Respond to these rapid questions in our Mad Max Fury Road quiz and we will tell you which Mad Max Fury Road character you are. Play it now.
Not only did George Miller’s “Mad Max” films make Mel Gibson a household name, but they also revolutionized the post-apocalyptic entertainment genre with their visceral stunt work and singular vision of a more hopeless future. Miller finally returns to this desolate landscape for the highly-anticipated “Mad Max: Fury Road,” recasting the title role in the grizzled visage of Tom Hardy and upping the stakes with promises of vehicular mayhem on a level commensurate with what modern CGI audiences have come to expect. Three decades after the last film, the oft-maligned “Mad Max Beyond Thunderdome,” Miller finally returns to this desolate landscape.
“Fury Road” pushes us forward without the cheesy special effects or paper-thin characters that have so often defined the modern summer blockbuster. Instead, “Fury Road” vibrates with the energy of an experienced filmmaker working at the top of his game. Miller has not simply returned with a new chapter in an ongoing franchise that generates a lot of revenue. The person who was responsible for rewriting the guidelines for the post-apocalyptic action subgenre has made a comeback in order to demonstrate to a new generation of filmmakers where they have gone wrong in their attempts to replicate his success.
“Who was more out of their mind? Me, or everyone else?” Miller takes his vision of a world gone mad to its logical extreme in the film “Mad Max: Fury Road,” which is reminiscent of Terry Gilliam’s work. The inhabitants of Max Rockatansky’s world are no longer merely scavengers for oil or power; rather, they have been transformed into creatures of circumstance, having either been left with one defining need or having been left without any semblance of reason. Although “Fury Road” is a violent movie, the violent acts that occur in this world do not feel like random action beats; rather, they emerge from a complete lack of other options or a strong sense of outright insanity. Miller’s revised interpretation of Max does not feature him as a combatant. Rather, he is a man who is motivated to do little more than survive by the memories of his past transgressions. He is haunted by the memories of those he was unable to help, and the people he is traveling with have driven him to the edge of sanity.
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Max is kidnapped and turned into a literal blood bag for a feral warrior named Nux (Nicholas Hoult), who serves the whims of his maniacal ruler, Immortan Joe (Hugh Keays-Byrne, who also played the villain Toecutter in the original “Mad Max”). Nux is ruled by Immortan Joe, who is played by Hugg Keays-Byrn Miller does not give you any time to “ease” into this world or the story he is trying to tell right from the beginning of the book. The frame rate is sped up, the editing is hyperactive, the villain speaks through a mask that makes half of his dialogue unintelligible (reminiscent of Tom Hardy’s Bane from “The Dark Knight Rises”), and the horrifying visions of Miller’s warped future come at you like a freight train. Immortan Joe is a freak of nature who is kept breathing by tubes connected to his face. He is served by similarly deformed half-humans who have definitive names such as Rictus Erectus (Nathan Jones) and The People Eater. Immortan Joe is a barely-living freak of nature (John Howard).
Mad Max Fury Road Quiz
At the beginning of the movie, a powerful woman known as Imperator Furiosa (Charlize Theron) is leading a convoy from Immortan Joe’s citadel to the oil refinery Gastown when she veers off course. Furiosa is one of Joe’s most notable warriors and the film’s title character. It has come to light that Furiosa has abducted Joe’s “breeders,” which are the women he holds captive in an effort to produce a male heir. Furiosa’s plan was to create a male heir. She is escorting them to “the green place,” also known as a secure location. Naturally, Joe sends his men after Furiosa, which includes Nux, to whom Max is still attached, and the remainder of “Mad Max: Fury Road” consists of one long chase through the harsh desert. The action of the movie takes place almost entirely in motion, with the exception of a single pivotal exchange of dialogue. The action includes racing, chasing, bouncing, and exploding across Miller’s scorched landscape.
