all comes down to Joe's cronies fighting against them reaching to their destination. The movie is a bananas car chase for the runtime, as Max and Furiosa work together to fight against the evils. And then, there is Nux, a bonkers "really skin coloured" guy, who works with Joe, played well by Nicholas Hoult. The 3D really pays off, and is worth the extra ticket. The movie puts all other action movies of shame, the effects really pop out. Well, this is a definite masterpiece. One of the best movies of the year, one of the best action movies ever made and the role of Theron's life. Miller is truly a mastermind as stated clearly in the trailer. This exceeded my expectations, and will exceed yours as well. The dark style, dark comedy and the over the top characters make a return in this reboot. Must watch, and worth the extra IMAX 3D ticket.

needed to have seen the previous films to understand this one and thankfully you don't, the story is independent of the previous film which was really helpful. The characters were all awesome and it did an amazing job to introduce them all almost instantly and get right into the action. Max Tom Hardy? and Furiosa Charlize Theron were were great and extremely likable characters. Even the villain who I will just call Sweet Tooth was so great, he wasn't anything too special but was a great threat throughout the film. I just absolutely loved this movie, intense action from start to finish and didn't slow down at all, that made it ridiculously fun to watch. The great characters and the performances are awesome on screen and we're always interesting to watch. If there was ever a Twisted Metal movie, this is what it would be. Nothing really let the film down and everything really worked, such a great time and the best cinema experience this year so far. - 10

advantage of the ability to move wherever he wants, however he wants.

cinematography for once doesn't suffer cos of it. It is all incredibly shot. The action is so brutal and appropriately high-octane. I thought to myself more than once, 'I think I am loving this more than Terminator 2' but other than that, there wasn't time to think. It kicked off fast and barely stopped, and the lulls were amplified by the insanity preceding them. Plus it is a dark film, which made it even better. I many people do an Aussie accent even close to well, was Hardy actually trying for that? Either way, he didn't talk much so it didn't really matter. This is more Theron's movie than Hardy's, he doesn't say much and does next to nothing for the first third or so. Theron's Furiosa is more of the hero is the story, if there were to be a hero in such a grisly and dark world. I don't even like this type of movie but the execution is everything. I'm gonna go see this again, soon. 4.5/5

also thrilling. Witnessing this dystopic world and all its hellish drama unfold might make you grope for seatbelt under your seat.The film shares Max Rockatansky's Tom Hardy adventures. Max is an ex highway patrolman. He's been haunted by the past, by family he never saved. He meets the Imperator Furiosa Charlize Theron who is being pursued by the dictatorial Wasteland leader "Joe". Furiosa reaches for Max for help in keeping the 'Five Wives'—women she brought with her—into safety, as Joe's deranged breed of warriors called The War Boys, that are barely humans, are raging across the desert to capture them. This pursuit throws the unlikely partners into the whalloping dangers of bloody escape, suddenly sending them into a game of survival.After a rip-roaring opening chase sequence, Max is held captive in the Citadel, the city where the ruthlessly totalitarian leader "Joe" is ruling over. The grotesquely brutal lord maintains tight grip of every valuable resouces across the land. This brings the entire populace crippling under his control. As for Max, he becomes merely a blood bag for Nux Nick Hoult one of Joe's War Boys, who is a fatal devout to the cause of their fascist leader, who has promised them the glory of getting into Valhalla, the promised land.Everything in this cinematic behemoth screams grandeur, even the feverish chase, even the dark erubescents spurred from the ruthless violence. Miller has molded a world where darkness is an escape from the stream of clichés and retreads, surging into the cinemas, today. It's a visual feast, but surprisingly, with sense. It's explosive in every unimaginable ways, but it's not devoid of a human story, which in this case, is propelled by stellar performances from incredible actors on the movie's payroll. Tom Hardy is utterly capable as the main hero, but the emotional spine of the narrative mostly runs on Theron's character. At some point, there would be a sense that Max isn't the only one playing under the spotlight, as it gets evident Furiosa is equally as massive as his role is. Hardy here is singularly stunning, playing his role with utmost credibility as he is required. His mission transcends past his emotional torments and he's never pulled himself free from the ghosts if his past. Same can be said with Furiosa, who