Mad Max: Fury Road

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)

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)

Mad. Max “Transfusion" Rockatansky is back in this the most awesome part of the series that we had to wait 30 years for. The whole movie is one big chase full of surprising, bewitching ideas, great filming - the result of really hard work. Miller relishes in details, fascinates with sheer scale and includes exposed hookers, big boobs, blood and faces ripped off in a movie that I saw twelve-year-old kids watching. Hardy is a cool Max, economical with words, but precise in expression, Charlize has a good role to play and her Furiosa is practically the leading role and even though it’s just another chapter in the saga, a lot depends on her. Any link to past episodes is minimal. Everything runs like clockwork. A well greased machine. it’s mine! (14/05/2015)

With characters defined by their looks, makeup and costumes, Fury Road is a super cool, non-stop action ride with amazing drive that pretends to have some sort of plot. The experienced George Miller has adapted the trends of contemporary blockbusters (a deafening audiovisual aspect that’s more important than the storyline) into a distinct vision of a post-apocalyptic world (with which perhaps someone else can find an emotional connection?), fitting it with dozens of clever details that are insignificant for the story, but turn the movie as a whole (together with the over-the top drive I’ve already mentioned) into a unique film entertainment product. The close-up of a head rising from the sand is the shot of the year. (22/05/2015)

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)