Movies MAD MAX: FURY ROAD (Dragonlord's Review)

[Frode Falch]

Fucking love this movie.

And fury better than mad max is laughable .

Fury is 5/10

Max 11/10

I agree. But watching it at home on a big screen, and my soundsystem on very loud, i may have to give max 12/10

 

[Irenaeus]

Well, the first Die Hard spent time painting a character to us and setting up an emotionally involving story with his family AS WELL as setting up a world that the audience recognizes as having real world consequences. By getting the audience to feel/hope/care for the characters like they would in a drama, they created a movie that became a classic action movie because it transcended the action genre. It sounds so easy, but it's actually really difficult to create compelling dramatic elements. It's hard enough to do when you've got a two hour drama to work with, but it's really hard to do when you have to fit it into an action movie.

Thanks for a well-thought out and interesting answer. I'm not sure I agree with your conclusions, though. Fury Road gets it's transcendence (for me) in the artistic. World building, visual expression and sheer momentum which seems more symphonic than cinematic at times. And it's plots, themes and characters works well for analysis as well.

It's interesting that you bring up Die Hard, as it illustrates well how differently we think about this. For me, the word I'd use when describing Die Hard would be archertypical, with exactly the kind of dramatic elements it needs to give the viewers invested. Mad Max, however is extremely atypical, and transcendental is among the words I've actually used to describe it.

It's not that important if it is or isn't, I just found it interesting how we've applied terminology differently here.

 

[Deleted member 429137]

Thanks for a well-thought out and interesting answer. I'm not sure I agree with your conclusions, though. Fury Road gets it's transcendence (for me) in the artistic. World building, visual expression and sheer momentum which seems more symphonic than cinematic at times. And it's plots, themes and characters works well for analysis as well.

It's interesting that you bring up Die Hard, as it illustrates well how differently we think about this. For me, the word I'd use when describing Die Hard would be archertypical, with exactly the kind of dramatic elements it needs to give the viewers invested. Mad Max, however is extremely atypical, and transcendental is among the words I've actually used to describe it.

It's not that important if it is or isn't, I just found it interesting how we've applied terminology differently here.

I think we actually agree a lot, we're just using different terminology. I'd absolutely agree that Die Hard became archetypical, but would suggest that wasn't what they were thinking when they crafted it.

And, yeah, Mad Max is gorgeous, vibrant, symphonic, and so intricately-crafted and nuanced (which is pretty unbelievable given how boisterous and frenzied it is for almost 2 hours), but... maybe transcendental is the wrong word. If any action movie should be viewed as transcendental or sublime, it's this one. Maybe I should just say it doesn't slip the bonds of an action movie, meaning it doesn't venture into any other genres. But it hints at deep drama and that is very compelling to watch.

Though I have to admit when I watched it the second time (on DVD) it was a much less captivating experience. I didn't realize how much shock and awe I felt from the giant screen and the booming speakers. I can honestly say I've never been pumped up by any other movie I've seen in theatres as compared to watching it at home and, to me, that speaks volumes of how Miller pushed the medium.

 

[europe1]

Well, the first Die Hard spent time painting a character to us and setting up an emotionally involving story with his family AS WELL as setting up a world that the audience recognizes as having real world consequences. By getting the audience to feel/hope/care for the characters like they would in a drama, they created a movie that became a classic action movie because it transcended the action genre. It sounds so easy, but it's actually really difficult to create compelling dramatic elements. It's hard enough to do when you've got a two hour drama to work with, but it's really hard to do when you have to fit it into an action movie.

I think Fury Road's story is driven more by "thematic" elements rather than "dramatic" ones. Sure there arn't much "character building" in Mad Max, since George Miller basically assumed we would understand the characters from the get-go. This opened him up to persue other things.

Fury Roads story is instead centered around themes. Take slavery for instance. Every good-guy in Mad Max is a slave of some sort. Max is literally enslaved in the opening. Furiosa has been a slave since she was a child. The brides are Immortal Joe's concubines. And Nux has been brainwashed into becomming a slave-soldier. All good-guys overcome this enslavement through the film - both as in the literal bondage of slavery, and its mental trauma and programming. And there are other themes as well, such as its very gendered subtexts.

It's stuff like this that George Miller wants to explore. When you want to center your movie around themes, the "character-building" has to be designed to support this. Which I think Miller does superbly. We are not at once in doubt about the characterization of the characters in Fury Road. Its all streamlined to us in a very pedagogic manner so that we can get on with the meaty parts that Miller wants to explore.