is not only running from Joe because she wants to get herself free from his cut throat grip, but also to bring every woman into safety, back to freedom where they belong.Much of the movie is spent with furious speed chases that goes from end to end of Joe's subjugated land, while also taking surprising twists and turns along the way. It's like it doesn't know how to stop, and if it does, that's surely only to allow us breathe and catch up with the next electrifying action setpiece. There's an enigmatic style Miller has employed to provide distinctions in his fantasy world, and it keeps the momentum in tack, if not ever progressing. The tone of the movie, all those vividly dark colors, that magically shifts from something to another, imparts a drowning experience, only it's enjoying and looks festive to the eyes. This makes every eye-squashing spectacles take mammoth forms of visual extravaganza, turning all those burning combustions, metal blasts, and endless pursuits, from mere technical marvels into a hair-raising escapade.Amid these sanity-grabbing action sequences, though, is an emotional streak that keeps Max and Furiousa's humanity alive. This prompts them to survival, into carrying out their similar humane causes, clinging tightly to their only mission even if they get hurled into the barbaric hostilities of their dystopian society. This turns the movie into something visceral, cathartic in some ways that probably only a small fraction of the audience could understand. It will not be enough to merit this achievement with merely a splurge of superlatives. This needs to be experienced, felt, and forever cherished. MAD MAX: FURY ROAD, ignites eternal fire, and it will keep burning through the stretches of cinematic history.

forces of this futuristic wasteland, he finds himself in the middle of a pursuit of Furiosa Charlize Theron and the wives of the masked Immortan Joe Hugh Keyes-Byrne . Max becomes the pivotal force to assist in Furiosa's escape and redemption. Mad Max: Fury Road becomes a race for life, redemption and hope. Shot in the barren desert of Namibia, the fight for life becomes an adrenaline charged chess match that in making the wrong move will cost you your life. No summary can do the action justice, except to say to is a new visual standard that needs to be experienced. Mad Max: Fury Road is a lesson in conveying depth with minimal dialogue. George Miller delivers a masters class in story telling and stunt driven effects that successfully convey back story, cultural nuance and the justification of these desperate acts of disobedience and violence. Even as the fourth outing for this character, we are given a fresh storyline and wealth of new characters for a new generation. It is not necessary to see the original films to enjoy this chapter in Max's adventures, but it might be worth going back to watch the first two films in this anthology. The cast is captivating and effective in their roles, but they have to take a back seat to the energetic stunt work and effects. This world seems to be a maniacal and messy existence, but becomes an enjoyable, orchestrated primal experience. Who would have thought that through the Mad Max franchise Miller would be able to convey his cinematic brilliance and deliver this visceral masterpiece. Not to dismiss the acting, Hardy is brilliant as the tortured lead character and delivering a believable portrait of his desire to survive the present while mentally enduring his past. He is given minimal dialogue, but is able to become the heart of this post-apocalyptic tale. Interestingly, Hardy is not the primary lead in the film that bears his name. Charlie Theron's shining portrayal of Furiosa is the literal and figurative driver of the film. She manages to redefine feminine heroism for film makers. She has strength, purpose and a sacrificial depth that presses the story beyond a mindless chase scene. In a genre that tends to victimise or sexualise the female leads, Miller portrays a strong female led without any unnecessary feminist underpinnings. In masking her natural beauty, Theron is allowed to develop her strengths and vulnerabilities without making a political statement. Both Hardy and Theron are supported by an excellent supporting cast that moves this experience from a mere adrenaline rush to a story of fighting for your right to live, seeing that sacrifice is part of freedom and ultimately for the hope for redemption. On many levels, Miller seems to realise that action without reason loses its purpose. In adding a spiritual component to Mad Max: Fury Road he allows for a narrative depth in the script. Immortan Joe Hugh Keays-Byrne is the cult leader in this dark, twisted world. His character delivers a dark and demented message of the need for effective leadership and that leaders need to provide people with purpose for their sacrifice, even if it is misplaced. This story shows that there is basic need for something beyond our material needs that gives society drive and direction. Also, the flower on this desert wasteland is hope. Even the jaded heart