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Mad Max: Fury Road

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“My name is Mad. My world is fire,” growls Max Rockatansky’s (Tom Hardy) opening voiceover of George Miller’s return to the Mad Max franchise after thirty years. For the next two hours, the viewer encounters this fire in all its blistering, barraging, petrol-fuelled mayhem, resulting in one of the most relentless action movies of recent years. There is a dazzling beauty to Miller’s action choreography, the camera both sweeping around the pimped-up vehicles that tear through the post-apocalyptic landscape and yanking the viewer into the heart of the deafening chases and brutal encounters between flesh, metal, rock and flame. Hardy brings a world-weary indomitableness to the role of Max, leaving the dramatic thrust of the narrative to Charlize Theron as Imperator Furiosa. Furiosa’s arc has been the source of some controversy over the apparent feminist invasion of a “man’s film”. Frankly, more active roles for women are always something to be applauded and Furiosa makes an excellent protagonist as well as a fine foil to Max. Her altruism and his nihilism are contrasting but complementary beliefs in a fragmented and pitiless world. This balance of the genders is further reason to admire Mad Max: Fury Road, as it means the film largely avoids the sexism so depressingly familiar in action cinema. It is unlikely to herald a new dawn, but for its running time the film is a gripping and refreshing contribution to the genre.

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