The fifth “Mad Max” movie is the most grim of filmmaker George Miller’s ongoing nightmare of a fairy tale. But it’s alive.
Without permits, caution or anything to prove except everything, director George Miller shot “Mad Max” in 1977 on some beautifully forlorn stretches of Australian road with an ensemble of eager maniacs activating, and hyperactivating, a tale of a desolate near-future. At one point, a very young Mel Gibson as Max Rockatansky, the road warrior-lawman on the edge of insanity, mourns the killing of his boss and comrade.
I’ll try to explain why I’m all over the highway on “Furiosa,” even as I’m recommending it. The best of it is spectacular, tapping into so many different ways to create and assemble images in contemporary big-budget filmmaking, you can barely keep track. The optimism lasts about 45 seconds in movie terms. Right off, Furiosa is abducted by the snarling, drooling Biker Horde, ruled by Dr. Dementus. This is the major new character; he’s played by Chris Hemsworth, who has most of the screenplay’s verbiage for better or worse. Visually, the character borrows Charlton Heston’s nose, Heston’s “Ben-Hur” chariot , and Heston’s “Ten Commandments” beard.
There’s world-building aplenty. One fiefdom, The Citadel, resembles a sand-swept Middle-earth, or the Tower of Babel’s ambitious new condo development. Dementus cuts a deal with his enemy and gains control of nearby Gastown. The realms of “Fury Road” and now “Furiosa,” like their “Mad Max” franchise predecessors, run on petroleum , water and blood .As gratifyingly different as the “Mad Max” movies have been, at heart Miller is making ever-more-grandiose biker movies, but with more than bikes.
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