of Max is turned and assists in getting those under his charge to their promised land and in giving them hope in the bleakest of moments. This is an essential cinematic vehicle when placed against the backdrop of the depravity of mankind. Miller manages to capture this element and allows for the story to consider the realities of mankind's history and future. If the film does have a weakness, it would be in the conclusion. In all that they desire to achieve and find through this film maker's journey, the finality has an empty satisfaction. After watching a film like Mad Max : Fury Road it might be worth reading through Revelation. Fortunately, with the God of the Bible there is more we can hope for in the future.Reel Dialogue: What are some of the bigger questions to consider from this film? 1. Where is real hope found? Deuteronomy 31:6, Romans 5:2-5 2. Can we find true redemption? Psalm 111:9, 1 Corinthians 1:30 3. Can we exist without others? Proverbs 18:1, 1 Corinthians 12:14 Written by Russell Matthews based on a five star rating system @ Russelling Reviews #russellingreviews #madmaxfuryroad

time. For all I know, the audiences spoil themselves with "cinematic orgasms," if that's a thing, throughout the movie. They're not afraid of the porcupine-trucks, maybe a little on the edge of madness, but that goes without saying. Here's a hint as to what it was like: Bane and Miranda beating the beep out of war-painted, anti-Christian, Hulu tribe—only this time, it's some dark, full-raged action with mountain bikes, and trucks, and springy tentacles moving idiotic half-Willy, half-Wonka The Da Vinci Code Bettany's horrendous versions. Miller puts his tribal culture in the crux of action, which reveals an unorthodox, authoritarian, and devout portrayal of enmity. The sport-arena action is complemented by prayers in Citadel, banging of drums, skeleton-wheels, and skeleton-feels. It has a bizarre feeling—you're dredged into the modernity of Prometheus and antediluvian era of the Exodus.More than anything—Max's deafening seriousness, Furiosa's bald-grace, armless-attraction, sense of responsibility, and and absolute congeniality to the role always imposingly remarkable, religious affirmation, banging, puffing, booming, clatter, splash, tick-tick, boom—the "fantasized-realism" behind all the get-off-my-property-you-crazy-lunatic is what gives you the honesty-chills. The stunts, the effort, the don't-care-about-ourselves-just-love-the-movie-please pledge, and the extraordinarily enormous—480 hours of footage into 120 minutes of freaking-awesome warfare—blows me off of my seat in the cinema to the pale, scorching blaze of the sun, amidst the crazy-eyes of this action-genre Orange is the New Black. Even the over-editing has that medieval, darkly comical feel to it, just like 300 for example can't think of another movie with such aberrant effects, but such positive response. But like any other movie, there are points where you start questioning yourself. Nothing seems to justify Max & Furiosa's relationship, mutual combats, strategies, certainty of plans, and stuff like that. But by then, the movie's not about logic or sense anymore; it's more about seeing what you wouldn't in ages. With such a brilliant ensemble—I mean it was pretty good for a solely madness-based movie—you couldn't care less about the abacus-loving dumb-toads sitting in exactly the middle seats of the theater to get the most balanced view of the screen, and judge the minus-plus of the 120 minute long clip. I feel like reporting their stupidity to the CIA—enough with the pen and paper!Mad Max comes equitably with the characters, their roles, and the titular projections. Each name is qualified by its corresponding characteristic with the character in the movie—Spikers, Rictus Erectus et cetera. This complements the heartfelt glow to the movie itself—everything's done for the movie. They didn't feel any need to impose worldly sense into it, which is the best part, because that miniature world seemed pretty damn believable to me—but why? Maybe it were those religious beats, maybe the dragon-roars of engines, maybe it was just the psychological effect. Whatever it was, it did what it planned to.Mad Max: Fury Road puts forth the idea that there's so much more to combats than mere combats—MMFR incorporates belligerent, spoiling-for-a-fight attitude, oppressed landscape, estranged and barbaric drug-lords, heavy-weight weaponry and wheelers, and poster-paint bombings. The intensified red-blaze of fire, the sandstorm-effect, the preposterous turn of events, the nonsensical touch of things, and the wacky script—everything wrong with the movie is everything good about the movie. Mad Max: Fury Road revises the post-apocalyptic scene—utter dryness of region and minds—and uses the irritating sense of that dryness into a rigorous will to get past it with victory—Fury Road's victory. It's not about the comparative analysis of protagonists and the white-witty-wackos, it's about what's happening throughout. And when it happens, you're only remark is: "What a lovely day."

