3/25/2023 0 Comments Riley keough mad max![]() Splendid Angharad (Rosie Huntington-Whiteley), Toast the Knowing (Zoë Kravitz), Capable (Riley Keough), Cheedo the Fragile (Courtney Eaton), and the Dag (Abbey Lee), are incalculable to him, particularly Splendid as she carries his unborn progeny and is approaching term. ![]() Suddenly we pause for breath and Miller ensures that our attention doesn’t wane by hosing down a quintet of scantily clad vixens before our more than grateful eyes. While Joe is clearly impassioned by Furiosa’s wanderlust, he is even more sullen over the potential displacement of her cargo. Then there is persistent tag-along Nux (Nicholas Hoult) and he too becomes a principal character as he sets off to retrieve his bounty, thus earning himself admission to Valhalla, his reward for throwing a wrench in the works and halting the wayward expedition. Once her pedal tastes metal, we are treated to a road movie unlike any other in existence, and Fury Road barely stammers to spray its teeth chrome as the euphoria is administered via wave after wave of delectable action set-pieces. Perched in the driving seat of a massive armored war, she is sent to retrieve gasoline from nearby Gas Town, with numerous escorts in tow. From the very first moment we are introduced to his want away commander she has her foot firmly on the gas pedal and her face tells us all we wish to know about her battle plan. The rebellious Imperator Furiosa (Charlize Theron) has her own designs on mapping out her future and none of them include existing in Joe’s oppressive palace a moment longer. Life sucks for our former road warrior and he spends most of the opening act grunting his derision from behind his alloy muzzle whilst being prodded, poked, and siphoned by his antagonists.Īs inhospitable and memorably foreboding as the Citadel may be, it isn’t long before we hit the dirt tracks, and it is here that Miller’s vision begins to gain clarity. Max is holed up in the citadel and considered nothing more than a blood bag for the notorious War Boys, Joe’s carbon copy chrome head rearguard. The tyrannical Immortan Joe (Hugh Keays-Byrne) now owns the monopoly and rules from his elevated vantage, using the bargaining tool of vastly diminished water supplies to drip feed his kingdom of worshipers. While Hardy’s opening narration reminds us briefly of his origins, Miller chooses against elaborating further and purposely upholds his anonymity, whilst lavishing the screen with all manner of memorable new players. We are introduced to Max Rockatansky (Tom Hardy) and also to his personal demons as he is haunted by these forsaken souls at every turn. Shot entirely in Namibia, Fury Road wastes precious little time in revving its engines and it’s almost twenty minutes before we are allowed to catch our breath and take a head count. Every summer it’s the same, and blockbusters ordinarily reek of opportunism and safe practice, but Miller manages to break the mould here and offer a film which stands up best to scrutiny when taken as a film on its own individual merits, while still maintaining the vibe of its forerunners. Clearly The Road Warrior is the main inspiration with regards to both tone and pace as Fury Road closest resembles the 1981 film, although he has no intention of simply painting by numbers and, moreover, does more than enough to warrant fresh franchising. Miller actually devised storyboards, comprising around 3500 panels, before work began on the screenplay and this speaks volumes of his intention of providing a visual spectacle. ![]() Whereas its predecessors offered a bleak depiction of a post-apocalyptic world in rapid decline, the fourth outing is vivid and literally bleeding with color. It’s a brave man who attempts what many regard as an impossible feat but, with Mad Max: Fury Road, Miller comes more than good on his promise and the years roll back accordingly. However, it never came to fruition and the project remained shelved for a further decade. Miller first had the idea for a fourth film back in 1998 and originally intended to cast Gibson once again as his leading man. Popular consensus is that the second film, The Road Warrior, was the standout although all three were more than worthy of bearing the mantle. The original trilogy single-handedly coined the term Ozploitation and went on to amass a huge cult following, with Mel Gibson in the titular role that helped make his name. When I first heard that George Miller was planning to resurrect his Mad Max series after a thirty-year hiatus, I was understandably concerned.
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