Personally, I find stuff like this super-engaging.

(And this is nothing new for Miller. He has always been about making "thematic" action movies. Compare Nux and Immortal Joe to Toecutter and Jhonny Boy in the original Mad Max and you'll see that he has certain themes that he is very intrested in).

 

[Deleted member 429137]

I think Fury Road's story is driven more by "thematic" elements rather than "dramatic" ones. Sure there arn't much "character building" in Mad Max, since George Miller basically assumed we would understand the characters from the get-go. This opened him up to persue other things.

Fury Roads story is instead centered around themes. Take slavery for instance. Every good-guy in Mad Max is a slave of some sort. Max is literally enslaved in the opening. Furiosa has been a slave since she was a child. The brides are Immortal Joe's concubines. And Nux has been brainwashed into becomming a slave-soldier. All good-guys overcome this enslavement through the film - both as in the literal bondage of slavery, and its mental trauma and programming. And there are other themes as well, such as its very gendered subtexts.

It's stuff like this that George Miller wants to explore. When you want to center your movie around themes, the "character-building" has to be designed to support this. Which I think Miller does superbly. We are not at once in doubt about the characterization of the characters in Fury Road. Its all streamlined to us in a very pedagogic manner so that we can get on with the meaty parts that Miller wants to explore.

(And this is nothing new for Miller. He has always been about making "thematic" action movies. Compare Nux and Immortal Joe to Toecutter and Jhonny Boy in the original Mad Max and you'll see that he has certain themes that he is very intrested in).

I agree 100%, but I don't think thematic elements escape the limitations of the genre, I think it just makes the film rise to the top of that genre by being rich and stimulating in a very thoughtful way that most directors can't (or won't) attempt. Every moment of the film is pregnant with depths and meaning to be explored, but it doesn't become anything more than an action movie. Imo.

 

[Irenaeus]

I think we actually agree a lot, we're just using different terminology. I'd absolutely agree that Die Hard became archetypical, but would suggest that wasn't what they were thinking when they crafted it.

And, yeah, Mad Max is gorgeous, vibrant, symphonic, and so intricately-crafted and nuanced (which is pretty unbelievable given how boisterous and frenzied it is for almost 2 hours), but... maybe transcendental is the wrong word. If any action movie should be viewed as transcendental or sublime, it's this one. Maybe I should just say it doesn't slip the bonds of an action movie, meaning it doesn't venture into any other genres. But it hints at deep drama and that is very compelling to watch.

I don't have much to add, but I nodded a lot when reading this. I think you're rigth in that we're mostly in agreement.

Though I have to admit when I watched it the second time (on DVD) it was a much less captivating experience. I didn't realize how much shock and awe I felt from the giant screen and the booming speakers. I can honestly say I've never been pumped up by any other movie I've seen in theatres as compared to watching it at home and, to me, that speaks volumes of how Miller pushed the medium.

I actually didn't know at all what to say about the general quality of the movie after watching it in the cinema for the first time, it was so unfamilliar. But I did immediately state that it was my best movie-going experience ever. I haven't seen it at home yet, but I watched it three times in the theatre. It's the first time I've done multiple viewings since I was a geeky teenager, and I'm very happy with my choice. I can completely see it being far less of an experience on DVD on a less than awesome system. It's a movie built on immersion and momentum, after all. It might easily lose value on a smaller screen, with flimsier sound, and with the convenience of pausing.

@europe1: good call on the thematic elements. I've been trying to put into words how I feel it's simplistic on the surface, but at the same time stands up to pretty rigorous litterary analysis. It's pretty sweet.

 

[europe1]

I agree 100%, but I don't think thematic elements escape the limitations of the genre,

But why is that important?

Why is a human drama (like Die Hard in your example) inherently "better" than a thematic film like Fury Road becuse it has crafted a human drama?

 

[Deleted member 429137]

I don't have much to add, but I nodded a lot when reading this. I think you're rigth in that we're mostly in agreement.


I actually didn't know at all what to say about the general quality of the movie after watching it in the cinema for the first time, it was so unfamilliar. But I did immediately state that it was my best movie-going experience ever. I haven't seen it at home yet, but I watched it three times in the theatre. It's the first time I've done multiple viewings since I was a geeky teenager, and I'm very happy with my choice. I can completely see it being far less of an experience on DVD on a less than awesome system. It's a movie built on immersion and momentum, after all. It might easily lose value on a smaller screen, with flimsier sound, and with the convenience of pausing.

