Mad Max: Fury Road (2015)
Starring – Tom Hardy, Charlize Theron
Director: George Miller
Set in a post apolocalyptic world, freedom fighter Furiosa (Charlize Theron) leads the way in a revolutionary feminist appeal, transporting five wives from the main capital on the road to nowhere, seeking homeland. The journey across arid desert lands with no hope in sight, fleeing the tyrannical Immortan Joe, an enslaver of his people, the six females encounter one, daring hero, fighting for his own freedom.
A glossy remake of the original, now cast with an excellent choice of Tom Hardy as ‘Mad’ Max Rockatansky to take up the once perfect stance Mel Gibson gave to the role, continues to keep the film strong in the principal of avoiding a clichéd Hollywood casting that would ruin its momentum. Thanks be to Miley Cyrus not being in the back of that truck.
Though the film does stroll into some negative areas. The film is a long trek becoming comfortable with itself. While some films require this and work well within the framework, this is not its best asset. Having to wait too long to grasp a snapshot of the movie and its background loses the feel among a backdrop of boredom, isolation with the desert lands and no direct concept of what Theron sets out for.
It will certainly have the feminists raving for inclusion, but only conducted to seem more diverse makes the film stumble in its adoration for audiences. Weird costumes and wardrobe design for the gas mask type look with a distorted reality is a difficult watch. While trying to make new concepts the story here is somewhat off and does not bode well together at all. It is interesting attempt at feminism however will contradict itself with its prime example of typecast groups of females, with the appointment of the five wives. One is a model, while another is a previous actor from Transformers who adds to the warrior-esq, fighting style which contradicts feminism and its very core values. The names of the ladies are also very peculiar.
A guys film with a super hot stud and a level of warrior nature will appeal to some fans that like a different style on the average muck churned out by Hollywood today. Though the problem served remains trying to be too different that sets itself way apart from any level of a reality, even if the story is supposed to have a far-fetched mentality.
The story goes back and forth, has no clear direction and has moments of instable or lost ‘stilled air’ where moments are forgotten. Stunts are somewhat awkward, but have their place adding tense action for a thrill in some scenes. Though again, after the buzz, the thrill is there but distilled. Needing a little more craft and attention to detail would prevail, but is overall passable.
While it is a better, new age, feel good, non-traditional movie, backed up with a very difficult, bulky feel of hardman meets hardbabe to demystify gender boundaries, the film is more of a gender showing off than what Mad Max was originally intended for. It is passable to score highly but still has its flaws which make it lose out on its full potential. It tried to be too non-modern, epicness with fans that lost it some fuller excellence. While it is a very good film for today’s modern age, it is still, just a film, which is crippling to the Mad Max hopes of being somewhat more than average.
A cross between a zombie flick with an actual plot and a modern hero saving the princess from her castle. Attempts to be gritty have made it, in part, a mess, instead, which is upsetting to be a part of in viewing and critique. But that is where it is at. It will probably captivate a few teens, but overall, will it be enough? Plus the demographic of the Mad Max franchise is modern young adult boys growing up with the flick in the first place. For teen fans they will rave and “Yay!” For others, “Meh!” “It was okay.” For trying to stand out with a new stance on Hollywood and the pure gritty film resurgence, Mad Max’s Fury Road is a little off course. Perhaps it can stop for gas and refuel. Only time may tell. Surely there will be a sequel. It’s the new age of capitalist conveyor belt. It seems reviews only come in at a high bias simply because they want it to be meaningful, rather than judged purely on this credentials. Want for a film to succeed won’t make it happen. It either has it or not.
Casting? Good. Dialogue? Fair. Motion and story? Good. Concept? Passable. It’s decent but needs work in forming its own reality and its story, with a look that isn’t so Alien female meets Prince Charming of an underworld without glossy finesse outside of a Hollywood bubble. Difficult to achieve, yet that is what was set out for the film and now, its future challenges.
The film was originally delayed after 2001, for good reason. Since focusing on animated projects, Miller, who achieved well and much on those projects may have attempted to rebirth this project under the basis of changing from the too sweet animative directions taking up his new time. The project at the heart of his desire may have been formed by the previous films’ stance and trying to get away from being seen as a sweet director since the gritty to the kind came about. In doing so, Miller may have gone too far back to try and be original. The boundary would be in the middle, with a modern day take on the world, while understanding audience need. His passion involved and the attempts of efforted change have been noted, though needs to find the right balance if ever to further achieve what it hopes to set out for.
Film Rating – 4/5
Jason Boland/Warner Brothers/Associated Press