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Miller has updated the needs of his future world so that pure survival is more of a priority than commodities like oil. This is a reflection of the more dire times we live in. Max has been reimagined as a fighting machine and a driver, as a man who “finds his own way” and moves forward in an effort to outrun his ghosts. This is Max in the new film. Nux is a man-creature who has been indoctrinated to believe that he will die and be reborn after sacrificing himself in exchange for a journey to Valhalla. Nux is a goon who has been brainwashed. In the end, Max assumes the role of the action hero, but in one of the most audacious moves of his career, Miller gives the lion’s share of the story to Furiosa. Furiosa is a woman who clings to the one thing that could possibly give her hope in this harsh world: the next generation. Theron delivers what is arguably the best performance of her career in this role, masterfully conveying the fire that burns within Furiosa in a way that gives the movie its momentum. She accomplishes more with a single piercing look or clenched jaw than the majority of actresses could accomplish with an entire page of lines of dialogue. And one shouldn’t undervalue the empowerment message at the heart of this film, which suggests that women, as the creators of new life, will, inherently, always be the gender that holds the tightest onto hope for the future. Eve Ensler, author of “The Vagina Monologues,” consulted with Miller on the script. When Furiosa observes the insane behavior of the male leadership around her, she comes to the conclusion that enough is enough. It is difficult not to see “Fury Road” as an answer to the macho nonsense that so frequently defines the action genre when one of Furiosa’s wards goes into labor and still defends herself and her yet-to-be-born child (after being shot, no less), and it is difficult not to see “Fury Road” as an answer to this nonsense.
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However, none of this should even remotely suggest that the action that is taking place here has been lost in the message. The pacing, the sound design, the editing, the music (which is provided by Junkie XL and some of Joe’s freaks who play drums and electric guitars during the action), and even the emotional stakes are all so far above average that they make just about any other car-chase movie look like a quaint Sunday drive in comparison. The first chase in “Fury Road,” in which Joe’s men try to catch up to Furiosa and her precious cargo, is one of the most impressive action sequences in the history of motion pictures. And that was merely a warm-up for what’s to come. It’s no exaggeration to say that, if you think something in “Fury Road” is the most breathtaking action stunt you’ve seen in years, you really need only wait a few minutes to see something better. This is the kind of movie in which you keep thinking that it has arrived at its peak, and then, for some reason, that moment is pushed to the side and forgotten about.
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Miller and his team do something that so many other directors of film don’t do from the very beginning; they define the geography of their action. They don’t just jerk the camera around aimlessly in the vain hope of creating tension; rather, they provide the viewer with constant overhead shots and clear physical dimensions of what’s happening and where we’re going. After that, they detonate the entire thing. Even though there are dozens of crashes, explosions, and bodies flying through the air in “Fury Road,” the piece never becomes repetitive. This is especially true when considering the fact that the emotional stakes increase with each sequence. Miller is aware of when it is necessary to let the pace coast, which happens very infrequently, and then he presses the pedal to the floor and pins you to your seat with his intensity.
The action movie “Mad Max: Fury Road” is about finding redemption and starting a revolution. Miller has redefined his vision of the future once again, vividly imagining a world in which men have become the pawns of insane leaders and women hold fiercely onto the last vestiges of hope. Miller is never content to simply repeat what he has done in the past (even the first three “Mad Max” films have very distinct personalities), so he has continued to push the boundaries of his creativity. “Fury Road” would be remarkable enough as a pure technical accomplishment; it is a film that laughs in the face of blockbuster CGI orgies with some of the best editing and sound design the genre has ever seen; however, Miller reaches for something greater than technical prowess in the making of “Fury Road.” He extols the action model that he established with “The Road Warrior,” and he argues that Hollywood shouldn’t have been replicating it for the past three decades; rather, they should have been expanding on it. He does this by holding up the action template that he created. A whole new generation of action filmmakers has been issued a challenge by the film “Fury Road,” which urges them to follow its audacious path into the future of the genre and, just like Miller, make every effort to come up with something original.
For more personality quizzes check this: Fifty Shades Of Grey Quiz.
