Some viewers will never be able to hang on through the story’s careening disregard for sense, logic or moderation. Whether you are thrown from the vehicle depends entirely on you. When Max (Tom Hardy) is captured by the members of a warrior encampment known as the Citadel and (at first ineffectually) tries to escape, director George Miller’s camera renders that opening sequence - in surprisingly effective 3-D - as though it were playing on 4x fast-forward.įor the next two hours, the film barely taps the brakes. But it is precisely that sense of tunnel vision that makes “Fury Road” such a pulse-pounding pleasure. To say that there is also a monomania to the film is, if anything, an understatement. “Mad Max’s” hero - the titular crazed loner who is shown at the start of the film munching on a two-headed lizard that he has just crushed underfoot - is described by the narrator as “a man reduced to a single instinct: survive.”
MAD MAX FURY ROAD SOUNDTRACK MOVIE
It is this wastefulness, the film suggests, that has led to the wasteland that the movie portrays: a nightmare world of desperate self-absorption populated by a race of mutants who have been poisoned, bodily and spiritually, by their own egotistic overindulgence. When H2O is handed out to a population dying of thirst, it comes not in bottles or jugs, but as a cataract gushing from giant pipes extending from the top of a desert cliff, so that the citizens below are only able to lap at the mist thrown up by the cascading torrent. Flame-belching vehicles tear across a parched, terra-cotta landscape, their drivers firing guns like cowboys in a western. It’s less irrational than it sounds that the three scarcest commodities in the post-apocalyptic world envisioned by “ Mad Max: Fury Road” - gasoline, bullets and water - are expended with an almost lunatic profligacy. In “Mad Max: Fury Road,” Max (Tom Hardy) is kidnapped by members of a warrior encampment called Citadel, and after escaping, joins forces with fellow fugitive Imperator Furiosa (Charlize Theron).