@europe1: good call on the thematic elements. I've been trying to put into words how I feel it's simplistic on the surface, but at the same time stands up to pretty rigorous litterary analysis. It's pretty sweet.

I'm definitely going to see it when it's back in Imax. That music flowing over you...

 

[Deleted member 429137]

But why is that important?

Why is a human drama (like Die Hard in your example) "better" than a thematic film like Fury Road?

Personal preference, I guess. The action movie genre is pretty silly as a whole. All the great action movies manage to be something more because... they have to. Action movies are basically the same power fantasies 13-year-old boys have drawing jets attacking dinosaurs in class. They're immature, they're silly as shit and the ones that don't even try are eye-rollingly stupid.

I'm not saying Die Hard is better than Fury Road. I'm saying Fury Road is as good as an action movie gets without incorporating well-done dramatic elements and using the strengths of other genres to really affect the audience.

 

[Dragonlordxxxxx]

Update: October 12, 2015

George Miller Says Furiosa Won't Star in the MAD MAX Sequel

After George Miller's Mad Max Fury Road was over, many people were not only thrilled with Tom Hardy's performance as Max, but many people got a kick out of Charlize Theron's character, Furiosa as well. When the Mad Max: Fury Road sequel was announced, lots of people hoped to see her in action once more. However, in a new interview with Digital Spy, director George Miller doesn't think that'll be the case.

"I'm not sure, is the answer. She's not in the Mad Max [sequel] story, but in one of the stories there's an interaction between [Max and Furiosa]. I can't really say more than that because it's still in progress." So she won’t be kicked out of the sequel entirely, she just won’t have the type of role she had in the first film.

While many of you might not be too pleased with the Furiosa situation, director George Miller also revealed that the sequel film may not be titled Mad Max: The Wasteland after all. "That name came out, that was just a working title. Nico Lathouris and I wrote deep backstories on all the characters and they eventually became screenplays - so we have two [more movies]."

He then continued and told how he doesn’t want that many special effects and stunts for the next film. "I'm happy to say that there's discussions about them right now, but I hope the next film I make is a very small without any special effects and not many stunts."


Charlize Theron's 'Furiosa' Won't Have A Prominent Role In The MAD MAX Sequel

 

[Jermei]

Whatever they end up doing i'm in. Go write your story, film it and I dont care if its full of action and cgi just as long as its good.

 

[Thai Otoshi]

I want moar Furiosa!

 

[MMouse]

Whatever they end up doing i'm in. Go write your story, film it and I dont care if its full of action and cgi just as long as its good.

Does less stunts mean potential for less action therefore potential for it to be sub par to fury road?

Seems like miller see's how exhausting and risky it is to do stunts like the old days.

I just hope this next mad max film is just as good as fury road

 

[Dragonlordxxxxx]

Update: December 1, 2015

MAD MAX: FURY ROAD Named Best 2015 Film by the National Board of Review

The National Board of Review on Tuesday revealed its 2015 film awards, naming Mad Max: Fury Road as the best film. Despite receiving the top prize, best film was the only award won by the post-apocalyptic blockbuster starring Charlize Theron and Tom Hardy. Released in May, the $150 million pic has grossed $375.8 million worldwide.

The Martian won honors for best director (Ridley Scott), best actor (Matt Damon) and best adapted screenplay (Drew Goddard). The Room star Brie Larson was named best actress, with her young co-star Jacob Tremblay receiving an award for breakthrough performance, which he will share with fellow young sensation Abraham Attah from Beasts of No Nation.

Hateful Eight's two NBR awards are the first major honors received by the Quentin Tarantino pic, which is getting a Christmas Day limited release. The filmmaker won the prize for best original screenplay, and Jennifer Jason Leigh was tapped as best supporting actress. After receiving a leading 14 nominations from the Annie Awards, Inside Out was named best animated feature by the NBR.

Besides Mad Max: Fury Road, here are the NBR's Top Films of 2015: Bridge of Spies, Creed, The Hateful Eight, Inside Out, The Martian, Room, Sicario, Spotlight, Straight Outta Compton


George Miller's 'Mad Max: Fury Road' Named Best Film by National Board of Review

 

[Dizzy]

Finally got around to watching this, holy fuck was it good.

High expectations going in and it still exceeded them. One of the best movies I've seen in a while.

 

[Gregolian]

Finally got around to watching this, holy fuck was it good.

High expectations going in and it still exceeded them. One of the best movies I've seen in a while.

