Mad Max: Fury Road

High octane female emancipation milk. At first, the over the top effort to be over the top overwhelms the engine, but over time, a rather cute structure of carcinogenic ideas emerges. It can't be considered a model of feminism in Hollywood, but Uncle George burned out with his love of strict matriarchy in his old age, and by some miracle Charlize understood what was being asked of her. It's such a cruel mess that it finally finds its frantic path full of debris and crazy stunts. After the initial attempt not to fall asleep, there was a phase of smiles. Hell on wheels and mutated cabaret. Definitely not the best of the year, but definitely a quirky entertainment concept. At the same time, it is a demonstration that Hollywood is turning away from digital trends this year and is looking for its material roots. And Hollywood is also not afraid to show that the famous heroes live in a world of rubble and are actually a bit of a nuisance. (21/12/2015)

Every year I see dozens of films in the cinema and many more at home, and only some of the new ones leave me with the feeling that I've watched something special; something that will be talked about in ten years. Fortunately, Mad Max: Fury Road is one of those. The trailers didn't bullshit, this is a brutal action ride from start to finish. When George Miller said his film was going to be one big chase, he wasn't lying. Even more interesting than the action itself, however, which is exquisite, thrilling and visually original, is what surrounds it. The director of Happy Feet has managed to make a new Mad Max that must satisfy fans of the trilogy and newcomers alike. Fury Road is an almost physically uncomfortable film. Whereas other post-apocalyptic films usually have clearly defined good and evil, here there is only madness, and thanks to some of the characters (Nicholas Hoult gets a career-best role) it's almost palpable. It's a cruel world with bizarre rules, fascinating and repulsive at the same time. Good doesn't exist, evil doesn't exist either, all that's left is a fierce fight for survival. And you will be right in the middle of it. Mad Max grabs you at the beginning, then thrills you, disgusts you, horrifies you and fascinates you all the time. And by the end of it, you'll feel like you've seen something special. Not just entertaining or interesting, but truly exceptional. (13/05/2015)

Thirty years is a long time, and George Miller has left the original Mad Max far behind. Not only is Mel Gibson surprisingly sorely missed, given that Tom Hardy's hesitant grumbling moments simply don't work at all, but Fury Road draws on the worst of the echoes of the original trilogy. Namely, the usual bizarreness, flatness of characters, and the fact that it's mostly just about one city and its fate. The fact that this time it's done in a grandiose way through to the last shot results in an audiovisual delight led by a breathtaking motorcycle raid, but without at least one truly interesting character, it's a massacre that simply doesn't mean anything to me outside the basic action layer. (27/05/2015)

I have not seen such a crazy movie in a while. It almost looks as if George Miller shot his craziest dream the way he’s seen it and lived through it. Nobody talked into it, nobody interfered with it and he just did it exactly the way he wanted. You can feel the madness, helplessness and despair of the post-apocalyptic world even two thousand light years far from you. When it comes to acting, Tom Hardy, Nicholas Hoult and Charlize Theron are a sure bet. Nevertheless, some moments in the movie were so crazy that I was not able to process them and the only thing I was left with after those scenes was a bewildered face which still could not comprehend what it had seen. However, one thing is for certain. I have not seen such a well-filmed action, where digital effects fade in comparison to the real action ride, in a long time. If I even saw anything like that in this millennium. Hard to say. I think I didn’t. (20/05/2015)

I've never been a big fan of movies with big attractions and effects and it's just something I'm not into. However, every now and then I let myself be enticed by dazzling visuals, as evidenced by my rating of the first Pirates of the Caribbean. However, I need a meaningful story and well-written characters for that. In the case of Mad Max: Fury Road, there is practically no story, the characters' motivations are, to put it mildly, weak, and the characters themselves serve only as tools for the director to shape an endless series of action scenes and evoke the simplest of emotions. They are mere controlling elements of the vehicles, ready to be attackers or victims for the entertainment of the audience. The mythos of the depicted world is highly reduced, and it is clear that the director does not expect anyone to ask questions or, God forbid, use their brain while watching his film. You would search in vain for any logical structure in the world depicted by him. While in the case of the new circus, there is a tendency to build a plot from uncomplicated acrobatic acts, to tell a story, and thus move towards theater and film art, Mad Max, on the other hand, operates on the principle of a classic circus performance. Here, the action genre has stripped away all impurities and exposed itself in its essence. Mad Max will be appreciated by viewers focused on dynamism and action, top-notch acrobatics, and choreography. For the target audience, the film can offer excellent camera work and clear editing, beautiful women, machines with powerful engines, and adrenaline. This is not nothing, and I understand that it can excite many male viewers. But I need a lot more for a film experience. Overall impression: 30%. (15/08/2017)