fire and music, there are some shortcomings that Miller's film exhibits. From a narrative standpoint, it presents some of the most surprising and endearing female characters seen in some time. Everything about the women, particularly Oscar-winner Theron, is excitingly refreshing. You come to think that the title of the film should have been called "Furiosa" rather than "Mad Max." "Max" feels completely secondary to everything that's going on around him. He doesn't envelope the same presence that Mel Gibson's character did in the original, and that's both a positive and a negative. Is it intentional or is the far superior and interesting work of its female heroins just easier for an audience member to latch onto. The script by Miller, Brendan McCarthy, and Nick Lathouris is rapidly inconsistent in the film's first 30 minutes. With no clear directives or plot devices, it almost comes off as a road trip movie with no set destination, at least in the first quarter. Once the speed picks up, boy does it just thrust you from your seat. There are also some abrupt and sharp turns from explosions to emotions that don't exactly feel natural. There was a time or two that I rolled my eyes at certain attempts of emotional reaction.Academy Award winner John Seale, who has continued to explore his narrative lenses in his career, takes on a new world of artistic capture. He makes the viewer a passenger and an active member of the action at hand. The sound team rises to the occasion in this post-apocalyptic world of gears, guns, and fire. The greatest achievement of the film's psychedelic roller coaster is the potent and passionate music of Junkie XL, whose previous scores on films like "300: Rise of an Empire" and "Divergent" could have never hinted at the masterpiece composition he would create for George Miller. The score echoes past works from Bernard Herrmann "Psycho" in particular and Trent Reznor and Atticus Ross. It'll be a travesty if at bare minimum, the film isn't recognized for Best Original Score at next year's Oscars.There have been rumors that this is Charlize Theron's version of Ripley in "Aliens." While the comparison is somewhat apt, I find it more in line with someone like Linda Hamilton in "Terminator 2: Judgment Day." "Furiosa" is Sarah Connor reincarnated into a one- handed death machine, and she's freaking awesome. It's the badass performance of the year, perhaps the last few years from an action star. A performance that hasn't highlighted her abilities as an actress this well since maybe "Monster." As the villainous "Immortan Joe," Hugh Keays-Byrne dominates with stature and aura that's palpable in nearly every scene he inhabits. He isn't afforded many opportunities to stretch out the boundaries of his Bane-like mask and become intimate with the viewer. Nicholas Hoult maintains a fun, comedic vine that slowly wraps around you as his story progresses. Finally, Tom Hardy is as cool as ever. This guy makes it look so easy to just be a part of something and blend into a canvas such as this. As mentioned before, he's surprisingly secondary to the story but what he does get a chance to offer is vividly real.Seeing the film in 3D didn't offer anything more than a few dizzy spells from some shaky camera syndrome. It's another example of 3D being utilized more as a gimmick, and not an additional asset. Admittedly, I'm not the hugest fan of 3D films with the exception of few I've encountered. I say save the 3 extra dollars and see it on regular full-size screen experience. It will more than suffice.From a summer blockbuster standpoint, you have to move "Avengers: Age of Ultron" and "Furious 7" aside to make way for something that stands on more of solid foundation of action storytelling. "Mad Max: Fury Road" is an audacious and visually striking endeavor that is sure to stand out all year in some capacity. A technical marvel. I'd be excited to see where they'll bring the story from here. A franchise that has been successfully rebooted. Good job Hollywood.

