What else is there to say about George Miller’s highly acclaimed Mad Max: Fury Road? Does it feature some jaw-dropping practical action set pieces? Yes, it does. Is the insanity cranked all the way up to eleven? Oh yes, it is. Is that guy strapped to the back of a car while playing an electric guitar that shoots flames? Yes, he certainly is. But the most important question to ask now is: will it hold up all these years later? When the first wave of reviews for this film came out, I recall seeing a reoccurring phrase that described the film as “an action movie masterpiece that puts all other modern-day action films to shame.” Nine years later, I wouldn’t call Mad Max: Fury Road a perfect film, but it is definitely a very well-assembled piece of action filmmaking. And given the film’s hellish production history, it doesn’t just drive past expectations; it speeds through them at 100 miles an hour in a beautiful blaze of glory towards the gates of Valhalla.
This is the fourth film in the Mad Max franchise, and it operates as both a follow-up and a reimagining of the world that Miller has created. It is possible to watch this as its own standalone feature, but the experience would be enhanced if you watched the other three: Mad Max (1979), Mad Max II: The Road Warrior (1981), and Mad Max: Beyond Thunderdome (1985) to get an understanding of what kind of vibe the film is going for. In case you weren’t sure already, the vibe is pure madness. Set in a post-apocalyptic desert wasteland, Max Rockastansky (Tom Hardy) is a lonely drifter who finds himself captured by the evil warlord Immortan Joe (the late Hugh Keaghs-Byrne) and his group of subordinates known as the War Boys. One day, Joe sends one of his lieutenants, Imperator Furiosa (Charlize Theron), to drive the “War-Rig,” a large armored truck full of gasoline, to trade fuel to one of his allies in exchange for weapons and ammunition. However, unbeknownst to Joe, Furiosa is secretly planning on stealing this war rig to help sneak his five wives: The Splendid Angharad (Rosie Huntington Whiteley), Toast the Knowing (Zoe Kravitz), Capable (Riley Keough), The Dag (Abbey Lee), and Cheedo the Fragile (Courtney Eadon) out of his citadel. So Joe sends his army, including one of the War Boys named Nux (Nicholas Hoult), who has used Max as his ‘blood bag’ to bring Joe’s wives back to him. From there, action, vehicular destruction, and carnage ensue.
The above paragraph is probably the most you’ll get when it comes to setting up the plot, and the film doesn’t waste any time dealing with exposition. The world has gone to sh*t, and everyone has gone mad. That is all you need to know. The film is basically a one-hour and fifty-minute car chase sequence. You would think that this simple set-up could make the film run out of steam very quickly, but what Miller and the rest of the filmmakers do so brilliantly and effortlessly here is that they keep all of the action varied and exciting. You really get the impression that there was a strong level of detail put into crafting this world and all of the different aspects, like the characters, the cars, and, of course, the set pieces. It has been reported that roughly 80 percent of this film utilised practical effects and real-life stunts, which really gives the film a strong sense of authenticity and intensity. Upon rewatching this film again, I was still surprised by the number of times that I found myself flinching or when I was on the edge of my seat, fearing that someone could be thrown off a car or fall to death. Nine years later, I am still unsure as to how they shot the majority of this film, and if you haven’t already, I would strongly recommend watching the behind-the-scenes featurette for the making of this film.
Aside from being the action movie equivalent of downing six cans of Red Bull, the film can also be the blueprint for how to make an exceptional film in the genre. Miller’s film is far from mindless entertainment, despite having several characters act as though they’ve lost their minds. There’s a strong level of sophistication and intelligence put into making this crazy world come to life. The plot is purposely simple and straightforward, as it operates as a roadmap for the over-the-top action to take place. It also doesn’t succumb to unnecessary cliches of the genre, like having a character deliver a cheesy one-liner after the damage has been done or incorporating computer-generated effects into the action to play things safe. It is no surprise that this film walked away with Best Editing, Best Sound Mixing, Best Sound Editing, and Best Production Design at the 88th Academy Awards (as well as two other awards: Best Costume Design and Best Make-Up and Hairstyling) because all of its technical aspects are top of their craft. If there was an Oscar for Best Stuntwork, then I would have no doubt that this film would have walked away with that award as well. Could I use this article as a means of advocating for the Academy to create that category as well, please?
The story isn’t as thin as you’d expect from a film that favours spectacle over narrative. It does have its quieter moments where the characters reflect on their plight and how things have descended into madness, but they never overstay their welcome. I would say that the film’s pace does grind a little bit to a halt at one point in the third act, but it isn’t enough to drag down the overall quality of the film. Miller keeps the action fresh and exciting, and there is always a sense of urgency throughout. That time is of the essence for the lead characters as Immortan Joe and his War Boys pursue them. The film doesn’t have the strongest level of characterisation as well, but I wouldn’t say that it is thinly written. Tom Hardy’s Max is a man of few words, and there is a serviceable amount of backstory given to him to make us care about what is going on. Surprisingly, the real star here is Charlize Theron as Imperator Furiosa, who is one badass lead protagonist. She gives a solid performance here, and I am very much looking forward to learning more about her backstory when Furiosa: A Mad Max Saga is released.
So does Mad Max: Fury Road put all other modern-day action films to shame? I can think of a handful of films that have come close to recapturing the same kind of feel as this one, and I can honestly say that it is a pretty damn impressive action filmmaking achievement. It’s an excellent example of how you can take a simple premise of cars chasing after a truck in the desert and inject it with a sense of madness, creativity, practicality, and energy. It boasts a promising direction for this franchise to steer towards, and with the upcoming release of the latest prequel, Furiosa: A Mad Max Saga, it will be a lovely day for fans of the franchise. What a lovely day! SEÁN MORIARTY
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