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On the male side of the ledger you have Nathan Jones, an enormous Australian strongman who suffered a spiral fracture whilst arm-wrestling the equally enormous Magnus Samuelsson. The five aforementioned beauties are played by a veritable rainbow of models: the straw-blonde Rosie Huntington-Whiteley the white-haired Abbey Lee the redheaded Riley Keough the brunette Courtney Eaton and the raven-haired Zoe Kravitz (Kravitz and Keough are the only members of the quintet with more than a handful of IMDB credits). It’s about her quest to save five women from sex slavery and, in the course of doing so, rediscover the land from which she had been stolen almost 20 years before.ĭirector George Miller makes excellent use of non-traditional actors in Fury Road. Not that there’s anything wrong with that: Theron’s a fantastic actress and does "intense anger" about as well as anyone working today.
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Indeed, it occasionally feels as though the movie should be titled Imperator Furiosa, ft. Granted, Mel Gibson’s Max wasn’t exactly loquacious. But he’s very frequently not doing a great deal: For the first third or so of the flick he’s wearing a mask and strapped to the front of a car, and I would be surprised if the number of words he utters tops 300. So he chains his blood bag Max to the front of the car and takes off after Furiosa.įor a movie titled "Mad Max," it feels like Max is barely in it. One of the war boys, Nux, is getting a blood transfusion from Max but desperately wants to go on the raid. In order to bring Furiosa back-no mean feat, given that she’s driving a "war rig," a sort of semi on steroids that is armed to the death-Joe sends his war boys after her. Caged, branded, and tattooed with his blood type, things are looking bad for Max until Joe realizes that Imperator Furiosa (Charlize Theron) has absconded with five of the beauties he keeps locked up for breeding. Survival is the only thing that matters now-and surviving means staying on the move, constantly running from scavengers and brigands.Ĭaptured after attempting to flee one such band of raiders, Max is taken to a citadel held by Immortan Joe (Hugh Keays-Byrne) and his sons, "war boys" whose bodies are painted white and who live only to die for their father.
The planet has been rendered one huge desert, an endless expanse of wind-blown sand swirling about the plains. They have been reduced to ghosts haunting him for his failure to protect them after the world fell. Images of his dead family flash through his mind. We open with the titular mad man, played by Tom Hardy, staring out over a ledge. Though anything "bigger and more explosive" might have rather dire consequences for the planet: Action flicks don’t get any bigger or more explosive than Mad Max: Fury Road. Rather, Mad Max: Fury Road feels like an extended special effects show, a two-hour-long " sizzle reel" designed to get you hyped for something bigger and more explosive. Motivations are obvious and unchanging and largely unexplored, which isn’t a problem given the production’s interest in the basest of instincts-the eternal social struggle between freedom and slavery. The plot is about as barebones as can be: Get from point A to point B, and don’t die.
Mad Max: Fury Road doesn’t exactly feel like a narrative feature film.