I loved how simple they kept Hardy's lines.

 

[shunK-1fan]

Lol, love that gif

 

[Dragonlordxxxxx]

Update: December 5, 2015

Boston Online Film Critics Awards the Best Picture to MAD MAX: FURY ROAD

The Boston Online Film Critics Association announced its 2015 winners Saturday morning, awarding best picture to Mad Max: Fury Road. Mad Max also scored big in four other categories, including best director for George Miller; best cinematography for John Seale; best editing for Margaret Sixel; and best original score for Junkie XL.

Critics opted for the Charlize Theron-starrer over Spotlight, the true story about the Boston Globe journalists who uncovered the massive scandal of child molestation by priests, followed by cover-up within the local Roman Catholic Archdiocese in 2001. Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Brian d'Arcy star in the Tom McCarthy production. Spotlight won best ensemble and best screenplay.

Michael B. Jordan took home the best actor award for Creed while Saoirse Ronan won best actress for Brooklyn. Sylvester Stallone was awarded best supporting actor for his role in Creed and Clouds of Sils Maria's Kristen Stewart took the best supporting actress win.

Son of Saul took the award for best foreign language film; Amy Winehouse doc Amy won best documentary; and Spotlight was awarded best ensemble. Pixar's Inside Out won best animated film.

The association also announced their top 10 films of the year: 1. Mad Max: Fury Road, 2. Creed, 3. Brooklyn, 4. Carol, 5. Spotlight, 6. Clouds of Sils Maria, 7. Bridge of Spies, 8. The Martian, 9. Anomalisa 1, 10. Tangerine


'Fury Road' Wins Five Awards from Boston Online Film Critics Including Best Picture

 

[MMouse]

Update: December 5, 2015

Boston Online Film Critics Awards Best Picture to FURY ROAD

The Boston Online Film Critics Association announced its 2015 winners Saturday morning, awarding best picture to Mad Max: Fury Road. Mad Max also scored big in four other categories, including best director for George Miller; best cinematography for John Seale; best editing for Margaret Sixel; and best original score for Junkie XL.

Critics opted for the Charlize Theron-starrer over Spotlight, the true story about the Boston Globe journalists who uncovered the massive scandal of child molestation by priests, followed by cover-up within the local Roman Catholic Archdiocese in 2001. Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Brian d'Arcy star in the Tom McCarthy production. Spotlight won best ensemble and best screenplay.

Michael B. Jordan took home the best actor award for Creed while Saoirse Ronan won best actress for Brooklyn. Sylvester Stallone was awarded best supporting actor for his role in Creed and Clouds of Sils Maria's Kristen Stewart took the best supporting actress win.

Son of Saul took the award for best foreign language film; Amy Winehouse doc Amy won best documentary; and Spotlight was awarded best ensemble. Pixar's Inside Out won best animated film.

The association also announced their top 10 films of the year: 1. Mad Max: Fury Road, 2. Creed, 3. Brooklyn, 4. Carol, 5. Spotlight, 6. Clouds of Sils Maria, 7. Bridge of Spies, 8. The Martian, 9. Anomalisa 1, 10. Tangerine


'Fury Road' Wins Five Awards from Boston Online Film Critics Including Best Picture

Hope miller does a sequel

 

[Dragonlordxxxxx]

Update: December 13, 2015

MAD MAX: FURY ROAD Named Best Picture by the Online Film Critics Society

Mad Max: Fury Road has been named Best Picture by the Online Film Critics Society. The group, which is comprised of 254 online film critics from 22 countries, also voted Fury Road's George Miller as best director and gave it awards for editing and cinematography.

Carol took home three prizes, including best actress for Cate Blanchett and best supporting actress for Rooney Mara and well as best adapted screenplay. Best actor honors were awarded to Michael Fassbender for Steve Jobs, and Oscar Isaac was named best supporting actor for his work in Ex Machina. The award for best original screenplay went to Spotlight.

The Assassin, Taiwan's foreign-language Oscar submission, was hailed as best foreign language film; The Look of Silence, best documentary; and Inside Out, best animated film.

Because the organization is composed of members from across the globe, the group also recognizes films that have not yet been released in the United States. The honorees in that category this year were Aferim!, Cemetery of Splendor, The Club, Dheepan, The Lobster, Mountains May Depart, Mia Madre, Rams, Right Now, Wrong Then, and The Sunset Song.


'Mad Max: Fury Road' Has Been Named Best Picture by The Online Film Critics Society