Tag Archives: Mad Max

Furiosa: A Mad Max Saga (2024).

For some reason I cannot and do not wish to fathom, a Mad Max ‘Easter egg’ appeared in the revolting Deadpool & Wolverine (2024) and it almost sullied my appreciation for anything Mad Max or even the name Max. Almost. 

Furiosa (2024), a prequel set decades prior to the magisterial Mad Max: Fury Road (2015), thankfully does not feature a Deadpool or a Wolverine. Cunts.

Anyway, what was this movie like, you may enquire?

I was expecting a frenzied shitload of George Miller mental action which is always of the most inventive and considered (visually) kind, and he delivered. I was never in any doubt. It’s a feast for the eyes and ears, the stunt work once again mesmerising. And it actually has a deep storyline and characters for this kind of preposterous fare.

I hear it flopped at the box office. 

Audiences are stupid. 

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Mad Max: Fury Road (2015).

I wasn’t expecting much from this, the picture released decades after the last instalment. It smelled of a desperate reboot, and all the chatter of on-set discord (to put it lightly) between the leads wasn’t encouraging. But how stunning this movie turned out to be, a nonstop thrill-ride serving as the antidote to today’s CGI-laden borefests.

It looks like it was storyboarded to the max, and thank fuck as it’s expert spectacle. So many movies give the impression that the cinematographer and director never even discussed the visuals before the day’s shoot. Fury Road, however, defines … creative carnage.

I recommend the best way to view this treat is as a double bill with Mad Max 2: The Road Warrior (1981). Fittingly, Roger Ebert’s review of the Mel Gibson classic captures the appeal of both:

‘What is the point of the movie? Everyone is free to interpret the action, I suppose, but I prefer to avoid thinking about the implications of gasoline shortages and the collapse of Western civilization, and to experience the movie instead as pure sensation. The filmmakers have imagined a fictional world. It operates according to its special rules and values, and we experience it. The experience is frightening, sometimes disgusting, and (if the truth be told) exhilarating. This is very skillful filmmaking, and “Mad Max 2” is a movie like no other.’

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Waterworld (1995) – Mad Max on water.

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A notorious ‘flop’ that actually turned a small profit, Waterworld (1995) is at equal turns demented, awful, and glorious. A lot of the smug and snooty assassination of it clearly came from critics of the era who decided the omniscient Kevin Costner was getting too big for his boots. The movie is indeed patronising and way too overblown, character decisions perplexing, the dialogue stilted, and Costner appears to be sleepwalking through much of it and at full performance attempting a Clint Eastwood ‘Man with No Name’ number. And it can’t hold a candle to any of the Mad Max movies.

However, the stunts and action set pieces are nothing if not spectacular, and it’s one of the few ecologically themed movies out there, something with a vision that at least attempts to make a point. There are also so many peculiar moments amidst the explosions: Kevin Costner drinking his own piss, Kevin Costner’s gills and webbed feet, Dennis Hopper – who appears to have wandered off the set of Speed (1994) – away with the fairies, and the interlude with the loco Irish (or he is Scottish? Or a mixture of the two?) would-be rapist who has a talent for hoarding paper. It’s an experience.

Nothing’s free in Waterworld.

Further reading/viewing:

https://www.comingsoon.net/movies/features/1035947-18-things-we-learned-from-the-new-waterworld-blu-ray

https://lwlies.com/articles/waterworld-review-kevin-costner/

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