By Brett Blake It should be said right up front that MAD MAX: FURY ROAD is probably not a movie for everybody. While there are certainly many things about it that are objectively and inarguably great, the overall impression it leaves on viewers will depend on one’s tolerance for the baroque and the bizarre, because those are both present in spades. If you can get past that (or perhaps embrace it), you will find a breathlessly entertaining chase picture that exudes creativity from every frame, and one that is kind of a marvel of action choreography. Ostensibly a sequel to the original films about “Mad” Max Rockatansky (those being MAD MAX, THE ROAD WARRIOR, and MAD MAX BEYOND THUNDERDOME), writer/director George Miller’s FURY ROAD requires no knowledge of the events of the previous films, as an opening voice-over from Max (Tom Hardy) more or less sets the stage for the audience. The storyline, set in a post-apocalyptic future (some unknown number of years from now), sees Max abducted by a strange society in a desolate wasteland, a society lorded over by the sinister, always-masked Immortan Joe (Hugh Keays-Byrne), a despot who has positioned himself as a deity-figure, worshiped by the downtrodden people he has subjugated. Max soon finds himself aligned with Imperator Furiosa (Charlize Theron), one of Joe’s prized drivers who has rebelled against him and seeks to transport Joe’s captive harem (Zoë Kravitz, Rosie Huntington-Whiteley, Riley Keough, Abbey Lee, and Courtney Eaton) to the “green place,” a far off land of safety. Immortan Joe leads a large force to go after them, and a merry chase ensues, putting Max in a position to do what he’s meant for - help the innocent. While the specifics of the plot might sound complex, they’re really not. In fact, there’s only just barely enough plot to support the movie. The characters are vividly-drawn, to be sure, and the narrative gets the job done, but let there be no mistake: easily 70% of the movie exists as a series of protracted chase/action sequences. This will certainly please the action fans in the audience, but those looking for an engrossing plot will probably find it to be somewhat lacking. That is not to say the movie is without substance, however, as there are some great ideas in play, particularly those pertaining to religious fanaticism and the role of women in society. These notions are grace notes, though, not focal points. Tom Hardy tackles the unenviable position of carrying the torch that made Mel Gibson a star, but he more than acquits himself. His Max is a man of relatively few words, so Hardy brings an intense (and even quirky) physical presence to the part. And while his character’s stoicism is a defining feature, Hardy is able to mine some quite potent (though subtle) humor just from his body language and facial expressions. Max may be the titular character, but Charlize Theron upstages him (in a good way), and it is her journey that most people will leave the movie thinking about. It’s a spectacular performance, one that should cement Theron as a viable action badass. She conveys a steely-eyed, tough persona, someone who’s dedicated to her mission to help Immortan Joe’s captive girls, and as the movie goes on, Theron peels back the hard-edged layers to reveal a very human woman underneath. Anybody out there who thinks that a woman can’t be a believable action star (these people do exist, unfortunately) should be silenced by Theron’s work here. The aforementioned action is absolutely worth the price of admission. The scale of the setpieces is kind of staggering; when you consider that director Miller is 70, it’s remarkable that the filmmaking on display is so vital, visceral, and energized. There are shots in this movie where easily twenty vehicles are in the frame, moving at high speeds, and interacting with practical explosion effects and stunt work, and it’s incredible to watch. Of course there are digital elements in play, as well, but the sheer amount of for-real staging and choreography is stunning. Special kudos have to go to the stunt team, because they’ve pulled off something pretty special with their work here. Where - if anywhere - does the movie go wrong? As good as the action is, a case could be made that there’s a little too much of it! The movie barrels along at such a frenetic, nonstop pace (there are few quiet moments between the characters) that there does come a point by the third act where the setpieces - fun as they may be - reach a kind of exhausting level. You will feel put through the wringer by the end of it all; for some, this will make the movie feel all the more satisfying, like stuffing yourself on a great meal, but for others it might be too much to take. The movie also skirts right up to the edge of being a little too willfully weird; the design of Immortan Joe, his people, and their society is decidedly off-kilter, and it could be seen as strangeness just for the sake of it. The performances of Theron and Hardy keep things grounded in a very relatable emotional context, but everything around them is quite unhinged and out of control, to say the very least; this is a film where a caravan of pursuit vehicles is led by a (seemingly?) blind electric guitarist (whose guitar can double as a flame thrower, because why not?) who plays from the top of a tanker truck in the midst of the intense action. If that sounds like your kind of weirdness, you’re all set; if not, at least you’ve been warned. Ultimately, though, the movie is too handsomely made (I didn’t even touch on the outstanding makeup and costumes, nor the saturated and rich cinematography, nor the thundering sound mix), and too engagingly directed and performed to dismiss. You have not seen vehicular mayhem and stunts on this level in a long time (perhaps ever), and it’s an undeniably personal vision from George Miller, one well worth experiencing.
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