universal blood donor and used as a "blood bag" for sick Wild Boy Nux Nicholas Hoult . Imperator Furiosa Charlize Theron meanwhile is driving an armoured war rig to collect gasoline, she drives off- route, and Joe realises that his five wives - women selected for breeding - are missing, so he leads his whole army to chase after her, with the aid of Gas Town and the Bullet Farm. Max continues to supply blood strapped onto the front Nux's car who is also in pursuit, Joe's forces and Furiosa's rig ensues in a battle, but she is able to evade the pursuers driving into a sand storm, except Nux who is prepared to sacrifice himself, the car crashes and Max is able to escape, dragging an unconscious Nux by his chain. Max finds Furiosa accompanied by the five wives: The Splendid Angharad Transformers: Dark of the Moon's Rosie Huntington-Whiteley , Capable Riley Keough , Cheedo the Fragile Courtney Eaton , Toast the Knowing Zoë Kravitz, Lenny's daughter and the Dag Abbey Lee , who are repairing the rig, he attempts to steal it, but the kill switch disables the truck, so he reluctantly allows Furiosa and the wives to accompany him, Nux returns to Joe. Furiosa has agreed to exchange gasoline for passage, and drives through biker gang territory into a narrow gang, but Joe's gang are in hot pursuit, the bikers detonate the canyon walls to block the path, Max and Furiosa defeat many of the bikers, but Joe's vehicle evades the blockade and attacks the rig, Nux manages to board it. The rig escapes, but heavily pregnant Angharad falls from it and is run over, killing her and her child, Furiosa tells Max that she is heading for the "Green Place", a location she remembers from her youth, Capable finds Nux hiding, she consoles him as he is distraught for failing Joe. At night, the rig gets stuck in mud, Joe's approaching forces are slowed by explosives, but Joe's ally, the Bullet Farmer Richard Carter continues to pursue, Nux helps them get away and Furiosa shoots and blinds the Bullet Farmer, Max walks away for a moment to confront them, and returns with guns and ammunition. Dawn breaks and rig travels through swampland and desert, eventually coming across a naked woman trapped in a high cage, Max suspects a trap, but calling out her former clan affiliation she summons her group, they recognise her as part of their clan, but Furiosa is distraught to be told that they have already passed the Green Place, now inhospitable. The group agree to ride motorbikes and the rig across the immense salt flats in the hope of finding somewhere to live, Max was originally going to stay behind, but following visions of his dead daughter he convinces the group to return to the Citadel, because of its ample water and greenery that Joe keeps from the survivors, and they plan to trap Joe's gang in the bikers' canyon. The group start their journey back to the Citadel, Joe spots them and realises what they are doing, they are attacked by his gang and Furiosa is badly wounded, the rig is slowed by Joe's car, while Max fights with Joe's son Rictus Erectus Nathan Jones . Toast gets captured and put on Joe's car, but Joe is distracted by her, and his mask hooked to his car's rotating wheels, tearing his face off and killing him, while Nux sacrifices himself by destroying the rig, blocking the canyon, killing Rictus, and the group are able to escape in Joe's car. Max transfuses his blood to save Furiosa and help her injuries, at the Citadel the surviving citizens are overjoyed that Joe is dead, Furiosa and the wives are raised on a platform by the War Boys and allowed to open the water gates and rinse the people, Max stays below, he and Furiosa share a glance before he disappears into the crowd. Also starring X-Men: Days of Future Past's Josh Helman as Slit, John Howard as The People Eater, Iota as The Doof Warrior and Angus Sampsonas The Organic Mechanic. Hardy gives a magnetic performance as the man who only utters a few words, Theron with her shaved head is terrific, Hoult is unrecognisable as the pale and scarred freak, and the supporting cast all do very well also. The story is simple enough to keep up with, the special effects and makeup throughout is fantastic, and the chase sequences accompanied with over-the-top violence is exciting, it is a thrill ride you will absolutely want to get on, a brilliantly entertaining futuristic action adventure. It won the Oscars for Best Film Editing, Best Costume Design, Best Makeup and Hairstyling, Best Sound Mixing, Best Sound Editing and Best Production Design, and it was nominated for Best Motion Picture of the Year, Best Cinematography and Best Visual Effects, it won the BAFTAs for Best Editing, Best Production Design, Best Costume Design and Best Makeup and Hair, and it was nominated for Best Cinematography, Best Sound and Best Special Visual Effects, and it was nominated the Golden Globe for Best Motion Picture - Drama. Very good!