Grappling with the thought of heaping more praise upon George Miller’s long-gestating brainchild, let it be known that to not articulate anything about it would be blasphemous. Indiscernibly placing itself along its predecessors’ timeline, Fury Road finds our titular hero (Tom Hardy) alone and at odds with the tyrannical Immortan Joe and his kamikaze army of terminally ill War Boys. Crossing paths with the comparably battle-hardened Furiosa (Charlize Theron) – Joe’s prized Five Wives in tow – the duo forms a necessary bond as they traverse a desolate wasteland in pursuit of liberation and redemption.
Having just reacquainted myself with the low-budget 1979 original, my expectations of Fury Road were tempered but remained high given a string of nigh-operatic teasers and considerable critical hype-in-advance. Given the apt-enough singularity of the first film, it’s breathtaking to see what two sequels and years of continued development have done for Miller’s ingenious end result. Effortlessly thriving by way of unfettered creativity, the sensibilities on display are truly unparalleled.
Revelling in deranged yet controlled chaos from the get-go, Fury Road unapologetically thrusts us into the immediate thick of things. In avoiding needless expository fringe, dialogue remains sparse as key elements speak for themselves. Immortan Joe as the resource-hoarding domineer amid troves of impoverished subordinates, Max reprising his role as the reluctant hero – the script’s simplicity is tangible but fails to hinder the enthralling depravity of what ensues. Each sequence just clicks thanks to the layer of assured bombast coating the film’s primary attributes as a triumphant genre benchmark.
As the most unique, arresting and assured action film to come about in recent memory, Mad Max: Fury Road truly epitomizes creative freedom within the medium. Finding continued sanctuary among a barrage of kinetic crescendos and lack of gender bias, the film’s personality, corresponding bleakness and steadfastness of narrative are all something to behold. Miller’s opus is one of unparalleled mastery – a dystopian, sand-bathed wasteland steeped in an attention to world-building to be unrivaled by unavoidable imitators in years to come.