Mad Max is Legitimately Mad

Charlize Theron and Nicholas Hoult in “Mad Max: Fury Road”

What can I say that hasn’t already been said about George Miller’s return to that fickle foray of Hollywood filmmaking? Due to long droughts and curious detours into the animated arena, he’s never solidified himself as a force to be reckoned with. Never, perhaps, until now. What was here: possibly one of the best reviews I’ve ever written (cocky, I know, but who cares) about one of the best films of this year, and certainly one of the best action films of any year. But due to a technological hiccup that I will squarely blame on WordPress, that review was lost. So here I am, asking any reader for forgiveness, for I am too lazy and/or too proud to try to recreate that journalistic masterpiece. Just know that “Mad Max: Fury Road” may be weird, it may be mad, but it’s an absolute must-see for that very madness. It’s a return to visual exposition at a time when verbal is at a zenith of verbosity. It’s the best kind of feminism, the casual kind, not a celebration, nor an agenda, but an “attire.” A piece of the bigger picture, like a piece of clothing. Miller treats it like it wants to be treated: normal. But you people aren’t perusing here to hear about socially conscious themes or technically precise storytelling, you’re here to hear that “Fury Road” is action filmmaking of the highest order. The way I see it, any movie that features manic villains with chrome-painted grills pole-vaulting between moving vehicles in the middle of the desert can’t be anything but. Like I said, this movie is bonkers, and it’s all the better for it.

Grade: A-

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