The villain of the film is Immortan Joe (Hugh Keays-Byrne), dictator and controller of all who reside in the Citadel, where he controls the water and the food, and claims whomever he likes for his own gain. And we spend much of the film’s first act, after his initial introduction, just as helpless as he is, strapped in and prisoner to madness. Or at least, we learn who he was, what he’s experienced, the demons that now follow him everywhere. In such a short space of time, we learn who Max is. It is what the genre can offer, in a day where action films have fallen into the category of mediocre events starring one note, yet high profile actors. This is action at its most volatile and most pure. The opening narration by the title character is as clear as he’ll ever sound, and at the cut of his voice we’re launched into a two-hour storm that never calms down for very long. Replacing Mel Gibson in the title role is Tom Hardy, who plays a gravelly, hardened and somber man with no direction but the endless quest for a needless survival.
Mad Max: Fury Road is a part-sequel, part-re-imagining of George Miller’s original, genre-defining trilogy, launched originally by 1979’s Mad Max. Is hope a mistake? Is it worth the consequences of failure? In a world where the road of the righteous, the road to justice and peace, doesn’t exist, a small band of women set course in an effort to carve that road for themselves.
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