREE#
How do you steer without a wheel? Use a wrench! How do you free yourself of harpoons in the rear end of your truck? Get back there with a bolt-cutter! How do you keep a commandeered vehicle moving when you’re about to abandon ship? Use the huge, gouty foot of an obese, recently deceased steampunk J.P. Max, Furiosa and the others speak of their world – or rather don’t speak of it – as people who are accustomed to living in it might, and save their breath for matters of practical exigency, which is to say survival. This isn’t haphazard storytelling: Miller knows that stopping off for exposition breaks will cost him valuable speed. The camera is almost perpetually in motion, and when it isn’t, everything else is the dialogue, mostly shouted, is half-heard over the roar of a V8 engine. It seems that the eco-crisis which has scorched the earth has brought with it an infertility epidemic, but we are given to understand only as much of the actual mechanics of the society that has emerged since “the world fell” as we can glimpse in the rear-view. Shot in the Namib Desert of south-west Africa by DP John Seale, Fury Road has a palette that’s all ochre by day, cobalt by night. Miller is making an epic, and has chosen his visual references accordingly: Joe’s ‘Citadel’ reproduces the high and low strata of Lang’s Metropolis (1927), while the flight across the desert, replete with a sandstorm whipped up by a freak cyclone, evokes the Old Testament shock and awe that evaded Ridley Scott’s Exodus: Gods and Kings.
#MAD MAX FURY ROAD MOVIE MOVIE#
His Max spends much of Fury Road being jerked hither and thither by forces beyond his command, first picked up by the corpsepaint-pallid ‘War Boy’ soldiers serving water-hoarding dictator King Immortan Joe ( Hugh Keays-Byrne, Mad Max’s main heavy, unrecognisable beneath oxygen-mask headgear), then throwing in his lot with renegade Imperator Furiosa ( Charlize Theron, sporting a prosthetic arm), who’s made off with one of Joe’s armoured trucks and his five-woman harem, driving headlong into the arid wasteland with three armies at her heels.įrom humble, homemade origins, each Max movie has trebled in size, and Fury Road is the metastasised endpoint.
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It’s a downgrade – though it would be misleading to suggest that Hardy is being asked to ‘carry’ the movie. The man the tabloids have dubbed Mad Mel has been deemed unsafe-at-any-speed for a franchise property, so the role of Max Rockatansky has now gone to sensitive silverback Tom Hardy. It is something like the rundown in the last third of Mad Max 2 (1981) stretched to feature length – I don’t believe I have seen a film on this scale so single-mindedly dedicated to the heat of pursuit since, well, Mel Gibson’s Apocalypto (2006).
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Miller’s Mad Max: Fury Road is a hammer-down, cast-iron-plated, diesel-exhaust-belching manifesto on the physics of screen action, a metamechanics monster truck show with everything but a Robosaurus. Now the wait is over, and the weight is back. In the 30 years since Mad Max Beyond Thunderdome, a number of champs have come and gone, and the car chase has become a game of featherlight pixels floating about.
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George Miller, who made his directorial debut with 1979’s exemplar of vehicular action Mad Max, hasn’t been in the cooler like Tyson (or John McTiernan), but recently he has concerned himself with franchises involving talking pigs ( Babe) and soft-shoeing penguins ( Happy Feet).
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The Splendid Angharad Rosie Huntington-whiteley